The conversation with DY Begay unfolds against the backdrop of her rich Navajo heritage, as she shares insights into her identity as a member of the Tótshoníí (Big Water) and Tachinii’ (Red Running into Earth) clans. Her narrative is steeped in familial connections, particularly highlighting her lineage as a fifth-generation weaver, which illuminates the significance of tradition in her artistic practice. Begay recounts her formative years, growing up amidst a community of skilled female weavers, where she learned not just the technical aspects of weaving but also the cultural narratives that accompany each thread. The episode reflects on how her tapestries serve as a canvas for her identity, embodying the natural beauty of the Navajo landscape and the profound connections she has to the earth. In her work, she infuses elements of innovation and contemporary design, challenging conventional aesthetics while remaining firmly grounded in her cultural roots.

The dialogue also traverses the theme of influence, as DY articulates the pivotal roles played by past generations in shaping her artistic journey. She affectionately speaks of her great-great-grandmother, whose legacy of weaving has been a guiding light in her life, ensuring that the art form remains vibrant and relevant. Additionally, she acknowledges her father's influence, who encouraged her to embrace education and explore the world beyond their community. This theme of intergenerational wisdom underscores the importance of storytelling within Indigenous cultures, as each narrative serves to preserve knowledge and foster connections across time. As the episode progresses, listeners are invited to consider the broader implications of DY's work, which seeks to bridge tradition and modernity, offering a new lens through which to appreciate Indigenous artistry.

As the episode draws to a close, DY discusses her future endeavors, including her upcoming exhibition at the National Museum of the American Indian. This exhibition not only showcases her remarkable tapestries but also encapsulates her journey as an artist who remains committed to preserving her cultural heritage while navigating the complexities of contemporary art. DY's approach to weaving is presented as a vital expression of identity, one that invites audiences to engage with the stories and meanings woven into each piece. The conversation serves as a poignant reminder of the significance of supporting Indigenous artists and the importance of sustaining the narratives that enrich our cultural landscape. Through her work, DY Begay stands as a testament to the resilience of Indigenous art forms and the enduring power of cultural expression.

Links referenced in this episode:

• navajo-indian.com
• elevenwarriorarts.com

Hello and welcome again to another episode of Five Plane Questions, a podcast that proposes five questions to Indigenous artists, creators, musicians, writers, movers and shakers and culture bears, people in the community that are doing great things for their communities.

I'm Joe Williams, your host for this conversation.

My goal is to showcase these amazing people in our Indigenous communities from around the region and country.

I want to introduce you to DY Begay.

DY is a fifth generation weaver.

Her unique weaving skills have been handed down through the weavers of her family.

She grew up surrounded by female weavers where she was exposed to herding and sharing sheep carting and spinning wool, harvesting plants for dyeing, and learning to weave in the traditional Navajo fashion.

Dy's tapestries reflect her family's weaving tradition and the unique vegetation she has known since her childhood.

This spiritual connection to the plants yields natural colors that are transformed into evocative land formations on her loom.

Many of DIY's interpretation landscape tapestries reflect her Navajo identity and the place of her birth.

These weavings encompass her perception of the natural beauty of the land and the descriptive colors of the desert where DIY grew up in the high country of the Navajo reservation.

DIY's current work combines her mastery of traditional weaving with a concentration on incorporating diverse design concepts.

This sentiment is reflected in her imagery and the use of non reservation color combinations uncharacteristic of most Navajo weavers and conveys her aspiration to discover new ideas and expressions.

Dy's ultimate goal is to capture the natural beauty of Mother Earth and translate her personal vision into the warp and weft of her weavings.

DIY has exhibited her weavings in major museums and galleries including the National Museum of the American Indian, the the Smithsonian Institution, the Museum of Northern Arizona, the Minneapolis Institute of Art, the Peabody Essex Museum, the C.N.

gorman Museum, the Wheelwright Museum of the American Indian, the Kennedy Museum of Art, the Mesa Arts, and the National Museum of Scotland.

Her tapestries have been collected by major museums and published internationally and they have been acquired by both private collectors and major institutions in North America and Europe.

Her many credits include co curating exhibits in Athens, Ohio, in New York and in Santa Fe.

Her early schooling was at the boarding schools on the Navajo reservation, St.

Michael's High School, and later Arizona State University, where she received her bachelor's degree in Fine arts and art education.

With that said, let's start the sixth season of the podcast with DY Begay.

D Y Begay thank you so much for joining me on five Plane Questions.

It's really Great to have you here.

Yes, I'm happy to be here joining.

You and talking to you.

Oh, it's such an honor.

It's such an honor.

Would you be able to introduce yourself, tell us a little bit about yourself, your background, where you're from and what.

It is that you do?

Yes, I will introduce myself.

The way we introduce ourselves as.

Do you want me to translate that?

Please, please, please.

Okay, so what I just, this is.

Just, you know, a very appropriate in the way we introduce ourselves is by our clan.

And what I said was I'm born.

To the Tutsukni, which translates into big water, and born for the Tutchi clan.

Which translates into red running into earth.

And my maternal grandfather is of the Tsanchi Kenneth clan, which means among the cliff dwellers.

And my paternal grandfather is the Ashin, the Salt people.

And my clan is my identity and acknowledges that I'm a Nastan, mean Earth people.

Earth surf or the earth surface being.

You've been creating for, for quite some time now.

Could you share with, with a listener the, the type of work that you do and where, where did that begin?

Where.

What's the genesis of, of your work?

Well, I'm originally.

From Arizona.

Salon Arizona is my community and that's.

Where I was raised and, you know, brought up.

So what I do as an artist is I always attribute this information because weaving just didn't happen.

I come from a long lineage of.

Weavers and I'm a fifth generation to Sudni Weaver, which is my clan from Cetlani, which is a community up in the northeastern area of the Nava reservation.

And I can say that my heritage.

And my roots are deeply woven into.

My identity and my work.

And I am blessed to have come.

Into the art of weaving through the matrilineal Tutsuani woman.

And I always say that I'm a fifth generation weaver and Celani is my home.

It is still my home today, but I also live in Santa Fe, New Mexico, so naturally I drift back and forth throughout the year.

You can ask me questions because sometimes I just forget.

No worries.

No worries.

No.

That's great.

Great.

That's great.

So we, we often talk about our influences in, on, on this program.

It's one of the questions throughout our lives were, were influenced in different ways early on.

We have those influences and those may change over time and what's influencing us today.

So would you be able to talk.

About your, your biggest influences on what's, what's or who is influencing you today?

Yeah, that's not an easy Question.

But I sort of go back to my early, you know, life.

And what I always want to attribute to, you know, my influences as a weaver is the most notable person would be Isantwith Sohni, which is my great.

Great, great grandmother who survived and has.

Maintained the place where we live today.

And she was a weaver.

And so the weaving tradition has been.

Passed on for generations.

Like I said, I'm a fifth generation weaver.

So in that sense, I feel honored that she has carried on that tradition and we still carry that tradition today.

So the second person I thought of was my late father, Ki Yazi Begay, who naturally instill our traditions, you know, our language.

So, you know, I'm bilingual.

Navajo is my first language.

And he also encouraged us to get.

An education and also to explore, you know, the outside world.

And, you know, he had always, you know, encouraged us to learn, you know, outside our home, outside our Hokan, because.

That'S just naturally what happens.

You know, you go out in the world, you go to school, and you have to expose yourself to, you know, all those changes.

And he was a very encouraging person.

You know, he didn't speak English, so, you know, he said, you know, learn what you can, explore, ask questions.

So he's always been a great, a great person.

He's always encouraged us, the children.

And the third person that I think.

Of is she's non native.

Her name is Helena Hern Mark and she's Swedish and a weaver of the Swedish weaving tradition.

I met her when I was living.

In New Jersey, and she has, you know, deeply influenced me too.

And I have always admired her work as a master weaver of the Swedish tradition.

She has inspired me, encouraged me to.

Continue weaving and to express my ideas.

And I always remember she once told me that I had a great sense of design and colors.

And that statement remains with me.

And it's a reminder.

So sometimes when I don't have an idea what I'm doing with my colors or design, I think of her, you know, I think of that statement, you know, you have a great sense of design and colors.

Express that.

So I always.

That's a good reminder for me.

Yeah.

A lot of these people, you know, have impacted, you know, my life and my creative journey.

And I remember coming to visit with my father and they'd be around the tables and they'd have all their patterns laid out and they would all speak.

In Dakota, they, even my father and all of their generation, they were all first language speakers.

They didn't learn English till later.

And so I have these memories of family just joking and laughing and just having these conversations in Dakota, just working, you know, just.

Just having family time working and creating these beautiful.

These beautiful quilts.

Do.

Do you have memories, early memories of family sitting around together, talking or creating together?

Does something come to mind thinking back?

Yes.

I mean, it happens all the time.

I was just home last week and, you know, getting together with my sisters.

I have two sisters that are, you know, weavers too.

And we still have sheep, which we raise.

You know, a lot of our, you.

Know, weaving starts with the sheep that.

We have today and maintaining the sheep and, you know, shearing and, you know, processing the fleas.

And actually that's what we've been doing.

So just getting together with my sister and chasing the sheep and trying to tie them down so we can prepare them for sharing.

You know, there's always laughter.

There's always, you know, conversation about, you know, the sheep, what are they going.

To eat and how they doing and.

What fleece and how many bags of.

Fleece will we be able to get.

So, you know, and it still exists today.

And with my two sisters, which, you know, we get together, actually one of them is traveling from Tulsa today to join us for the herd Indian market show.

And I know that, you know, conversation.

Will go on, you know, throughout the.

Week when we're together.

And it's always about, you know, what.

How do you do this?

Or, you know, who did you learn from or how should I do this?

You know, questions about, you know, weaving.

And, you know, I've been mentoring my sisters and they've really have come to.

A great understanding and they're committed to.

You know, carrying on this weaving tradition.

Which is great because we have the sixth generation coming up.

And a lot of some of my.

Nieces and even nephews have tried weaving.

They have experimented and they've learned the technique.

But later on, hopefully, they will be weavers too.

Yes.

I remember my grandmother, when we used to go visit her, she would be.

Sitting at the loom, and there was always a loom in progress in my.

Aunt'S house, my grandmother's house, or my mother's house.

It was probably the most important equipment in the house.

And that was great.

We had the exposure.

I personally had a lot of exposure.

Growing up seeing the woman weaving.

It could also be sharing, herding the.

Sheep, cleaning the wool, washing the wool.

Spinning, carding, sometimes dying.

So, you know, it's.

It's a, you know, process that never ceases.

You know, you're hurting sheep, you got to feed them, you got to take them out.

So I naturally was very fortunate to have that exposure.

And, you know, that's what, you know.

When my sisters ask questions, I go.

Back and, you know, try to remember the information.

But it also is an experience that I've been going through, you know, the rest, you know, for the good.

Better part of my life, too.

Yes.

Conversation about weaving and might not necessarily.

Just be about weaving, but, you know, we talk about, you know, tell stories about our experience, my travel, who I've met, what we.

What artists, and what are my influences.

What have I learned?

So there's always information.

Then we always go back and say.

Well, mom used to say, you know, mom used to say this.

Dad told us not to do this.

Yeah, it's.

It's.

I think it's a, you know, it's.

A learning process because I get to.

Hear my sisters with their information and their questions and.

Or even other weavers, you know, sometimes we get together and talk about weaving.

You know, techniques, process.

So your.

Your journey through.

Through this career, so to speak.

You know, how.

How has that developed for you?

You know, you.

I believe you went to.

It was at the University of Arizona.

You received a teaching degree, Arizona State University.

Sorry.

Sorry.

Correction.

So my education actually started with boarding school.

So I'm a product of the boarding school era.

And I started school at Chinley.

Chinley boarding School, I think it was.

I was about 6 years old, and boarding school experience is a heavy and a complex subject.

One, you know, it's one of those things, you know, it's a deal.

They were challenging and, you know, and, you know, the experience oftentimes was cruel cruelty.

But, you know, those experiences has also.

Shaped me my determination and the path.

Forward, you know, has really opened my.

Eyes, and it has, you know, given me some.

It has given me an ability to, you know, really go beyond, you know, what I had experienced.

And yes, you know, starting school at.

Age 6 when you only knew one.

Language, your natural language, and then being indoctrinated and in a very, you know, cruel way that stop speaking avo.

You learn English.

And there was no transition.

There was no, you know.

You know, it wasn't like, you know.

A nice transition trying to learn English because we were punished if we were.

You know, speaking Navajo.

But you know, that, you know, that.

Gave me a lot of determination that.

I wanted to, you know, you know, become, you know, comfortable in, you know.

In both your lifestyle and the language.

And I know a lot of, you know, students I've gone to school with through the board in school, you know, have been, you know, affected by, you know, the way, you know, the language.

Was taught or the way the classes.

You know, were taught.

So, yeah, that's, you know, you know, the early part of my, you know, education.

But I said, you know, I've done that.

I've had experiences, but I, you know.

And it gave me a lot of.

Determination to move forward.

I did go to college, and I've.

You know, graduated from Arizona State University.

But before my first year of college, I actually, you know, left home because I wanted to see what was outside of Chinle or at Celani.

I wanted to explore what was.

What was beyond those Triska Mountains, the mountain range that I'm so used to seeing.

And I went to Rocky Mountain College in Billings, Montana, which was, you know.

An eye opener, too, because you had.

To learn to, you know, independency.

Mom and dad weren't there to wake you up, which, you know, you know, growing up with.

Nine siblings, we all had to take care of each other.

But then my siblings weren't around, so.

There was no help with, you know, other things that I needed to do.

And, yeah, independent living was about, you know, going away from home.

And it has taught me to navigate my lifestyle, studying, making decisions on my.

Own about the direction of my studies.

And, you know, it opened my eyes, you know, to what was out there.

So, you know, then I transferred back.

To Arizona State University because I wanted.

To get my teaching certificate in Arizona.

And, you know, the transition was good.

Because, you know, the initial, you know, one year in Montana really taught me some independency.

And at Arizona State University, it was a big school.

I had to learn that.

Rocky Mountain College was a small school.

And I was only in number at Arizona State University, but I pursued and I got involved with a lot of my studies.

And also at that time, in my, I think my junior year, I took a fiber art class, and I'm glad I did because the professor was a young professor who taught us about different.

Weaving culture from, you know, all parts of the world.

And I became very interested in my.

Own weaving, and it really helped me.

Transition back to my weaving, what I've.

Known, what my family did.

And I became very interested, and I started studying about my own, you know, type of Weaving, and that was really good.

So it really sort of got me on the road to what I wanted.

To do later on.

And then I think other things.

It's like museum work, you know, doing a lot of consultation with museum, which helped me to learn about all the different types of weavings from different culture and even about my own.

When I was doing some work at the.

Back then, it was the American Indian Museum in New York.

I've learned about historical material, historical weavings.

And I could never find a name attached to those weaving.

And that's also another project that really got me back to my weaving to learn about some of these historical material.

Where did they come from?

Who made them?

You know, the styles, the colors, the techniques.

So that was very.

That's very good.

And today I continue to work with.

Museums because you never stop learning.

There's always something new, there's always something different.

Yeah.

I definitely want to talk more about your exhibitions and the museums because you have a new one coming up with the National Museum of the American Indian.

Is it in April?

I believe so, yeah.

Yeah.

Sorry, sorry.

Yes.

So I wanted to ask with your exhibitions, when was sort of the.

I don't want to say shift so much, but when.

When did you start exhibiting your work from?

I guess.

Well, I have to edit this here.

I'm getting lost my words.

What.

What stage or what was.

What was the.

The shift for you to.

To really focus in on your work?

And it started to be displayed and exhibited in different institutions and organizations.

Gosh.

After college.

So after we both got out of college and, you know, worked, I taught for a year and a half and we eventually moved back east to be with his family because his mother had.

Multiple sclerosis and he wanted to spend some time with the family.

So we did.

And moving to the east coast was extremely different.

I didn't know anybody.

It was a different world.

It was an eye opener, and I didn't really know what I was going to do.

And, you know, on the east coast.

Because I didn't know anybody, I didn't have any family there.

And I started.

I went into New York City and.

They, you know, did some exploring and.

Went to some museums and I discovered.

The American Indian Museum.

It was still called.

It was called American Indian Museum then.

And that's when I.

The exhibits that they had on some of the floors had quite a few.

Navajo textiles, like cheese blankets and early blankets.

And I became very interested in learning about collections.

And then I got an artist in residency with them, and I started, you know, doing.

I started a lot of research and.

Started talking with curators.

And I've learned a lot about, you.

Know, some of the historical, you know, textiles.

And that even involved techniques and, you know, color analysis and, you know, dating.

And the critical information I didn't find were the names of weavers.

So I think that really helped me determine that, you know, any weaving that.

I will create will.

My name will be attached to it, information will be attached to it, the.

Process, the technique, the designs, you know, how I was inspired and why I was weaving.

So that's when it evolved.

So it was really good because, you know, I had the time and, you know, and I really wanted to learn more about my weaving, which I know how to do.

But I didn't know that, you know, museums collected, you know, Navajo textiles that, you know, that didn't have a name attached to, you know, the weaver's name were not attached.

So that's when it really started.

And then I, you know, set up my workspace with a loom, and my family shipped me yarn or tools from Arizona, and I got back into weaving, and I really focus on my, you know, the technique, you know, and also learning about, you know, dying, the dyeing.

Process, making, you know, using the natural sources.

And it really gave me a lot.

Of information and a lot of, you.

Know, determination to say, this is, you know, what I love and.

And has been in my family, you know, for generations.

And so that's where it all started.

And I don't.

I couldn't tell you when I think I started exhibiting at some of the Native art shows.

And that also was, you know, a really good influence and inspiration, you know, and it helped me what marketing is about and how to present my work.

And how, you know, the process of.

You know, you know, getting into shows and, you know, you know, talking about your work, you know, marketing.

But, you know, and also keeping that weaving tradition alive.

You know, so it's a long story.

And then, you know, it all sort of evolved after that.

You know, doors open and, you know, people came to, you know, purchase my work.

Museums, foundations.

And it was, you know, all my weaving really has a lot of personal information and personal, you know, personal journals.

And, you know, information about the process.

Because I want this information to be.

Be, you know, preserved so other, you know, young weavers will be able to.

You know, find this Information.

If it's helpful to them, you know.

Great, because that was the issue.

I.

The problem I had in the beginning when I started working with museum was.

I didn't have, you know, the basic information about why would they collect it, who collected it and where were they.

Collected, where are the weavers?

So that's.

I.

And I put my information on my, you know, tapestries, which, you know, could.

Be journals, could be dating, it could be the material, it could be, you know, my inspiration.

So all that information are attached to the tapestries that I weave.

As you talk about this, I think about within the museum world how many of the.

The items from the past, you know, they were documented by who the collector was or the family of the collectors, you know, and, and the information on who created the pieces and those details were, Were lost generations ago.

Oftentimes, you know, people, non natives would be on the reservations working and they would buy pieces from people that were, that were living on the res.

Like, you know, my family, like my grandmother was a doll maker and a dentist would purchase items from her.

Well, when he, when he passed the family.

And this is common with, with so many, in so many instances where the families would then donate these items to an institution.

But the name of the, The.

The artist is lost, you know, and I think it's wonderful that in a sense, you know, you're not only documenting yourself in the work that you're creating, but you're, you're leaving a path for those behind you who are learning the process to be able to understand how you did this and the, the inspiration and all of that of how you do this.

Yeah, it's very important.

Especially for, you know, the next generation.

Is, you know, my great, great, great, great grandma, South Tutzoni, preserved that information.

And, you know, it's part of my family tradition to, you know, maintain that, to, you know, pass it on to the next generation, you know, and I.

Think it's extremely important in any medium.

You know, basket making, beadwork, those are all, you know, information that we should continue to pass, you know, on to the next generation.

And with all of those items and what you're doing today, I mean, it's all contemporary work, right?

The work that was created at the time and work that's being created today is work that's of.

Of today.

Right?

It's.

It's always contemporary work.

I do want to move on to the next question about opportunities, but before we do that, what are some of the messaging and the themes that are part of your work?

What Is it that you really want people to know about what you're doing?

Well, I think the retrospective that I.

Have at the National Museum of the American Union today.

A lot of that.

Information, you know, what I'm doing today.

And how did I come up with these, you know, colors, designs, ideas?

You know, you should go see it.

But, you know, it has opened up.

A lot of information.

You know, what I do, you know, and each piece that's on exhibit, there are 48 tapestries on exhibit.

Sublime Light, you know, tapestry, Art of Dybk.

And each tapestry has a journal attached to it from the day I began a piece to the day it comes off the loom.

And a lot of it is personal.

Information, which is, you know, I, you.

Know, didn't put, you know, personal information, and.

But information you'll read is about the weaving itself, that particular weaving, the process.

You know, getting inspired or, you know.

A daily journal, Progress, colors, design.

How did I come up with this?

How did I.

Why did I choose a specific color?

And it's really reflective.

All that information is reflective of place.

Place where I grew up.

Celani.

I mean, literally, I have a home on the reservation in Celane, and literally.

When I wake up in the morning, I go outside.

The presentation of the morning sunrise is there.

It provides a beautiful story.

It provides colors, it provides formations and images.

Those are my great inspiration.

And then at the other end of the day, the sunset provides a whole new idea and inspiration.

The colors are different.

Sometimes they're dramatic.

Sometimes they're soothing.

Sometimes they're beautiful.

Sometimes they're just, you know, one color, and I can't help it, but, you.

Know, to be inspired by that.

So a lot of that information appears in my tapestry.

You know, the colors, the design, and even just the feel of it.

Oftentimes, people will say, oh, that, Mia, your pollen path is very, very soothing.

It's very inspiring.

And a lot of people relate to the sense of idea, presentation of each tapestry.

And.

And I do personally feel it, too.

Yes.

I don't weave if I'm not in a good mood.

But, you know, my practice for weaving is when that's the first thing I do in the morning, because when the.

Sun is coming through the windows where.

My loom is, the colors are vivid, the colors are alive.

They're awake.

And it really, you know, energizes my energy to, you know, lay into colors and, you know, work, because the, you.

Know, the light, the sunrise has brought.

This energy and, you know, through the window.

And that's my daily Practice.

And, you know, with the exhibit, it also, you know, we also have a.

Table that has dye samples, photographs, and video that my son did a lot.

Of the video, did a lot of videographer, you know, work on where we live.

And then he, you know, there's a whole presentation of the landscape and the family, too.

And so the, you know, transition and translation is all there through the videographer.

So you can really see.

And there's a lot that we just couldn't include in the exhibit, too.

It's all there.

So place is very important for me.

And it's the place where I grew up.

It's a place where my great, great.

Great grandmother, you know, lived too.

So it's.

So it's, you know, it's a continuation of, you know, of, you know, carrying on that traditional tradition that my great.

Great grandmother has, you know, left.

And.

And that's my biggest, you know, inspiration.

Talked about her in the beginning about.

She's one of my, you know, mentor and one of my, you know, what's the word?

One of my, you know, influencer or somebody that I look up to, even though she's not here.

But I've heard stories about her and.

You know, I picture her in my mind.

But back then, you know, she did.

Not have all the conveniences that we have today.

And I think about how complicated or how.

What.

What were.

What was the hardship like?

Maybe there was no hardship because she lived a good basic life and her life was about the sheep weaving and.

Her family and the impact the influence that she has had on your life is.

Yes.

Oh, yes.

So in.

In our lives, we have opportunities that present themselves in different forms, in early on, in certain ways, and then later on they present themselves or we make our opportunities later in different ways.

Can you talk about how the opportunities have presented themselves to you?

There probably are a lot of different ideas.

When I first saw that question, how.

Do opportunities present themselves to you?

The first thing that came to my.

Mind was inspirational opportunities.

Happens every day.

Correct.

Like, I talked about the sunrise, you know, the colors, the sunset and sunrise.

You know, just a, you know, observing the landscape around me and, you know.

Especially, you know, out at home in.

Ceylon and, you know, just observing the.

Light in the shadows.

The shadows change their perspective.

Your patterns, the lights, geometric shapes all.

Catch my eye as opportunities.

And even having, you know, access to my family stories, you know, we're always talking about chic.

We're always talking about weaving.

We're always talking about, you know, you know, dy, what else, you know, have.

You, you know, learned from your travels.

And those are opportunities, you know, for me too.

You know, I've traveled a lot and there are great opportunities, you know, that I have collaborated with or, or you know, learn and you know, watch other.

Weavers in native weavers and non native weavers.

Those are great, great opportunities.

And it's, you know, it's, it's, you.

Know, the collaboration we have to do.

That, you know, I can't keep a lot of my weaving teaching and a.

Lot of my weaving techniques to myself.

It's, it was meant for everybody.

It was meant for who is interested and who would like to learn.

And the most important to me is a tradition that we have that has to be preserved.

So opportunities does happen every day.

I just have to stop and say, okay, thank you.

This is an opportunity.

I had a good meal today, so.

Now I can weave or I talk.

To somebody about some technical weaving techniques.

That's an opportunity.

So, and this is an opportunity, having a conversation and, you know, so maybe some people will listen to it or hear about it.

You know, that it's an opportunity for me because it's what I want to share, it's what I've learned and it should be passed on.

Your interpretation of this question is unique.

And I, I, different.

Yeah, no, it's, it's, it's great.

I, I, I love it when someone comes back with this question in a way that hasn't been talked about before.

It's wonderful.

Thank you for that.

Thank you.

Yeah, yeah, yeah.

It's, you know, opportunity.

There's an opportunity every minute or every.

Hour, even if you just, you know, sat down and read a book, that.

That'S an opportunity for me because I'm.

I got a very busy.

Lifestyle.

So I feel, you know, I feel, you know, I'm always thankful that if.

I can sit down for 30 minutes.

And read.

Something that doesn't relate to.

What I'm doing, just a novel, and that's an opportunity.

I consider that an opportunity.

Yeah.

Yeah.

Well, what would you say to the 18 to 22 year old that's listening to this conversation?

I mean, there, there is a lot to say, but what I can say is I actually wrote this down because.

That'S, you know, it's a big subject.

It's a big topic.

To those at this pivotal stage in.

Life, keep building upon your dreams, keep.

Asking questions, be open to exploring new.

Paths, even those you may not have considered before, listen to your elders because they carry knowledge and stories that will guide you and stay connected to Your.

Traditions, your language, and your family.

These are the things that will ground you as you move forward.

Wonderful.

Thank you.

So what's on the horizon for you?

What's coming up next?

Well, one thing.

After working on the exhibit, I'm back to my loom, back to my workspace.

But the retrospect is a blind light.

The tapestry art of Dybk has been a big part of my work project.

In the last, you know, three and a half years.

But, you know, the museum has done.

A great job presenting the exhibit and they have had a lot of wonderful feedbacks.

And it's also an exhibit that will help other people, other weavers, other artists, and having all, you know, the stories and the information that is, you know, that is, you know, added to the exhibit.

It's not like, you know, it's not like a.

I'm not saying that painting is not good, but it's not like a big commercial, you know, exhibit.

But, you know, the exhibit has an.

Attachment with a lot of wonderful ideas.

Stories, you know, from a personal artist.

As a tapestry artist.

And I think the museum has given.

Me a great opportunity to present my work, my tapestries.

But my continuation with museum work will continue, working with other museums, consulting, particularly.

In the textile area.

That will continue.

And then I also, you know, have been involved with different companies, Schumacher, you know, which is a design company that I'm doing some work with them to.

Recreate some of my design for their.

Products, which is, you know, Schumacher, some working with them.

And I'm working with a new young company called Whoosh, and it's H O S H.

And actually I can send.

You some information about that.

And we're working with native artists from different medium, painters, clay people, beadworker, weavers.

And what we're doing is telling story about their work.

They are telling their story about their work, how they buy, how, what inspires them.

And so they present some designs that we can reproduce on clothing, T shirts, sweatshirt.

That's what we're doing now.

And it's been launched now, so it's.

On you on the Internet.

So that's been wonderful because it's really working with an artist on a one on one, and it will help them get their work out there and it.

Will financially help them.

And also the exposure is important because we've been doing some interviews with some.

Of the artists and it's a very.

Personal information and I think that is important.

And so I've been enjoying that.

So I have a little more time to do that.

And so, like I said, I've gotten.

Back to my loom.

So I returned to the loom to.

Work on some weaving projects that have.

Been on hold while I was working on Sublime Light.

So I'm enjoying that.

So.

And everything else.

Like other museum projects, I'm been going back home more often now to spend.

Time with my sisters and my family.

And we're waiting for spring so we can start foraging some plants for dying.

And we're waiting till the weather gets.

Nicer so we can start sharing the sheep.

So there's always something that's exciting.

I will.

I will.

We'll put the links in the show notes of what's going on so our listener can be able to check out all the different things that you're doing.

So we'll make sure that they can access that.

The can ask you one other question.

Sorry, my mind just.

This never happens.

I feel a little, a little scattered this morning.

I don't know why.

Too much information?

No, no, no.

I just.

Yeah, the.

With the, the current exhibition in D.C.

there's also a book that's attached to that as well.

And so we'll, we'll put a link for the, the viewer to check out that book, too.

So it's a beautiful, beautiful book.

Yes.

They did a great job getting the information across.

And some of the writers, Jennifer Dinette, Dale is Dine.

So her perspective is really good.

America Meredith, you know, just wonderful information, you know, contemporary perspective and, you know.

The more traditional perspective.

And I'm just in between everything else.

But it is.

Yeah, it was great.

It was a really a project where I would learn a lot about, you know, building an exhibit from ground one.

And it's funny because people don't realize, you know, how much work an exhibit entails.

But, you know, I'm glad I did that.

I'm glad that, you know, my story is, you know, out in public.

And I'm proud of it that, you know, and I'm honored that the museum has, you know, produced the exhibit.

Well, I look forward to seeing it when I get out there this spring.

So I'm very excited.

Please do, Ashley.

My sisters and I are going to.

Be out there the first weekend in.

April, April 5th and 6th, I think.

There we're going to do some public.

Programming of the process.

So it'd be again, I was like, Saturday and Sunday they have these public programming, I think, on.

I don't know how often they do this, but.

So I've been washing wool.

So we're going to take, you know.

The Material, the source and the loom.

Just sort of like a.

Because they would like to present that.

To the public, that this is how.

Where it starts, and this is what happens, and this is what the loom looks like.

So it's like a demonstration process.

So my sisters, the two sisters that are weaving, are going to be out.

There with me to do the presentation.

Of the demonstration process.

Okay.

I think I've had some conversations with some of the folks out there, and I think we wanted to coordinate the release of this episode with some of your public programming, so.

Oh, great.

Yeah.

This.

This podcast is independent of.

Of their museum, but since.

Since this is happening and I really want to be able to share your story at a right point, I think that's where the April was.

Was in the back of my mind.

So.

Yeah.

Great.

Wonderful.

Yeah.

Yeah.

Last question.

It's our.

It's our fun.

Oh, actually, before I jump into that, is, is there a way our listener can get in touch with you or check out your work?

What's the best way for them to do that?

I think the best way would be just the email or through my website.

The website?

Yeah.

Www.navajoindian.com.

i am on social media, too, but I'm not very active, you know, because I'm so big.

Too busy.

But, you know, there's a lot of.

Information out there on social media.

You know, through the museum, too.

Eventually, you know, with.

With the whole social media changing, it's.

Just like, you know, part I.

I'm not, like, enthused about, you know, doing that right now, but I think the website would be probably the most useful way to get a hold of me.

Okay.

I'll put a link to your website for them.

Yeah.

To check it out.

So.

All right.

Yeah.

After all the nonsense happening we've pulled off Twitter, we're not having anything to do with them anymore, so not worth it.

Not worth it at all.

I know.

Well, dy, thank you so much for being on the program and sharing your story.

I've really been looking forward to this, and so I'm really grateful that you were able to sit down with me.

Thank you.

And that does it for this episode of Five Plane Questions.

I want to thank DY again for her time sharing her story with us.

I was hoping to make it out to DC for the events here in April, but unfortunately, it's not going to be able to work out.

However, I am really hoping to be there before her exhibition closes in July, but I certainly hope that you'll be able to check it out as well.

It's, it's an amazing show.

I've seen the works.

I've seen the book.

And so if you're able to get out there and especially get a copy of that book, it is something very, very special.

So, dy, thank you and I look forward to chatting with you soon in Santa Fe.

Well, we're back for a sixth season and you're going to hear and see some changes moving forward, but the format is pretty much going to stay the same.

We're going to still have new and amazing guests joining us with some old friends returning, and we'll be having some very serious discussions about the threats to Indian country with this new administration.

So we're going to bring in some.

Very special people for that.

So please stay tuned because we will be announcing those shows as they air before they air.

I'm also really excited to announce that this amazing company, Pod for Good, is now editing and producing this podcast.

Jesse over at Pod for Good is also the producer for the other podcast, beyond the Art, which I co host with Craig Beaumont Flynn.

He and his team have been doing an amazing job on that podcast and I'm really excited for what they're going to be doing with this one as well.

So, Jesse, thank you for, for coming on board and, and taking care of our little podcast here.

I'm really excited.

I also want to thank the Indigenous association for hosting me in the recording studio.

If you need a great place to record, give the Indigenous Association a call and reserve your time.

We're down here in downtown Fargo.

I also want to thank you for joining us and spending your time listening to what I feel is a very important story and perspective from our community.

So please join us next time as we speak with another incredible person.

The one sort of technical note I want to throw in is that the podcast is now going to be the first and third Wednesday every month.

And so, yeah, we're going to be twice a month.

If there's a third Wednesday in the month, we're just going to skip that and just come back on, on the first Wednesday again.

So we're still coming back.

You're still going to see us, but you're going to get a week break between different podcasts.

So first and third Wednesday.

I'm Joe Williams.

You can find me on our Instagram page, on our Facebook page, and at the official 5 Playing Questions website, 11warriorarts.com there you will find this in past episodes of the podcast.

We are no longer an ex for very obvious reasons.

If you have a Suggestion for someone for me to interview or you are an organization that would like to support this podcast, please check out the webpage and message me.

I'd really like to hear from you.

Also, soon we're going to have some five plane questions podcast merchandise available at the website for you to check it out.

I'm really excited about this.

As soon as that's ready, I'm going to let you know it's going to be, you know, all the, the merch that you would find with other things on there and yeah, you know, it's, it'll be a way for you to be able to support forth this podcast now that we're, we're independent and so yeah, I'm really excited to, to share that with you and for you to see that.

So yeah.

Okay.

That's a lot for the first episode.

So, you know, it's, it's exciting to be back where I have more support on this podcast than I've ever had before.

And I'm just really excited that I have a market marketing team, I have a social media team, editing team, and there's another big announcement coming about this podcast that I'm really excited to share.

And also too, we have some incredibly huge guests coming for this next year.

And you know, we've had big guests in the past and so I'm just, I'm really excited for the people that are coming into the studio virtually in some cases and for me to go into their space.

And we're going to have a really big year this year, probably our biggest year yet.

So please stick with us.

Check it out.

All that said, let's not forget about Dy Begay, an amazing artist.

She has a website, it's navajo-indian.com Google her DyBagay and, and support her and all the artists that we, that we have on this podcast.

Artists need to be supported, especially in this time where the administration is now taking over museums, taking over the arts and hijacking the creative voice that so many of us have.

Now is the time to step up and to support artists.

So please join me in doing what you can to not just support the arts, but to preserve the voice and the perspective of our fellow Americans with our, with, with our community.

All right, you take care, you take care of yourself and we'll see you next time.

This has been an eleven Warrior Arts production.

Sa.