by Rev. Houston R. Cypress, Otter Clan,
Board of Directors
Love The Everglades Movement

What's most meaningful to me about supporting this gathering?  I have 2 reasons.

Originally, I was looking forward to meeting the communities that this gathering would have brought together; but, due to the public health emergency created by the COVID-19 pandemic, everything is going online, virtual.  Over the years that I've been watching the Integral Theory blossom in many realms, I've been motivated by the incredible and positive changes throughout the world initiated by the diverse practitioners inspired by this work.  So, I was looking forwrd to meeting the people.

Secondly, I was looking forward to the expansion -- expansion of my heart and mind.  I want to be moved by what people are achieving on the land, with/in communities, and throughout the cultural expressions of diverse peoples.  The incredible work done by communities implementing Integral Theory have also cultivated beautiful, interdisciplinary and multidisciplinary artwork and coalitions.

These two areas -- community and culture -- combined with a decolonial attitude toward knowledge and wisdom, are some of the primary sites where the work of our nonprofit organization does very well.  And we are happy to be inspired by the cosmovisions and traditional ecological knowledges of the indigenous peoples of Turtle Island (known by some as the so-called Americas).  The frameworks, ideas, and critiques offered by the Integral community of theorists and practitioners have given us a way to talk across the divides.

We are honored and privileged to be able to do this work on lands that have been cared for by many indigenous communities of the past, present, and future -- including our friends:

• the Council of the Original Miccosukee Simanolee Nation Aboriginal Peoples,
  
• the Seminole Tribe of Florida,
  
• and the Miccosukee Tribe of Indians of Florida.
  

We encourage you to learn more about their environmental priorities, and to do your best to support policies that integrate their conservation principles on a local, regional, national, and international scale. We are happy to uplift the scientific and conservation efforts of the Miccosukee Environmental Protection Agency.

One of the many reasons it's important to acknowledge the indigenous communities of this land is due to the effects of erasure from mainstream narratives caused by (un)official policies.  We honor the value of other knowledge systems, and we are inspired to action by traditional ecological knowledge, the arts, and the insights gained through science and research and personal experience.  We encourage a broader understanding of the American context for Reconciliation.  To learn more about that, please look up the 2009 US Apology to Native Peoples.

By finding a balance between these paradigms -- the Circle of Life as upheld by the Miccosukee and Seminole peoples, and the quadrants and levels, etc., of the Integral Theorists -- the Love The Everglades Movement has been able to articulate protocols of joy that create conditions for a strengthened, and reciprocal, relationship with the natural world that we are a part of. The images in this article are taken from my presentation at the Creative Time Summit from 2018.  The link is provided below.

Ultimately, we want to be able to bring a sense of creative solidarity with the natural world, and also with our friends and family among the indigenous communities, the First Nations, the Original Peoples.

We look forward to connecting with the broader community to share ideas, and ultimately the joys of our gardens, with one another.

By Dorothy Downs,
​followed by a conversation with Rev. Houston R. Cypress

​I invite readers to Canoe Back in Time, to visit a Miccosukee family living in the Everglades in the early 1920s. The people believe that Breathmaker, or Creator, made the world and shaped for them the great open grass and watery plain known as the Everglades, and put animals and humans on the land.
 
The people learned how to live and care for nature, the trees and plants, the clean water, and all that inhabited the river of grass. They were told what they should grow or hunt to eat. This story tells how the family lived then and honored Breathmaker at the annual Green Corn Dance.
 
Miccosukee founding Chairman, Buffalo Tiger, told me stories and said he wanted a book written for children, telling them the family values he was taught. He asked me to write Miccosukee Arts and Crafts, published by the tribe in 1982. I have written and illustrated this book for him and the Miccosukee people. Canoe is a work of fiction, strongly based on real stories told to me and on real people with my mixture of first and last Miccosukee names and clans. I thank everybody.
 
In the early 1920s, the Miccosukees were worried about what effect the building of the road across the Everglades to be known as the Tamiami Trail would have. I have included in Canoe a story of an event at Green Corn Dance, during a time when the men talked about business:

​Canoe is set in a Panther Clan camp. Each chapter cover aspects of family life, told through a very creative ten-year old girl, Sally Osceola. She wakes up, remembering "Today is my special day." Her parents are going by canoe to Miami to buy supplies, including cloth and thread for sewing.

Sally can't wait to get to her mother's sewing machine to learn how to sew her outfit to wear to Green Corn Dance ceremonies. Breathmaker has told Sally she will be an artist and she wants to honor Creator. The story follows her and her family's activities up to the big events.
 
As an art historian, I have written about all of the arts of Miccosukees and Seminoles. Once a creative girl and artist myself, my special interest is tracing the history of patchwork clothing and the women artists who sew it. Sally Osceola's excitement about creating art is the spark for the storyline.

​Chapters cover:  busy life in the camp, children being taught in the outdoors, how to treat company, and collecting plants and learning about healing from Grandma, the matriarch of the camp. There are games, daytime and nighttime activities. Singing, dancing, and stories told by elders by firelight finish off their nights. The families and friends celebrate together a Happy New Year at Green Corn Dance.
 
I hope the reader enjoys the trip back to the beautiful Everglades we Love.
❤🙏
 
(Published by IRIE Books, Santa Fe, NM. Available on amazon.com.)

​I visited Dorothy Downs at her home office.  Ensconced amidst a stunning collection of Native American art that includes pottery, baskets, sand paintings, wood carving ...

​The jaw-dropper:  EFFIE OSCEOLA’s array of fiery patchwork grandeur.  An Otter Clan mother of many generations, Effie’s virtuosity weighs forth as massive textile wall panels.  It screams forth in a fiery gradient cascading thru scarlet, jacinth, & neon-goldenrod, offering just a hint of refreshment with a pure turquoise dash, boldly sovereign in a lush white foundation.
 
We had just finished re-watching Patterns Of Power, an hour-length feature produced by Dorothy on Miccosukee & Seminole patchwork, and the community that created this unique sewing technique in the Everglades.  It’s captivating to listen to the music inherent in the cadence of the Miccosukee women, firmly situated in the various institutions of a tribal community after 2-and-a-half decades of federal recognition and self-determination:  Delores Billie and Virginia Poole in the Miccosukee Health Department, Jennie O. Billie in the Miccosukee Indian School.
 
Dorothy Downs contributed to the momentum of Miccosukee artist Stephen Tiger’s art career by giving him his first one-man exhibition at her Four Corners Gallery in Coral Gables.  Stephen, and his brother Lee, are the nexus of the Miccosukee rock-&-roll band TIGER TIGER – they brought a psychedelic indigenous force to the stage in their day.  Today there are other Miccosukee music bands like TALKING DOGS, but TIGER TIGER blazed the path.  These guys, along with their father, Hon. Buffalo Tiger, started the annual Miccosukee Arts Festival, which celebrates indigenous culture in the Everglades for one week after Christmas.

​Dorothy and I are in the process of reprinting a beautiful catalog that she produced for Hon. Buffalo Tiger, Miccosukee Chairman in 1982 when it was first published.  
 
Times have changed for the Miccosukee Tribe these days.  The newest Miccosukee publication comes from their Fish & Wildlife Department:

The wire bound booklet clearly states “For internal use only, not for commercial purposes.”  In 1982, back when a whole different generation of elders were in key leadership positions, the Miccosukee were proud to share such treasures of their cultural traditions and artistic innovations.  These days, the Miccosukee community are taking time to talk about the importance of Data Sovereignty — guarding scientific data generated from tribal research activities.  Even so, this department had quite a bit to report at the recent GEER 2019 Everglades science conference.
 
With important film events featuring indigenous stories coming this fall with Borscht in Miami, & at FGCU in Naples, exploring Dorothy’s newest work underscores the importance of creative solidarity between communities, and the enduring sexiness of cinema.  

​H:
I’ve had the pleasure of getting reacquainted with your work over the past couple of years.  I deeply appreciate how you always show us love when we setup at different tribal festivals.  I love how the land and the Everglades shows up in so much of what you’ve produced in collaborating with the indigenous communities. Let’s talk about you as a writer.  
 
D:
At first I didn’t think I was literary.  But I guess I’m a writer HAH! look at all this.  (Gestures to her books.). The 1981 Miami Herald Tropic Magazine article, "Chickee Chic." It’s a nice big article.  I went to a high school reunion and a girl in my class happened to be an editor at Tropic.  "She said what are you doing now?"  I said," Oh well, I just finished my Masters Degree at UM in art history and I’m doing a little writing.“ She said, “Well write something for me.”  She called me in to The Miami Herald, and there was this room with a glass window.  There were people waiting, and I went in and she asked me questions.  She said, “There’s a typewriter, now go write it.”  I didn’t even type!  Much later, a friend told me, “I can’t believe what you wrote in the paper about Marjory Stoneman Douglas!”
 
H:
What has it been like learning from and learning with communities?
 
D:
I am so dependent on that and so fortunate the people would share with me so openly.  You saw in the video how Frances Osceola and all these people are happy to be able to share.  So I feel so fortunate that they are that open to me and I started this in 1976, a long time ago.  I didn’t bring gifts.  I’d just go in, sit down, say Hi, and start talking.  And they would just work.  Frances with Wild Bill.  Effie didn’t speak English, so Howard was there.  These people opened up to me and maybe they saw the importance of it, too.  The first person I interviewed was Howard Osceola, and I said, “Do you mind if I tape you?”  He said, “Oh no I tape my father-in-law all the time, Josie Billie.”  So I learned it was okay to tape, because they wanted this information saved, and I saw that I could help them do that.  I met Howard through the University of Miami, because he was working with Iron Arrow, the Honor Society at UM. 
 
H:
How has producing the film changed you since then?  Or how has it impacted you?
 
D:
When I would go out to interview people, I would leave the City of Miami and drive Tamiami Trail and suddenly things would change.  Suddenly you’re in the Everglades.  And I may have had some ideas and questions in my head, but I would get out there and let the people tell me what they wanted to say.  But just the environment of being out there, listening to them talk about what they love and do, but then coming back, just remembering what they said, not what I wanted to know.  And the beauty of the Everglades changed the whole thing.  Just going into it, experiencing it, and then coming back.  That was really important to my work.  I’d like to say how much I appreciate having this as a lifetime goal.  I feel so lucky to be able to do what I do and be accepted for it.
 
H:
What do you mean?  Tell me more.
 
D:
I believe that my mission in life is explaining the beauty of cultural diversity through art.  That is what I somehow recognize.  I feel chosen for that.  I don’t know why.  It’s just something I started doing and the path went on and on.  I met people. I met Miccosukee people.  I feel like that’s what I’m here for.  And yes it not only deepens me but it’s what I’m supposed to do.  Now I don’t want to sound strange about that, but, you know, sometimes you feel this is just right.
 
H:
You’ve had experience working with other indigenous communities, and I feel that my concerns are how traditional concerns and ecological concerns come together.  Do you have any experience with that in your relationships with other indigenous communities?
 
D:
I’m a Miami girl.  I was born in Miami and I so feel a love for the Everglades, for the whole thing, for the ocean, for the bay.  It’s very easy to be supportive of the Everglades.  The other communities I’ve worked with – say Navajo, or Pueblo potters – they’re different from here.  This is where I’m from, and to me that is really important, to tell the story of where I was born.
 
H:
Well, around here these days, in the circles I visit, people are concerned about the Environment, Climate Change, and Justice.  What’s the role of Art in this context?
 
D:
Making people stop and look and think.  Art is a way to introduce people.  This is the Everglades, this is how beautiful it is, and we need to take care of that.  Protect it.  And I think it can be done visually, more than any other way.  Or as equally as writing about it.  But visually you see the beauty of it.  That makes people stop and think, “Wait this is important, we can’t let go of this.”  And that’s the role art plays.

by Houston R. Cypress, Coordination Circle,
Love The Everglades Movement.

On June 22, 2015, the Miccosukee Tribe submitted Initial Comments that begin to explain some of their major concerns regarding the so-called "River Of Grass Greenway" project -- a 76-mile, multi-use, asphalt bike path that is proposed to extend from East Naples to West Miami along the Tamiami Trail, as it cuts through protected lands, National Parks, State Parks, and other areas that are sacred and culturally-sensitive to the indigenous sovereignties known as the Miccosukee Tribe of Indians of Florida, the Seminole Tribe of Florida, and the Council of the Original Miccosukee Simanolee Nation Aboriginal Peoples.

In their Initial Comments letter, the Miccosukee Tribe requests an extension of the Public Comment period because the amount of time originally given is insufficient to adequately translate and convey the message to the Community Elders -- many of whom do not read or write in the English language.

Some other concerns include the following:

• Negative Cultural Impacts;
• Risk of exposure of Miccosukee cultural, historical, and archaeological resources to loss, theft, and vandalism;
• Invasion of Privacy;
• Negative Wetland and Habitat Impacts;
• ROGG fails to adequately address how the bike path might influence the Spread of Exotic Species;
• Use of herbicides to maintain grass strips impacting Native Species;
• Water Quality Impacts;
• Miccosukee Tribal lands have stringent Water Quality Standards which Must Be Met;
• Water Quality Certification Responsibility;
• Miccosukee Tribe sees no reasonable alternative that do not impact Tribal lands or waters and therefore will deny Water Quality Certification for any portion of the project within Miccosukee jurisdiction;
• Health & Safety Concerns;
• ROGG places more demands on the limited fire resources of the National Park Service;
• ROGG will also divert fire rangers and and fire management resources from saving lives.

The Miccosukee Tribe also goes on to enumerate the many laws that must be followed.

• All Applicable Laws Must Be Followed, including:
• National Environmental Policy Act;
• Endangered Species Act;
• Federal Advisory Committee Act;
• Clean Water Act;
• Native American Graves Protection and Repatriation Act (NAGPRA);
• Big Cypress Enabling Act;
• Big Cypress National Preserve 2014 Superintendent's Compendium;
• Miccosukee Reserved Area Act;

Quote from the letter:
"The ROGG Draft Plan does not comply with all applicable laws, does not meet the requirements of NEPA, and does not comply with Tribal policies and practices."

Outside of the scope of the letter, I would like to remind folks what a separate indigenous sovereignty has been saying for quite sometime.  I'm referring to Bobby C. Billie of the Council of the Original Miccosukee Simanolee Nation Aboriginal Peoples.  One of the messages that he's been repeating is that burial sites would be disturbed if this project were to move forward.  He's been reluctant to specifically identify the locations of these burial sites.  I empathize, because I know very well how the sacred and holy can be open to violation, parody, or satire, once this information becomes public knowledge.  His concerns are definitely serious enough that they would have NAGPRA implications.  A lot of times, though, these areas are a taboo subject for public discourse, and that also complicates matters

I would personally like to take this time to remind the public of the difficult and contentious histories that indigenous communities across this continent have had with colonial powers, and governments like the USA.  Treaties signed and disregarded, broken promises, genocidal policies, forced removals of children, forced relocation of communities, wartime atrocities, assimilation policies, prohibitions on freedom of religion.  And yet, our indigenous communities have also found shining moments of cooperation, collaboration, and mutually-beneficial accords which contribute to the revitalization of indigenous communities and strengthened sovereignty.

There is a way forward where parties on all sides can express respect and appreciation for each other's customs and ways of life.  And what we must first do is pause, and listen, and reflect.  So let's take this opportunity to listen to and appreciate what this particular indigenous sovereignty is saying about how negatively this project will impact a way of life that has already been threatened by massive and prolonged environmental degradation.

And what is it about this particular way of life that is so special and unique that they are using all legal, moral, and spiritual avenues to express their concerns?

Well, in my opinion, it's about a garden, it's about a cooking fire, it's about the stories told at night by family and friends, it's about the stars twinkling overhead, it's about that Milky Way above, it's about knowing your place in the Universe.  It's about healing, and balance, and songs.

Read the Initial Comments by the Miccosukee Tribe of Indians of Florida below.  (Document only visible on laptop or desktop computer.  Click the icon in the lower-right corner to read the document Full Screen.)

by Dr. Dennis Wiedman & Houston R. Cypress

by Quese IMC and Cempoalli 20,
from their album OSAHWUH.

"The Raven" is a single from the album "OSAHWUH" -- by Quese IMC & Cempoalli 20 -- and the album was released in April of 2013 at the Gathering of Nations Powwow.

http://www.cdbaby.com/cd/osahwuh (Link)
https://itunes.apple.com/us/album/osahwuh/id647390566 (Link)

The song and the album unites the creative fires of these 2 musical artists -- an evocative and inspirational blend of Indigenous Hip Hop and Turtle Island Reggae.

THE RAVEN music video was born out of an encounter between QUESE IMC, Cempoalli 20 and Houston Cypress deep in the Florida Everglades -- the historic homeland and refuge of the Micccosukee and Seminole people.

The musical artists were visiting the Miccosukee community sharing a message with the youth which emphasized the importance of cultural integrity and maintaining traditions, a healthy and drug-free lifestyle, and how the artistic process can contribute to their personal growth.

"The music video," says Quese IMC, "is about the importance of Earth and how we connect to the Earth and how Earth makes us want to move, jump, dance." He goes on to explain, "people are polluting the Everglades and it is sacred to us."

The locations featured in the video include the following:

- Water Conservation Area 3A -- otherwise known as the Central Everglades, or the River of Grass;
- Otter Clan village on the Miccosukee Reservation;
- Graffiti walls in the Wynwood Arts District of Miami, Florida;
- 7th Circuit Studios, home of the Moksha Family Arts Collective, in the Little Haiti neighborhood of Miami, Florida.

THE RAVEN emerges from the fire, bringing with it a message that unifies different communities, and restores balance to the land and our lives through the power of spirit-infused artistic expressions.

Houston Cypress: "It was important for us to show the grassy waters of the Florida Everglades, and to film in the Otter Clan Village of the Miccosukee Reservation because the poor water quality and the high water levels have a direct and negative impact on the Miccosukee & Seminole way of life. Flooding causes the trees that hold the islands together to drown, and without the root system to hold the islands together, the tree islands literally dissolve. So much life depends on the vitality of the Tree Islands: the plants, the animals, even the Miccosukee society of clans. So, because of this dissolution of the tree islands, you can say that we are losing our roots."

Houston Cypress, Executive Producer of the music video, explains about his production company, "Otter Vision, Inc., explores themes of Culture, History and Environment in all the various projects and formats that I get involved in, whether it's audio-visual forms for film, television, or video. Events, festivals, experimental projects, activism, or spirituality -- it's all concerned with creating 'Portals Between Worlds' and 'Contributing to the Global Discussion' -- these are my creative and spiritual manifestos."

Assisting in the production process, Felipe Marrou with VTM Productions brings decades of experience, with projects distributed on major networks, and for a variety of corporate clients.

Dudley Alexis of Epyllion Films, LLC, oversaw the post-production process. He collaborated with animator Jean Sarmiento to manifest the characters "Buffalo Boy" and "The Raven," based on creative discussions with QUESE IMC and Cempoalli 20.

by Houston R. Cypress,
Coordination Circle, Love The Everglades Movement

The Everglades Caucus recently issued a letter to the US Department of the Interior, the US Department of the Army for the Army Corp of Engineers, and the US Environmental Protection Agency, bringing attention to an on-going and immediate environmental threat to the Everglades:  the L-28 Interceptor Canal -- a canal that brings "dirty water" with high levels of phosphorus onto Federal Reservation Lands.

The Miccosukee Tribe of Indians of Florida maintain traditional villages -- which they use for a number of cultural practices -- in the area that is directly and negatively impacted by this farm runoff.  In fact, their access to sacred sites become impeded by the proliferation of flora spurred by the fertilizer runoff.

The image at the top of this document illustrates the impact of high and unnatural levels of Phosphorus on the Everglades terrain.  The green areas are the dense overgrowth of cattails and other plants.

The Miccosukee concerns surrounding the L-28 Interceptor Canal are coinciding with a broader discussion on Everglades Restoration, especially as it relates to current events surrounding the Central Everglades Planning Project (CEPP).

CEPP is concerned with delivering "New Water" through a series of projects that would bring water from Lake Okeechobee south to Everglades National Park.  As these projects come online over the next decade, there is still the glaring refusal to address the 40% of the total waters coming into the system brought by the L-28 Interceptor Canal.

Today, Miccosukee homelands are being sacrificed for the benefit of Everglades National Park -- as if the Everglades eco-system is limited to the boundaries of the National Park.  As the waters coming into Water Conservation Area 3A make their slow journey south, the high Phosphorus levels are filtered out significantly -- and what this means is that Miccosukee homelands are functioning as a de facto Stormwater Treatment Area.

The Everglades Caucus are not only honoring their Trust Responsibility to the Indigenous Sovereingty, but they are also honoring their commitment to the American Public by speaking up to protect these vital natural resources.

Signatories for the Everglades Caucus include:

• Mario Diaz-Balart
• Alcee Hastings
• Debbie Wasserman Schultz
• Patrick Murphy
• Ted Deutch
• Joe Garcia
• Lois Frankel
• Frederica Wilson

Read the letter in its entirety:

by Houston R. Cypress,
Coordination Circle, Love The Everglades Movement

One of our objectives for the Movement is to advocate for respect of Miccosukee Sovereignty.  This is because the Miccosukee Tribe is one of the few communities who actually live in the Florida Everglades -- so they witness, everyday, the effects of environmental degradation.

By listening to and incorporating the Miccosukee message into our Everglades Advocacy, we begin to do the work of Environmental Justice and express our solidarity with this indigenous community.

The Miccosukee community has a Way of Life that is intimately connected with the vitality of the natural world -- indeed, their philosophy is expressed in a beautiful symbol that is maintained in the heart of every village -- the Circle of Life.

The Miccosukee Tribe has also been an important catalyst for much of the progress achieved so far regarding Everglades Restoration.  This is due in large part to the greater legal framework and promises made by the US Federal Government to the indigenous sovereignties, known as the Federal Trust Responsibility.  Although the historical record reminds us that there has been much discord between the United States and the sovereign indigenous communities of this continent, we can also find evidence of great friendship and prosperity.  So we look forward to honoring our friendships with the Miccosukee community and how we can build on that to achieve environmental/Everglades goals that benefit everyone -- including the people that live there.

Recently, the Miccosukee Chairman, Hon. Colley Billie, addressed the House Interior Appropriations Subcommittee during the Public Witness Hearing on Native American Issues.

Chairman Colley Billie's statement was concerned with Everglades matters, and it's such a revealing statement about Miccosukee concerns for the Everglades, that it's worth sharing in its entirety.

By Houston R. Cypress,
Coordination Circle, Love The Everglades Movement

My name is Yahaletke, aka Houston Cypress and I'm from the Otter Clan of the Miccosukee Tribe, and I'm representing the Love The Everglades Movement.

I live on the Miccosukee Reservation on the border of Everglades National Park and Water Conservation Area 3A.  I maintain ancestral villages in the Central Everglades, on those disappearing hammocks that were mentioned earlier in this meeting -- hammocks where I conduct gardening, hunting, and spiritual practices.

My support of CEPP is buttressed with a critique of the inadequacies of CEPP, it doesn't do enough.

CEPP is a good step forward, but it is inadequate.  We need a holistic view and concerted action when it comes to Everglades matters -- because the Everglades matters.

A holistic view brings us to the Western Basin of the Everglades Agricultural Area and the ongoing and immediate problem of the L-28 Interceptor Canal, which is bringing waters that average 60 parts per billion of Phosphorus and spikes as high as 100 parts per billion of Phosphorus and this is happening every day!

By the time that the waters pass through the Water Conservation Area and arrive at Everglades National Park the waters nearly reach the Holy Grail and target of 10 parts per billion of Phosphorus.

This means that Miccosukee homelands and the Water Conservation Area become a de facto Stormwater Treatment Area.

With such a close margin, there's the potential for waters exceeding the Phosphorus target to enter Everglades National Park.  We must be wary of any requests for waivers to exceed the Phosphorus limit.  No waivers.  No exceedances.

CEPP is about "new water," but what about the 40% of waters being brought into the system by the L-28 Interceptor Canal and the high Phosphorus waters that it delivers?

This seems like the next big project to be undertaken to address the on-going problem of the L-28 Interceptor Canal.

And I also want to admonish the Board and the District for condoning the display of racist imagery with the display of the FSU mascot during the earlier PowerPoint presentation.