Naming is Power: Tongva Voices and the River

“What is public space on stolen land? Especially when the land is doubly stolen – from Native people who have called it home for countless generations and by the concept of ownership itself, which is intimately bound up with chattel slavery, anti-Blackness, and policing Turtle Island. . .”

-Karthik PandianIn The River 2022

On Saturday, September 24, 2022 hundreds of river & art-lovers joined LA River Public Art Project for “Returning the River: A Joyful Intervention” at the 2022 Frogtown Artwalk. Developed over six months of an ongoing creative engagement with local Indigenous artists and Tongva leaders, “Returning the River” responded to the difficult questions, “How can the people heal when their river is hurting?”“How can art heal a river and her people?”“What does it look like to be in community with the river?”

Didier curated this critical intervention, foregrounding three Tongva leaders as LA River Public Art Project’s “Artists-in-Residence”: Tina Orduno Calderon, Tongva and Chumash Culture Bearer, Kelly Caballero, poet and Jessa Calderon, author and singer/songwriter. Listening to and honoring their cultural practices and goals led to a day of action on the river. This included mounting a 40′ long x 6′ tall sign of the river’s name in Tongva: initiating a process of reclaiming this waterway for the Indigenous People who have been the river’s caretakers for thousands of years.


Kelly Caballero, Tina Calderon and Jessa Calderon on the concrete bank of Paayme Paxaayt (aka the LA River). Photo by Liz Getz


Naming is the power to create, lay claim to, own, distinguish, merge, separate or destroy.

PAAYME PAXAAYT, (pronounced Pi-mé pah-hīt) meaning “West River” brings the river back within the power of the Tongva People. Fabricated of individually cut letters from heavy cardboard sourced from sustainably forested trees and coated with a biodegradable tempera paint, Didier and her team mounted the sign along the main pathway along the river at the entrance to Elysian Valley Gateway Park. Nearly 4,000 festival-goers saw this sign – and for the curious, a QR code was stenciled on some of the letters linking to a translation of the name and further resources. At night, kinetic lighting illuminated the sign and a lone sycamore tree in the park with rippling blue hues.

A DAY OF ACTIONS

Activities during the day included river-focused poetry writing with Kelly Caballero, basket-weaving demonstrations by Jessa and Tina Calderon, coloring with friends from the International Indigenous Youth Council, Native seed bomb-making with the Regenerative Collective, and the opportunity to see a Tule boat – fresh from the sea after the Moompetam Festival.

Participants walked in a group led by the artists through Gateway Park, past the PAAYME PAXAAYT sign to the side of the river. There the artists discussed ongoing concerns with the river’s health: a primary source of life bound up with our own health and the wellbeing of our communities.

Photo by Tom Wong


Healing the river and the systemically oppressed are actions that must be taken together. The artwork and artistic interventions of the day call upon everyone to act as advocates for the river and the Tongva. In an act of mutual aid extended to the river, participants flung seed bomb after seed bomb into the vegetated shoal nearest the bank where the crowd stood. Soon, those balls of river clay containing native seeds will germinate and grow plants that clean the soil and water, provide habitat, and support the Tongva way of life, welcoming them once more as caretakers of this vital waterway.


To learn more, visit LA River Public Art Project. Click HERE

Special thanks to Sunday Ballew, Bernard Rene, Joe Calderon, Mercedes Dorame, Scott Froschauer, Joel Garcia, Liz Getz, Stephen Linsley, Le Ngyuen, Libby McInerny, Esmi Rennick, Amy Sampson, Laurie Steelink, Art in the Park, LA River Public Art Project Board of Directors, MPA and Theodore Payne Nursery.

The Source (Forest Portal)

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2018
Materials: municipal potable water, steel, stone, concrete, native willows, flowering vines, native milkweed

Client:  

The City of Carlsbad

Guidance:
Esmi Rennick, Tonantzin Rennick, Jimi Castillo, Pete Matisis, Adam Uribe, Ryan Krieger, and Lisa Roop and the Carlsbad Community Garden Collective

Technical support:

Su Kraus, Moosa Creek Nursery
Glen Kinoshita, botantist and habitat restoration specialist

Engineering:
Elite Engineering Consultants

Fabrication:
Steel Craft

Installation:
DelMar Builders
American Fence

Photography:
Stephen Linsley

The generous Indigenous People who advised me in the construction of this project call water “The Source” – it is the origin of all life. For this project, I did extensive community engagement at each critical phase of the project from inception through completion, gathering as I went the stories, ideas, insights, knowledge and resonances of the people who have lived in and around Carlsbad, California for anywhere from 6 months to thousands of years of ancestry.

The permanent public artwork anchors a city block-sized new park for the City of Carlsbad designed by Spurlock Landscape Architects. There had been houses on it, and some fruit trees, but these were raised in order to create an artificial “garden” and much desired public green space. The City of Carlsbad has sprawled well past the coastline that it originally occupied into land that once was inhabited by the Luiseno and the Kumeyaay.  First the ranches, then the citrus groves displaced these indigenous people, now houses and urban sprawl have paved even the orchards, eliminating native habitats and the people and animals who once lived there. The public artwork seeks to balance the stated desires of the community that will use the park, while acknowledging the native people who still live in the vicinity and in its own small way, bolstering the pollinators who may be passing through by offering them native willows and milkweed to eat and nectar from flowering vines. At its center, a child-sized drinking fountain springs up between two locally-sourced boulders, offering even the smallest child the opportunity to drink and play in municipal drinking water with the hope that early memories of the importance of this water will encourage them to grow up to protect and champion their own local drinking water and the watershed that should replenish it. Runoff from the drinking fountain seeps into a dry well at the center of the artwork irrigating the surrounding willows so that they might flourish.

The inspiration for the willow dome structure emerged from the goal of encouraging cyclical thinking regarding our natural resources. Initial inspiration drawn from European-style willow domes led to the discovery of regional Native American willow structures. Kumeyaay, Nawat, and Wirarika advisers guided the approach, methods and materials used in sourcing and harvesting the Arroyo willlow (Salix lasiolepis) used to construct this dome. The willows were planted by the artist and a community of 40 locals during a ceremony led by an indigenous guide. Preparation and planting was assisted by a local botanist who specializes in native habitat restoration.

The design reflects the input of community members responding to questions I posed regarding their city and what makes it unique, what resonates with each of them. Answers ranged from the beauty of the sunsets to the abundance of flowers and (historically) fruit and citrus trees. A large community garden is part of the new section of the park and is within 100 feet of the public artwork, therefor the artwork also seeks to support and nurture the efforts of the gardeners. Each component of this project is built from materials sourced as close to the job site as possible.

2022 Update: The willow dome is thriving!

Ukendt Beach

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Ukendt Beach

2009

Roof tiles, rubber liner, standard roofing lumber. 40’ x 8’ x 15’

Location: Copenhagen, Denmark

Commissioned: Instant Herlev Institute

This repurposing of roofing materials and techniques is a terra cotta roof tile deck descending into a captured rainwater “sea” in the front yard of a suburban home. An invitation to lounge on private property as though it were a public beach.

Collaboration with Oliver Hess

The Food Pyramid

The Food Pyramid

2010 

Rubber liner, Food-grade bins, rainwater, photovoltaic array, submersible pumps and lights, gravel, tomatoes, cilantro, onions, lettuce, tilapia, native marsh plants. 10’ x 12’ x 12’

Location: Los Angeles County Museum of Art, California

Commissioned by: LACMA for EATLACMA curated by Fallen Fruit

Taking cues from material and natural ecologies of Los Angeles, a vertical Fish Taco
Garden. Utilizing repurposed materials from industrialized food systems, the garden
cycles waste generated by one area of the Food Pyramid to feed the other parts.

Diners at the nearby museum cafe completed the cycle by purchasing fish food and feeding the fish. At the end of the exhibition, the entire pyramid was harvested and chefs prepared fish tacos for 100+ visitors while an aquatic puppet show was performed in the piece.

Collaboration with Oliver Hess based on the “Back-to-Basics” exhibition designed and built through a series of hands-on workshops held at Materials & Applications(2009) with key participants Nicholas Blake, Astrid Diehl, Blair Ellis, Brian Janeczko, Glen Kinoshita, and Lindsey Mysse.

Orit Haj

Orit Haj

2012

Monumental rammed earth, community token “artifacts”, concrete and bronze.

20′ x 6′ x 3′

Location: Vasquez Rocks State Park. LA County

Commissioned by Los Angeles County Art Commission

Using earth from the site excavation, the monument erodes revealing impacts of natural forces and humans. Residents rammed the earth and added artifacts in each layer of this slow-release time capsule. An embedded bronze sculpture will emerge last. Orit Haj, the title of this artwork, are words from the indigenous Tataviam language which translate to ‘river’ and ‘mountain’. Much the way the Tataviam culture and its language have dissolved into time leaving behind artifacts and legends in and around Vasquez Rocks, so too this artwork will transform and dissolve with time.

Collaboration with Oliver Hess, Rammed Earth Consultant / Contractor: Andreas Hessing

Awarded five signature scroll by Los Angeles County Commissioners for Orit Haj and “demonstrated service”.

Recognized as one of the 50 best public art projects in the 2012 Public Art Network Year in Review by Americans for the Arts

Here There Be Monsters

Here There Be Monsters

2006

Materials: bamboo, rainwater, submersible pumps, electronics.

50′ x 45′ x 20′

Commissioned by: Materials & Applications

Rainwater captured from the roof of M&A’s building created a pond inhabited by “invisible creatures” — a unique and subtly responsive submerged system of jets that responded to the motions and gestures of visitors. A hyperboloid-shaped bamboo foot bridge spanned the aquatic habitat.

Collaboration with Oliver Hess, bridge by workshopLEVITAS