Dakȟóta Ancestors

          The mural Dakȟóta Ancestors by Danielle SeeWalker is a representation of Native American culture and heritage. The composition of the mural is centered around two female figures who represent the ancestors of the Dakota people. The side profiles of the women are depicted from their upper chest to head. This emphasizes how the women are turned to face each other, and most likely gazing at each other. Surrounding them are various Dakota floral designs. When the mural is split vertically, it reveals a symmetrical structure, with a large floral piece at the center and each woman positioned on opposite sides. Another smaller floral design is placed next to each figure, balancing the overall composition. Furthermore, each floral design is vertically symmetrical, contributing to the harmony of the mural.

          The color palette in the mural is bold and highly saturated utilizing a vibrant array of colors. SeeWalker incorporates a large spectrum of colors, from the bright green of the older woman’s garment to the grey of her hair. The younger woman is shown in a purple top with black hair. The surrounding floral designs feature a variety of bright colors, each unique in tone, which highlights their individuality. By choosing bold, rich colors rather than the stereotypical palette often associated with Native American art, SeeWalker conveys a sense of strength and pride in the heritage of the Dakhota people. There is no shading in this mural. This deliberate absence of shading might serve to strengthen the visual impact of the piece, allowing each section to stand out. Each color is separated by strong black outlines, which help define the individual elements and add clarity to the composition.

          In terms of line, SeeWalker uses thick black lines throughout the mural, with a predominance of curved shapes. Most of the floral elements are composed of curves that converge to form pointed tips, with circles at the center of each flower. The women themselves are framed by curved lines, and their braided hair is depicted with small, repetitive curves that flow inward to the middle floral piece. This curving pattern guides the viewer’s eye through the mural, creating a sense of movement and unity. The only straight lines in the mural appear in the earrings of the figures, which are triangular in shape and filled with four smaller white triangles, adding a sharp contrast to the other organic forms. Within the earrings, there are lines of various colors that serve as a background to the white triangles. Additionally, it is also important to note the absence of some lines. There are no lines to define the features of the women’s faces.

          Texture is minimal in the mural, as the focus is placed on the clarity of shapes and the relationship between the figures and the surrounding elements. The smooth surface of the brick wall allows the paint to appear flat and uninterrupted. However, the patterned circles on the women’s garments may suggest beading or decorative embellishment, subtly introducing a sense of texture through design rather than surface variation. Regarding space, SeeWalker uses the negative space around the women as a background to highlight the main focus, which is the ancestral women and the floral. The dark gray background allows the colors of the mural to pop out. Additionally, there is no overlapping between the women and the florals, which keeps each element distinct and separate, further highlighting the importance for both the figures and the floral designs. Overall, the mural's composition, color, line, and space work well to convey a sense of ancestral and cultural pride, inviting viewers to reflect on the connection between the Dakota people and their heritage.

          Danielle SeeWalker’s mural Dakȟóta Ancestors serves as a visual affirmation of Native identity and resilience, rooted in the cultural and historical legacy of the Dakota people. Painted in St. Paul, Minnesota, a region historically and spiritually significant as Dakota territory, the mural reclaims space for Indigenous presence in an area long shaped by colonial erasure. The word “Minnesota” is derived from the Dakota words Mni Sóta which means “the land where the water reflects the skies” (SeeWalker, 7 Aug. 2024). Through her design, SeeWalker addresses themes of ancestral and land connection.

          Central to the mural’s meaning is its portrayal of Native women, depicted without facial features and adorned with colorful beadwork and floral motifs. These faceless figures, inspired by Plains tribes’ ledger art, do not depict specific individuals but rather, they embody the collective strength and enduring spirit of Native women across generations. By omitting facial detail, SeeWalker emphasizes story over identity, reminding viewers that Indigenous history has often been recorded through symbolism, craft, and oral tradition rather than written language. The women’s braided hair, a powerful cultural signifier, further deepens this symbolism. As SeeWalker notes on her website, “Our hair is our strength, has power, connects us to Mother Earth and carries connections to memory” (SeeWalker).

          The mural’s floral patterns draw directly from traditional Dakota beadwork, referencing the land’s natural beauty and the cultural practices tied to it. This type of beadwork was used to decorate clothing and other items. However, these designs are not mere decoration, but a reminder of their generational relationship with the land and plants. Painted with her own son’s help, SeeWalker’s work becomes not only a tribute to her ancestors but also a personal act of generational reflection and continuity.

          Historically, Native voices have been marginalized in public art spaces. Dakȟóta Ancestors disrupts that exclusion by asserting Indigenous presence in a visible, lasting way. The mural not only educates the public about Native history but also inspires pride within the community. Its message is clear that Native people are still here, still creating, and still carrying forward the knowledge of those who came before. In this way, Dakȟóta Ancestors is not simply a mural, but it is a reclamation. It honors the past, affirms the present, and calls viewers to recognize the enduring legacy of the Dakota people.

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Longwell, Ali. “Native American Artist Danielle SeeWalker on Vail Yanking Residency over Gaza Painting: “They Would Not Hear Me Out.”” Vaildaily.com, VailDaily.com, 14 May 2024, www.vaildaily.com/news/vail-native-american-artist-residency/. Accessed 28 Apr. 2025.

SeeWalker, Danielle. “Chroma Zone Mural & Art Festival.” Chroma Zone Mural & Art Festival, 2014, www.chromazone.net/danielle-seewalker.

---. “Danielle SeeWalker.” Danielle SeeWalker, www.seewalker.com/about.