Race, Ethnicity and My Face


As a mixed-blood woman of Cherokee, Lenape, Seneca, and German descent, I came of age understanding that I'm not totally a Native person, and I’m not a white person. I'm a border woman dwelling between the boundaries. 

I have light skin, light enough that some people think I’m white. My dad, a Native man, and my mother, a white woman, had me when they were teenagers in 1953. 

I grew up in Compton, California. The family next door was Bolivian and they loved me like a daughter. My best friend was Japanese and Mexican. Still, when I was 10 years-old, my dad sat me down to have “the talk” with me about race. He told me about how to navigate the streets, about how to stay safe. He also wanted to make sure I understood that in order to be accepted by certain white people it mattered who your friends were. 

By that point, however, I already knew. 

I had discovered that when I went to the houses of my white friends after school I needed to be aware of how I was holding myself at all times. I learned to stay alert and watch for clues: sometimes there might be an older brother who pulled his eyes in an upward slant and said something mean about Chinese people; or a father that casually spouted racial slurs at people of color, and made fun of Indians. When this happened, I knew I had to make an excuse to go home and I’d never go back. Sometimes I’d make up stories when asked about my darker skinned, mixed-race family in order to protect them. But if the mothers of my white friends didn’t feel satisfied with my answers, I wouldn’t be allowed to stay at their houses for long. 

Things would be different when I went over to the houses of my friends of color. Their mothers would always take me in without hesitation. And if there was a grandmother at home who spoke English with an accent, or didn’t speak English at all I could usually be certain they wouldn’t ask me if my daddy had a job. In their homes, I felt safe. 

As a child I had things all figured out. But when I reached my late teens and early twenties it became more complicated. 

Hanging out with my friends of color meant witnessing them get treated poorly and face multiple instances of discrimination by white people. Being out with my white friends, however, meant that we could expect to be given preferential treatment no matter where we went. When I began dating and went out with Native boys or other boys of color in my community, I was considered “white trash” by many white Americans. I could even expect to have a white man point to my date and ask me what I thought I was doing being with the likes of someone like him. But when I dated the first guy that was white, I was allowed to be white by association and had access to the privileges of white America because of that. In stores or restaurants, we were always served or seated first, before people of color. 

When we acted up or got into mischief in public, it was laughed off as opposed to being taken seriously with the assumption that we were up to no good like it is for teens of color. My early adulthood was charged with decisions to make: Should I mention my Native identity? Should I let white people I don’t know well and may not ever want to become close friends with, assume I’m white? Keep my racial identity private from employers and others who would discriminate against me if they knew I’m a mixed-blood Native American woman.With dark skinned family members and dark skin friends, and with strong ties to Native America and firmly rooted within a community of color. 

When people look at my face, what they also can not see is that my mother, who was born white, is a member of a mixed-race family, with white and Black and Mexican family members. 

At age twenty-three, I found myself employed full-time in a company that was predominantly white. So white, that my intuition told me if my boss had known I was anything other than white, I would have probably not been hired. My white co-workers seemed to only accept people of color who adhered to white social norms and didn’t challenge their biases. They could not accept how vastly different the culture values, thought processes, and social norms of ethnic people were from white America. 

I wear the face of a woman with light skin privilege. While keenly aware of the advantage it has given me over my friends and family who are not able to pass, I always make the decision to disclose my Native identity. I never try to pass. Passing would mean turning my back on my Native family, my family and friends of color, and my community and my identity. 

Following my experiences working in a predominantly-white company at 23, I began to make sure that at each interview I had for a new job, I’d take a “racial temperature check” to ensure that people of color who looked like my friends and family were always welcomed. And I’d proudly list all the positions I’ve held within American Indian and Asian-American organizations on my resume. 

Later on in my life, I married a man who was white and we had a daughter together, before adopting two Korean children. Two of our kids had apparent ethnic features and their black hair and darker skin often caused people to mistakenly assume they were Native American. I knew that blending into white society would never be an option for them. So it was always a toss on whether they would be able to ride on the wings of my white privilege, or be subject to the racism that ruled America when they were out on their own. 

In turn, I did my best to connect them with their Korean roots by becoming deeply involved with the Korean community in our town. For more than four decades my heart and my soul was shaped by my connection to the Korean community for which I am grateful to be a part of. 

Now, in my 70s, my gray hair and wrinkled face reveal the many years I have lived. Yet what has not changed is what most cannot see: I am a border woman. Borders are set up to define or to separate, but I am neither part white, nor part Native. My blood is a mix between two worlds, Native and white merging together to form a third: a mixed-blood dwelling between the boundaries. 

First published in a slightly different form in Santa Clara Review, vol 108 / issue 01. 

Copyright © Terra Trevor. All rights reserved. 

Books by Terra Trevor, and anthologies containing her work

University of Nebraska Press

We Who Walk the Seven Ways is Terra Trevor’s memoir about seeking healing and finding belonging. After she endured a difficult loss, a circle of Native women elders embraced and guided Trevor (mixed-blood Cherokee, Lenape, Seneca, and German) through the seven cycles of life in Indigenous ways. Over three decades, these women lifted her from grief, instructed her in living, and showed her how to age from youth into beauty. 

With tender honesty, Trevor explores how every ending is always a beginning. Her reflections on the deep power of women’s friendship, losing a child, reconciling complicated roots, and finding richness in every stage of life show that being an American Indian with a complex lineage is not about being part something, but about being part of something. 

 
KAAN First Edition; Hardcover out of print. New eBook Edition

"Terra Trevor’s Pushing up the Sky is a revelation of the struggles and triumphs packed into the hyphens between Korean and Native American and American. From her, we learn that adoption can best be mutual, that the adoptive parent needs acculturation in the child’s ways. With unflinching honesty and unfailing love, Trevor details the risks and heartaches of taking in, the bittersweetness of letting go, and the everlasting bonds that grow between them all. With ‘Pushing up the Sky’, the ‘literature of adoption’ comes of age as literature, worthy of an honored place in the human story." 
—Robert Bensen, editor of Children of the Dragonfly: Native American Voices on Child Custody and Education

University of Nebraska Press

Unpapered, edited by Diane Glancy and Linda Rodriguez, is a collection of personal narratives by Indigenous writers exploring the meaning and limits of Native American identity beyond its legal margins. 

University of New Mexico Press 
 
Tending the Fire by photographer Christopher Felver with an introduction by Linda Hogan and a foreword by Simon J. Ortiz, celebrates the poets and writers who represent the wide range of Native American voices in literature today. In these commanding portraits, Felver’s distinctive visual signature and unobtrusive presence capture each artist’s strength, integrity, and character. Accompanying each portrait is a handwritten poem or prose piece that helps reveal the origin of the poet’s language and legends.

The University of Arizona Press 

Children of the Dragonfly, edited by Robert Bensenis the first anthology to document this struggle for cultural survival on both sides of the U.S.-Canadian border. Invoking the dragonfly spirit of Zuni legend who helps children restore a way of life that has been taken from them, the anthology explores the breadth of the conflict about Native childhood. Included are works of Joy Harjo, Sherman Alexie, Eric Gansworth, Terra Trevor and others. They take readers from the boarding school movement of the 1870s to the Sixties Scoop in Canada and the Indian Child Welfare Act of 1978 in the United States. They also spotlight the tragic consequences of racist practices such as the suppression of Indian identity in government schools and the campaign against Indian childbearing.


University of Oklahoma Press 

Native literature, composed of western literary tradition is packed into the hyphens of the oral tradition. It is termed a “renaissance” but contemporary Native writing is both something old emerging in new forms and something that has never been asleep. The two-hundred-year-old myth of the vanishing American Indian still holds some credence in the American Southeast, the region from which tens of thousands of Indians were relocated after passage of the Indian Removal Act in 1830. Yet, a significant Indian population remained behind after those massive relocations. This is the first anthology to focus on the literary work of Native Americans with ancestry to “people who stayed” in southeastern states after 1830 and represents every state and every genre. Edited By Geary Hobson, Janet McAdams and Kathryn Walkiewicz.

A Raven Chronicles Anthology

Take a Stand: Art Against Hate, contains poems, stories and images from 117 writers, 53 artists, divided into five fluid and intersecting sections: Legacies, We Are Here, Why?, Evidence, and Resistance. We begin with Legacies because the current increased climate of hate in this country didn’t begin with the 2016 election, and to find its roots we must look to U.S. history.

Fulcrum Publishing

Writers from around the world were asked to consider the devastating nature of conflict-inner wars, outer wars, public battles, and personal losses. Their answers, in the form of poignant poetry and essays, examine war in all its permutations, from Ireland to Iraq and everywhere in between, this moving anthology encompasses a wide range of voices. Edited by MariJo Moore.


Johns Hopkins University Press 

A Guide for Families, Friends and Caregivers

INDIGENOUS THOUGHTS CONCERNING THE UNIVERSE
Renegade Planets Publishing

"All the tribes say the universe is just the product of mind... It fits perfectly with the quantum. Indians believe the universe is mind, but they explore the spiritual end of it, not the physical end." —Vine DeLoria Jr.

Gunpowder Press

California Poets at 60 and Beyond Edited by Diana Raab & Chryss Yost 

Women in a Golden State includes poems and micro-essays from across California, ranging from awarded Poets Laureate to writers who are finding new forms of expression. The collection examines the mythology and reality of being a woman of a certain age, especially in youth-obsessed California, inviting its readers to reconsider aging not as an end, but as an ongoing journey—one filled with beauty, strength, and boundless possibilities.

River, Blood, And Corn Literary Journal: A Community of Voices


As a writer with more than four decades of writing and publishing behind me, I spend a great deal of time working to make sure the diversity in writing I find important will continue. In 2010 River, Blood, And Corn Literary Journal was established and I began collaborating with writers, storytellers and artists, promoting community and strengthening cultures with storytelling, poetry and prose. Our starting point, and our goal, is to honor and continue the work of Lee Francis III, and Geary Hobson, founders of Wordcraft Circle of Native Writers and Storytellers, working to ensure the voices of Native writers and storytellers past, present and future, are heard throughout the world. A variety of writers, backgrounds, communities and viewpoints are presented. Included in our themes are the Elders whose lives informed, instructed, shaped and changed ours. 
 
While our primary focus is Indigenous writers, we have woven writers and artists from a variety of ethnicities and communities into our pages. Perhaps people of many ethnicities, including recent immigrants from throughout the Americas as well as other parts of the world will find something in this collection that will speak to them with respect to issues of race, identity, culture, community, and representation. 
 
Follow along with us. 
 
Terra Trevor, Founding Editor 

An Afternoon with Wilma Mankiller

This morning my thoughts center on a day back in 2006, when I was among those who gathered with Wilma Mankiller, former principal chief of the Cherokee Nation. We had lunch together followed by an afternoon of  conversation, outside on the grass, with the trees and birds, gathered with Native people from my community, and I was comforted with our common Indigenous bond, our shared essence.

I've been thinking about how lucky I am. When I least expect it I've had teachers, always showing up at the right time, exactly when I need them. 
For every success we have I believe it's important to remember how we got there. I wouldn’t have been able to accomplish all that I have without the steadfast guidance from good people who gave their time to me, mentoring, shepherding and guiding me along, and I am deeply thankful.

 

"When people cease waiting for great leaders or prophets to solve entrenched problems and look, instead, within themselves, trusting their own thinking, believing in their own power, and to their families and communities for solutions, change will follow. In traditional indigenous communities, there is an understanding that our lives play themselves out within a set of reciprocal relationships. If each human being in the world could fully understand that we all are interdependent and responsible for one another, it would save the world.—Wilma Mankiller




From: all-employees-bounces@lists.cherokee.org 
[mailto:all-employees-bounces@lists.cherokee.org] On Behalf Of Chad Smith
Sent: Tuesday, April 06, 2010 11:13 AM
To: All Employees (mailing list)
Subject: Wilma Mankiller

Dear Friends,
Our personal and national hearts are heavy with sorrow and sadness with the passing this morning of Wilma Mankiller, our former Principal Chief. We feel overwhelmed and lost when we realize she has left us but we should reflect on what legacy she leaves us. We are better people and a stronger tribal nation because her example of Cherokee leadership, statesmanship, humility, grace, determination and decisiveness. When we become disheartened, we will be inspired by remembering how Wilma proceeded undaunted through so many trials and tribulations. Years ago, she and her husband Charlie Soap showed the world what Cherokee people can do when given the chance, when they organized the self-help water line in the Bell community She said Cherokees in that community learned that it was their choice, their lives, their community and their future. Her gift to us is the lesson that our lives and future are for us to decide. We can carry on that Cherokee legacy by teaching our children that lesson.

Wilma asked that any gifts in her honor be made as donations to One Fire Development Corporation, a non-profit dedicated to advancing Native American communities though economic development, and to valuing the wisdom that exists within each of the diverse tribal communities around the world. Tax deductible donations can be made at www.wilmamankiller.com as well as www.onefiredevelopment.org.

Tomol Trek: California's Indigenous Peoples


Photo courtesy of author

Our classes are held outdoors under a bead-blue California sky. We work on a patch of green grass, an occasional hawk sweeping over with light shining through her rust red tail. Back in 1997, when there was money available to be used for education, the Santa Barbara County American Indian Education Project began the series “Tomol Trek.”

After much hard work, the project put together an academy with federal (Title V) funding. Each year the academy had a different focus. In 1997 the year’s final outcome was aimed at producing a modern-day recreation of a traditional Chumash tomol. The children and teenagers attending ranged from elementary through high school. Many were Chumash, but the kids represented a variety of tribes, all with a common bond: every one of these kid’s lives in an area that made up the traditional Chumash homeland. We all hold the culture, traditions, and history of the Chumash people in our hands and in our hearts.

The tomol, a type of plank canoe, is unique to the Chumash. Tomols were used for trips between the islands and Chumash settlements. Originally they were about thirty feet long, and could hold four thousand pounds. Usually they carried six people but could hold up to twelve.

Our modern-day tomol was built by the children under the guidance of Peter Howorth, in his backyard tomol building workshop. There is a perfect balance between master and apprentice as the children sand pieces of the vessel throughout construction. A dozen hands move slowly across the handle, moving towards the paddle end of an oar. Small hands, young hands, skin so smooth and maroon, peach-colored hands, muted brown, every child with a tribal memory circling her or his heart.

A kind of palpable energy surrounds the tomol project. People seem to want to be a part of what’s going on. American Indian students from Cal Poly and UCLA arrive to volunteer support. Before I know it, I’m one of those helping out. The more I sand, the closer I am to the tomol. Sometimes I stop in the middle of the day and am silent in respect to the ancient peoples who left the witness of their lives, their visions, the strength of their faith for us to ponder.

My son is one of those kids helping out. He knows about the pleasure found in working hard, and seeing the good results of that work. As he sands the pieces of wood I watch him find his relationship with the plank canoe he is helping to create.

Our real goal is not only the finished tomol; it is also the season long process of working together. Still, everyone eagerly waits the day the vessel will be launched. When the maiden voyage takes place, within the harbor, there is only a small gathering of people. Before the “official” crewmembers begin their training we get to know the tomol. Her name is Alolkoy—dolphin in Chumash. She is twenty-five feet long, and made of redwood. Conditions in the harbor are ideal. The sun is warm; a soft, steady sea breeze blows at our backs. We fill sandbags for ballast, and then one at a time, we each have a turn sitting inside the tomol.

Photo courtesy of author

My son finding his relationship with the Tomol he helped build.


Alolkoy is much lighter than I ever imagined. Slowly I become one with her. I only have to “think” of shifting my weight left, and she responds almost before I even move. By the end of the day I understand we should not take photographs while we are with her, not yet anyway. First I watch someone drop a camera into the ocean, and then the back of my camera opens, exposing my film.

Remembrance weighs heavy on my mind, as it does for most Native people seeking to affirm cultural identity in a high-tech world. There is a comfort in being with those who understand. Our kids do not have to trade in their Indian values for education; the project carried ancient memory and cultural knowledge into their lives today.

First Published in the winter 1997 issue of News from Native Californiaa quarterly magazine devoted to California's Indian peoples. 

Postscript
A number of the children who participated in the Tomol backyard building workshop have grown up to become crewmembers making the crossings from the mainland to Limuw - Santa Cruz Island. 

Copyright © Terra Trevor. All rights reserved. 

Autumn in Dixon, New Mexico





The land and the places where I have lived shape me. The land serves as elder, and friend. I walk in its grace, feel its solace and hear the stories it tells me. For many years my long-loved friend lived in Dixon, New Mexico. His door was always open for me. 

 




My friend has finished his walk on earth and has crossed over to the other side. From flesh and blood to souls and songs. 

I feel the wind spilling through the red and yellow leaves, and the fine dust from this red earth on my skin, as I walk the good land of the home I carry within.

 

Photo Credit: Randy, Santa Fe Daily Photos. 

Sunrise

The Cherokee Word for Water

I grew up within in a large extended Cherokee, Lenape, Seneca family, with lots of cousins, grandparents and great-grandparents, with roots in Oklahoma. Great-grandma could fix a meal to feed fifteen of us and I loved to sit beside her coal black stove, listening to her stories. I’m the granddaughter of sharecroppers, and I was born to a teenage mother and father in 1953. When I was young, we were poor—but we had water. 

Having water meant we always had plenty to eat. We had fresh running water to rinse, soak and simmer pots of pinto beans and black-eyed peas. In the summer when rainfall was not plentiful, since the water table was usually high, we could turn the hose on to soak the apple and peach tree and their fruit fed us in return.

There was water for pie baking, and when the sun seared overhead water to mix with Kool-Aid to freeze into popsicles. Home canned goods must be put up in hot, sterilized jars and we had water for boiling before we used them. We had water to wash our hands before pressing a tortilla on a hot skillet, and it was clean and safe to drink.

 

When no one else believed in them, they believed in each other. 


Set in the early 1980s, the story of The Cherokee Word for Water begins in a small town in rural Oklahoma where many houses lack running water. The film tells the story of a tribal community joining together to build a waterline by using traditional Native values of reciprocity and interdependence and is told from the perspective of Wilma Mankiller and Charlie Soap, who join forces to battle opposition and build a 16-mile waterline system using a community of volunteers. In the process, they inspire the townspeople to trust each other, to trust their way of thinking, and to spark a reawakening of the universal indigenous values of reciprocity and interconnectedness. This project also inspired a self-help movement in Indian Country that continues to this day.


The Cherokee Word for Water” is dedicated to Wilma Mankiller’s vision, compassion and incredible grace, and tells the story of the work that led her to become the Chief of the Cherokee Nation. The film was funded through the Wilma Mankiller Foundation to continue her legacy of social justice and community development in Indian Country.