INSIGHTS FROM THE FIELD: Driving for Equitable Change in Public Art
Moving Beyond Land Acknowledgements Red Wing, Minnesota
All public art is on Native land, yet the land, story, language and cultures have been whitewashed in our history books, public policy, and public places. Efforts are being made to acknowledge Indigenous peoples and their histories. But, the public art field needs to move beyond acknowledgment and take action to build meaningful relationships that address land and culture issues. Committing land and financial resources will begin the process of decolonizing our practices—and shift long-held power dynamics.
Forecast is on our own journey to move beyond land acknowledgement to authentic engagement around Native and Indigenous public art and land-back movements. Through its Decolonizing Public Art talks, an issue of FORWARD dedicated to sustainable design in Indian Country, special reports on Indigenous visibility in public art, and Public Art Now collections of Indigenous-centered art, we continue to listen and learn to enact change.
Visitors engage with a new interpretive area for He Mni Can-Barn Bluff in Red Wing, Minnesota, a public artwork recognizing the Native history and culture of the bluff, a well-known natural feature on the Mississippi River. The work was made in collaboration with the Prairie Island community as part of a larger project with the city and Forecast.
Recently, Forecast developed an arts and culture plan for the city of Red Wing in collaboration with the city's arts and culture commission and the Prairie Island Indian Community. “The collaboration between the city and the Prairie Island Indian Community is the continuation of a conversation and larger public arts strategy to include the voices of Native and/or Indigenous communities and their connections to the land,” says Yarlyn Rosario, Forecast project manager.
Nicky Buck
My job is connecting people of diverse backgrounds by teaching how we, as a sovereign nation, operate as a cultured people, and then helping everyone connect to the land. One commonality between us is art.
—Nicky Buck, independent contractor, enrolled Tribal member of the Prairie Island Indian Community in Minnesota
Nicky Buck, an enrolled Tribal member of Prairie Island, has been essential in building the relationship between Red Wing and Prairie Island. Buck played a key role in the arts and culture plan’s planning and decision-making, centering Dakota history and experience. “My job is connecting people of diverse backgrounds by teaching how we, as a sovereign nation, operate as a cultured people, and then helping everyone connect to the land,” says Buck, an independent contractor. “One commonality between us is art.”
“Red Wing is an arts-friendly city. Prairie Island, along with other indigenous peoples, are artists and culturally driven,” Buck says. “So, we aren’t so different after all. I care deeply about both of my communities. We’re all human beings and have a place in the world. It’s a matter of finding balance and commonality.” Fostering a long-lasting relationship between the City of Red Wing and Prairie Island involves bringing people together to share stories to nurture the healing process.
Buck, left, meeting with city officials.
You can't rush the healing process, but people are listening.
—Nicky Buck, independent contractor, enrolled Tribal member of the Prairie Island Indian Community in Minnesota
It’s already begun, with Buck’s help. Trails over burial grounds at He Mni Can, the Mdewakanton Dakota name for what's left of a massive promontory between the Mississippi River and Red Wing, have been realigned. In Bay Point Park, where Chief Red Wing was buried then later exhumed, will soon include a commemorative public-art project. More projects centering the Dakota experience are underway. "I am filled with gratitude to have had the opportunity to work on this arts and culture plan,” Rosario says. “I've learned so much while doing this work. We are learning how to listen, collaborate, heal, and ask for forgiveness around our use and understanding of public spaces."
“You can’t rush the healing process or the public-art planning process,” Buck says. “But people are listening. Red Wing is building a beautiful relationship with Prairie Island. We’re all trying to do better for the next seven generations. I’m merely continuing the work that [my Uncle Art] and his father before him have done; that is the best way for me to honor my teacher."
I've learned so much while doing this work. We are learning how to listen, collaborate, and ask for forgiveness around our use and understanding of public spaces.
—Yarlyn Rosario, Forecast Project Manager
More work along Forecast's journey to move beyond land acknowledgement, toward authentic engagement around Native and Indigenous public art and land-back movements:
In 2019, Forecast's Decolonizing Public Art, Part I: Standing Rock conversation was facilitated by Angela Two Stars, featuring artists Votan and Missy Whiteman (pictured, holding microphone).
Decolonizing Public Art Part II: from Puerto Rico to Mauna Kea, was held in early 2020, facilitated by Candida Gonzalez, featuring Kealoha Ferriera and Aiyana Sol Machado.
Forecast's digital publication and conversation series, FORWARD, highlights how artists partner with communities to tackle civic challenges. The fourth issue focuses on redefining sustainable design in Indian Country. Guest-edited by Joseph Kunkel, a citizen of the Northern Cheyenne Nation and director of MASS's Sustainable Native Communities Design Lab, it presents a sample of exemplary works that elevate local voices to incorporate their shared stories, histories, and heritage into design. Image: Preliminary design work for the Northern Cheyenne Healing Trail, intended for conceptual interpretation. Rendering courtesy MASS Design Group.