Jimmie Carole Fife, I See the Future, 2010
Phyllis Fife, Mvskoke Fusion, 2022
Carolyn Pallet, Revival Takes Root, 2016
From L to R: I See the Future, Jimmie Carole Fife; Mvskoke Fusion, Phyllis Fife; Revival Takes Root, Carolyn Pallett

Heritage & Legacies

The vibrant art in “Heritage & Legacies,” is a marked contrast to many depictions of Native Americans as forlorn and forgotten or romanticized people of the past. Although the subject matter refers to history and traditions of peoples Indigenous to the Southeast, the styles of many of the works appear contemporary if not futuristic. 

These works are not a modern twist on old artifacts, but integrate past, present and future. Indigenous cultures of the Southeast, which go back more than 10,000 years, have traditionally viewed time as cyclical and not linear. Thus, featured artists relate to their heritage with modern relevance and strive to pass along their heritage to emerging generations. 

Some of the works featured reflect how tribes of the Southeast are unique among Native Americans to the extent to which they both fused and filtered nonNative traditions that have come into their culture by choice or coercion. In recent centuries, Southeastern Indigenous people have had to adapt, relocate, reinvent themselves and even endure cultural genocide. 

Artists featured in this section reflect how their people have maintained or revived endangered cultural and artistic heritage through mentorship and family traditions. In the exhibition, works by an entire family of artists are represented showing traditions passed down through generations with subject matter and styles incorporating past, present and future. 

Other works reflect how material culture and traditions from the homelands extend to preserving sacred ancestral sites such as Ocmulgee in Georgia and Kituwah in North Carolina.

The historical architecture of ancestral homelands in the Southeast still inspire modern construction on modern tribal lands in Oklahoma. However, emerging generations are already interpreting and maintaining their Southeastern cultural legacies in an increasingly global context.

Highlights

Jimmie Carole Fife, I See the Future, 2010
I See the FutureJimmie Carole Fife

Highlights

Jimmie Carole Fife

Mvskoke Creek

I See the Future, 2010

In Jimmie Carole Fife’s work, I See the Future, a man in Muscogee (Creek) attire of the early 1800s sees a future world through prophetic glasses with images of his tribe’s ancestors behind him. Together, the figure and background represent the legacy of the Mvskoke as people of vision and voice. The subject is based in-part on a portrait of  Yoholo Micco (Upper Creek Chief of Eufaula) made in Washington City after he protested the 1825 Treaty of Indian Springs. It was an illegal land deal made between the U.S. and Muscogee leaders under Tustunnugee Hutke (Lower Creek Chief William McIntosh). Yoholo’s resistance to selling tribal land stands in contrast with his “farewell address” to the Alabama Legislature in Tuscaloosa before Creek removals to Indian Territory in 1836. The tone of the written account of the speech is so conciliatory that its accuracy and authenticity have been questioned. Despite the loss of homelands, Yoholo Micco foresaw a bright future for his people. Its seems fitting that a trail in Eufaula, Alabama was named for him and that the artist’s brother, Bill Fife, was a recent Principal Chief of the Muscogee Nation in Oklahoma.

Phyllis Fife

Mvskoke

Mvskoke Fusion, 2022

Phyllis Fife’s powerful painting asserts that the aesthetics of Mvskoke culture and art are a fusion of many elements from her people’s ancestral past in the Southeast. They are unified in a flowing, forward motion that conveys the unbroken spirit of Muscogee “Creek” languages, ceremonies, customs and sacred places carried forth in the present.

Phyllis Fife, Mvskoke Fusion, 2022
Mvskoke FusionPhyllis Fife
Carolyn Pallet, Revival Takes Root, 2016
Revival Takes RootCarolyn Pallet

Carolyn Pallett

Cherokee Nation of Oklahoma

Revival Takes Root, 2016

This is one of Carolyn Pallett’s award-winning modern bandoliers, beaded pouches worn by Southeast Woodland Native American men in the decades before their peoples were uprooted in the 1820s and 30s. After their relocation to Indian Territory, now Oklahoma, beadwork severed from its homeland context, was carried-on by small groups remaining in the Southeast, most of which were Choctaw or Seminole. Cherokee beadwork was almost a lost tradition until the 1980s, when Martha Berry revived the art form. Berry mentored others including Pallett, who had learned to sew from her mother and grandmother. This revival of traditional bandolier patterns by Muscogee Creek and Cherokee people inspired the organic motifs in this modern work. Now that it has taken root, this revived artform continues to grow and flourish.