Susan Hudson

Susan Hudson

January, 3. 2024

audio

https://www.youtube.com/watch?v=kPrgFr-tauY

Susan Hudson

Teresa Duryea Wong

Meredith Ahmed

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<point>
<time>167</time>
<title>Quilt Alliance introduction</title>
<title_alt/>
<partial_transcript>Our programs that you have been able to catch. Our mission is to document, preserve, and share the stories of all quilts and all quiltmakers. </partial_transcript>
<partial_transcript_alt/>
<synopsis>Amy Milne introduces the Quilt Alliance and prefaces the QSOS project. </synopsis>
<synopsis_alt/>
<keywords>female quilters; quilts</keywords>
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<subjects>Quilts</subjects>
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<point>
<time>280</time>
<title>Introduction </title>
<title_alt/>
<partial_transcript>Susan lives in Sheeps Spring, New Mexico on the Navajo reservation.</partial_transcript>
<partial_transcript_alt/>
<synopsis>Amy prefaces Hudson's background, specifically her indigenous background and her connection with quilting. Susan lives in Sheeps Spring, New Mexico on the Navajo reservation. Hudson's mother learned to sew at a boarding school. Hudson introduces herself, and her Navajo identity. </synopsis>
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<keywords>Female quiltmakers; Art quiltmaking; Modern quiltmaking</keywords>
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<time>590</time>
<title>Indigenous identity</title>
<title_alt/>
<partial_transcript>Can you share a little bit about the Navajo nation and your community there, what is it like?</partial_transcript>
<partial_transcript_alt/>
<synopsis>Hudson shares her experience being part of the Navajo tribe. She talks about the environment and ethnography of the Navajo tribe. </synopsis>
<synopsis_alt/>
<keywords>Female quiltmakers; Quilt memory</keywords>
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<subjects>Navajo art; Navajo artists; Quilts</subjects>
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<time>716</time>
<title>Quilting aesthetics </title>
<title_alt/>
<partial_transcript>To give us something to look at while we are talking I just have a collection of quilts.</partial_transcript>
<partial_transcript_alt/>
<synopsis>Hudson describes her process of choosing what stories she wants to tell in her quilts. Hudson talks about her identity has a contemporary Indigenous artist, she is inspired by ledger art from the ledgers that colonizers would keep. </synopsis>
<synopsis_alt/>
<keywords>Art quiltmaking; Female quiltmakers; Star quilts</keywords>
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<subjects>Navajo art; Navajo artists; Quilts</subjects>
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<time>1006</time>
<title>Family and tribal history in quilting</title>
<title_alt/>
<partial_transcript>The four years of starvation of disease, and being preyed upon. </partial_transcript>
<partial_transcript_alt/>
<synopsis>Hudson describes the process of intergenerational trauma in indigenous communities and how she displays and educates these stories in her quilts. She speaks about her mother being given clothes and she learned to sew from her mother. </synopsis>
<synopsis_alt/>
<keywords>Art quiltmaking; Art quilts; Female quiltmakers; Aesthetics</keywords>
<keywords_alt/>
<subjects>Navajo quilts; Navajo art; Quilts</subjects>
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<time>1228</time>
<title>Beginning to quilt</title>
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<partial_transcript>Cause the sewing for them had such painful memories?</partial_transcript>
<partial_transcript_alt/>
<synopsis>Susan discusses why she picked up sewing, particularly as a means to provide resources for her children. She began making star quilts and sewing for her children. </synopsis>
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<keywords>star quilts; female quiltmakers; children</keywords>
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<subjects>Quilts</subjects>
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<time>1347</time>
<title>Storytelling through quilts</title>
<title_alt/>
<partial_transcript>And as you said at the beginning, some of them are painful messages.</partial_transcript>
<partial_transcript_alt/>
<synopsis>Susan discusses how she chooses which stories she tells in her quilts, including how her dreams bring ideas to her. </synopsis>
<synopsis_alt/>
<keywords>Female quiltmakers; Art quiltmaking; Art quilts; Quilt Purpose - Mourning</keywords>
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<subjects>Quilts; Navajo art; Navajo artists; Navajo children</subjects>
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<time>1528</time>
<title>M.M.I.W Indigenous women quilt</title>
<title_alt/>
<partial_transcript>The pieces of clothing that you have recreated here, and just so everyone knows the blocks here are about five inches.</partial_transcript>
<partial_transcript_alt/>
<synopsis>Susan explains the story she is telling in her "Missing Murdered Indigenous Women" (MMIW) quilt. She discusses incorporating miniature clothing pieces that are representative of missing or murdered indigenous children to bring awareness to the issue. </synopsis>
<synopsis_alt/>
<keywords>Miniature quilts; Female quiltmakers; grandchildren</keywords>
<keywords_alt/>
<subjects>Navajo art; Quilts; Quilts--Southwest, New</subjects>
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<time>1982</time>
<title>'Tears of Our Children' quilt</title>
<title_alt/>
<partial_transcript>And.. um.. very much telling a story here, I want you to walk us through this story. </partial_transcript>
<partial_transcript_alt/>
<synopsis>Hudson explains the story behind her award winning "Tears of Our Children" quilt. She walks through the symbolism and Indigenous stories and tributes to people in her community. She wanted to show how beautiful Indigenous clothing is through her quilt. </synopsis>
<synopsis_alt/>
<keywords>Miniature quilts; Art quiltmaking; Art quilts; Female quiltmakers; Fabric - Multiple scrap</keywords>
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<subjects>Navajo art; Quilts</subjects>
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<time>2514</time>
<title>Stories for the future </title>
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<partial_transcript>And how you are trying to capture those stories for future generations?</partial_transcript>
<partial_transcript_alt/>
<synopsis>Susan explains how she wants to capture the painful stories of the past so that those in future generations can remember. She talks about these stories in relationship to traditional Indigenous creation stories.</synopsis>
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<keywords>Female quiltmakers; Design process; Aesthetics</keywords>
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<subjects>Quilts; Navajo art</subjects>
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<time>2666</time>
<title>The Navajo Quilt Project</title>
<title_alt/>
<partial_transcript>The Navajo Quilt Project, and this is a partnership with French general. </partial_transcript>
<partial_transcript_alt/>
<synopsis>Susan tells us about her involvement with the Navajo Quilt Project. She talks about how the project is rooted in community, teaching children and elders about sewing. The conversation finishes by answering questions from the live sessions, where they discuss applique, language, and her families history.</synopsis>
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<keywords>Art quiltmaking; female quiltmakers; applique</keywords>
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<subjects>Navajo art; Quilts</subjects>
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<transcript>[Amy Milne] Hello, welcome to Textile Talks. I'm Amy Milne, director of the
Quilt Alliance and happy new year. Thank you for joining us as we kick off the
2024 season of programming for Textile Talks. We have another fantastic Quilters
Save Our Stories interview to share with you today.
Textile Talks is a weekly series, as many of you regulars know, presented on
Wednesdays at 2pm Eastern in partnership by the Quilt Alliance and our three
partner organizations shown here. All Textile Talks are recorded and available
via YouTube. So my colleague Emma Parker will enter that link for the Textile
Talks recording playlist in the chat now. It's so nice to be able to watch these
if you miss them live or if you want to re-watch them. It's such a nice way that
we've been able to archive this series. If you're not familiar with the Quilt
Alliance, if this is the first of our programs that you've been able to catch,
our mission is to document, preserve, and share the stories of all quilts and
all quilt makers. Today we're going to present a demonstration of our longest
running oral history project, Quilters Save Our Stories or QSOS, which is a
collection of oral history interviews with quilters archived with our partners
at the Library of Congress and the University of Kentucky. QSOS was founded, was
launched 25 years ago in 1999 and is not only the largest collection of
interviews with quilters, but also the largest grassroots oral history project
of its kind in the world. To find out more about the Quilt Alliance and the QSOS
project, visit our website and consider being a member or a donor. We rely on
this kind of community support to carry out our important mission. [Amy Milne]
It's really a vital way to contribute. [Amy Milne] A quick reminder before we
start, and I introduce Susan and Teresa,
a quick reminder just to use the Q&amp;amp;A box if you have questions for our
speakers, the chat box for greetings to others, and the survey for commentary
and ways we can improve. We have enabled the Zoom's closed captions feature. If
you prefer not to view the captions, you should be able to turn them off by
locating the CC or live captions button or going into your settings to do so. We
are thrilled and honored to have our friend and colleague Susan Hudson here
today to share her quilt story for inclusion in the QSOS collection. Susan lives
in Sheep Springs, New Mexico on the Navajo Reservation. She says in her bio, My
mother taught me how to sew out of necessity. Since we were so poor, she
couldn't afford to buy us clothes. She learned how to sew at Toadlena Boarding
School. In order to be able to tell stories with my quilts, they have been able
to evoke emotions in people and to speak for themselves. From the very first
dream that I have been blessed with, to sew it into reality, to that very last
stitch, I am able to convey the emotional impact that the quilt had on me. To
ensure that our ancestors' stories are never forgotten and to show that it has
taken generations of native quilters to help me become the artist that I am. By
taking quilting to another level, I have become a woman activist through
quilting. Beautiful. Our interviewer today, Teresa Duryea Wong, is an author,
lecturer, and quilt historian. She is the author of six nonfiction books on
quilts and textiles. Her newest book, which includes Susan, a profile on Susan
Hudson, is "Sewing and Survival, Native American Quilts from 1880 to 2022".
Teresa serves as a member of the Quilts Alliance Board, we're so lucky to have
her, and is also a member of the International Advisory Board of the
International Quilt Museum. She has been recognized as a scholar by the Visions
Museum of Textile Art in San Diego and the Texas Quilt Museum. Teresa is a
contributing writer for several publications, including Quiltfolk, Curated
Quilts, Quilt Diary Japan, and others. She's also a quilt maker and an antique
quilt collector. Her books cover Japanese quilts and textiles, American cotton,
influential women leaders, social justice initiatives, and the new book,
Quiltfolk Dogs, which Teresa wrote and curated. This QSOS interview is really a
special one, too, because it marks the beginning of a new series of quilt
documentation with communities of quilters who are currently underrepresented in
the QSOS collection, including Native American quilters like Susan. So Susan is
not only our interviewee today, but also a lead artist in this project. Teresa
is not only today's interview, but she will also work on this project and has
made a substantial philanthropic contribution to support the project, providing
a match for the National Endowment for the Arts grant funds that we received. So
let me take this opportunity to thank the Teresa Duryea and Jimmy Wong Family
Foundation for this generous contribution. We are so thrilled and proud. And we
can't wait to share more about this project as it rolls out. Really pleased to
start it with this interview. After the interview, you will have time for a
brief Q&amp;amp;A with Susan, so please go ahead and enter your questions as they
come to you in the Q&amp;amp;A box. So I'll ask, I'm going to turn my screen sharing
off and ask that Teresa and Susan join me and turn
their cameras on and their mics on. [Amy Milne] Hello, welcome to you both.
Hello. [Amy Milne] I will turn it over to you, Teresa, and you can start your
screen share whenever you're ready. Thank you both. [Teresa Duryea Wong] Thank
you so much, Amy. We really appreciate that nice introduction and all the
information about the project. Susan, hello. How are you? [Susan Hudson] I'm
doing good. How are you? Good. [Teresa Duryea Wong] Do you want to say hello to
everyone? [Susan Hudson] Oh, okay. Susan Hudson. I'm from the Great Navajo
Nation I belong to Kinyaa'a'anii, my tribe is Kinyaa'a'anii and I belong to the
Great Navajo Nation. I want to, before I forget, trigger warning. I need to say
that because your mental health is important to me, how you process what I'm
going to say, because I will be talking about things that are uncomfortable, but
they need to be said. So I wanted to do that, and I understand if you don't want
to watch me anymore, and that's okay. But I appreciate y'all. I'm like, wow.
[Teresa Duryea Wong] I'm so glad you said that because we really appreciate the
fact that you, as I've written about you, you don't sugarcoat your messages, so
it's good. You're honest and transparent, and it's part of your story we all
need to hear. So you mentioned a couple times that you're coming to us from the
Navajo Nation. Can you just describe where you are and maybe tell us a little
bit about the Navajo Nation and your community there, and what is it like? We
have people from all over the country and even some international viewers as
well. [Susan Hudson] Well, I look at reservations
when the colonizers came and they formed their own government, and so I look at
reservations like prisoner of war camps. Where I'm at, up in the mountains, we
usually have like down below, like in the desert, and then we have like cheap
camp up on top of the mountains, and it's not because we're rich or anything
that we have to hold guns or cabins or whatever. It's out of necessity to live
and to provide for ourselves within the winter because nobody wants to be up in
the mountains when it's snowing, so they come back down below and then in the
summertime, they start to take them up because it's a lot cooler and there's a
lot more vegetation than there is out in the desert. And, you know, we're
blessed, I'm blessed to be able to live between the four sacred mountains. You
know, I believe in the creation stories when the holy people, when they, you
know, created us and so I live within the four sacred mountains, and there's no
way to really describe what it looks like because it changes every day, you
know, whether it's cloudy or storming, snowing, raining, a hot day where you're
out there sweating, you know, and you get little tans, you know, going on, or
you're picked up by mosquitoes, so everything is different, and we have a lot of
places that still don't have running water or indoor plumbing, so when we go to
the cheap camp, we have to haul water and outhouses. Yeah, yeah, yeah. [Teresa
Duryea Wong] Well, while we talk, Susan, I'm going to share my screen here and
we're going to look at some of Susan's quilts. Just bear with me one moment,
I'll get this going. So, to give
us something to look at while we're talking, I have just a collection of quilts
that Susan, amazing, incredible quilts are really story quilts, and they're
beautiful cultural treasures. Susan often highlights her Navajo heritage, both
the pain and joys and sorrow of her family history and future. So, let's just
sort of maybe set the scene. Susan, how would you describe your aesthetic to
people and how, you know, how do you decide which quilt, which stories that you
will tell through your artistry and your quilt making? [Susan Hudson] I consider
myself a contemporary literature artist. When you look at literature arts that
people don't know what it is, they have a lot of records where a lot of the
Plains Indians were taken to like Fort Marion in Georgia. And when you take away
your, our way of life and stuff, we adapt. And one of the ways they did is,
there are ledger books all over. If you had a trader or, you know, someone in
the trading post, or, you know, the military or the government there, there are
ledger books around. So, what you do is you take them and you draw on them. So,
Senator Ben Nighthorse Campbell, I would make his quilts for his giveaway. So,
we were having a discussion about quilts and, you know, he was telling me it was
boring. So, we talked about what I can do to get myself out of the box. And so,
we talked about, and I got to talk about ledger art to how much I appreciate,
because I cannot draw, I cannot paint, I can sew. And so, I put them together.
And that's what I do. [Teresa Duryea Wong] Can you explain what ledger art
means? I'm not sure everyone is
familiar with that, but it's sort of based on paper that was available, right?
[Susan Hudson] Yes, ledgers. [Teresa Duryea Wong] Relocation, which would be old
used ledgers, right? [Susan Hudson] Well, no, this is not from the relocations.
This is from the beginning of time when the colonizers came because there were
ledger books all over the place, even back east when, you know, you take away
somebody's life, their way of life, then we adapt. It's just like us as
quilters, we adapt, because when I was growing up, we had those big shears, now
we have these wonderful shears, you know, scissors, and they got, you know,
rotary cutters that we never had. So, we have to learn us, you know, me, I had
to learn how to adapt to use those. So, that's what ledger was, you know, I
mean, or I can explain it another way. It's like, when we're little, your kids,
your grandkids, your niece, nephew, even yourselves, you would draw on the wall.
The thing about the ledger art was the paper with the lines, it was accounting
paper. But I always said, we all did our own ledger art, because I know when I
was little, we were so dirt poor that we would go outside and in the dirt there,
we would draw. I mean, I don't know how to draw, but you know, when you're
little, you just stick people. I'm a gold medalist in stick people, I can tell
you that. [Teresa Duryea Wong] So, the lines, the vertical lines in this quilt
that we're looking at are representative of ledger art with your hand. Yeah.
[Susan Hudson] Yeah, ledger paper, accounting paper, they would say. So, that's
what ledger art is. [Teresa Duryea Wong] Yeah. And so, talk a little bit about
both your mother and your grandmother and many other of your uncles and
relatives were forced to attend off-reservation or reservation boarding schools
there. Talk a little bit about the impact of that, and this is where many of
them, where your mother learned sewing and the stories
that she sort of passed on to you. Could you talk a little bit about that?
[Susan Hudson] It starts, you know, all my quilts have long stories. And so, it
started before the Long Walk in the 1860s. The trauma that these children had,
being forced on the Long Walk, you know, being on the army and the government
didn't care about us, the army soldiers looked at it as a way of money. So, they
were selling to the slavers that were, the slavers were sanctioned by the
Catholic Church and then a lot of them were taken over there to Albuquerque or,
you know, along the way into Mexico City. And so, you talk about these children
that are traumatized going through that. And then, you know, the stuff that the
four years of starvations and disease and everything, and then being preyed upon
by predators, you know, pedophiles and the soldiers, once again, were having
cribs there, you know, prostitution, you know, like right here, you'll see that
the soldiers would go out there and have a can of food because the young ones
that first got there, you know, were dying from syphilis, you know, STDs. So,
they were dying. And so, then, you know, pedophiles, they preyed on the
children. And so, I'm going to ask you guys to think about this. You have put
yourself in their place. You have children. You're starving. You know, what do
you do knowing that a soldier is going to come out there with a can of food and
then pick a child and knowing that once he gives that child a can of food. Okay,
so you send your child over there knowing that that child is going to be raped,
knowing chances of pregnancy, but then you're going to get that can of food to
eat. So, there's decisions that you have to make it right. So, those children went
through that. And then when they signed the treaty, and then the treaty says the
children have to go to school. So, then you got the trauma going all the way
from there going back home. And all the stuff that's happening at home that
maybe you don't have a place to live because your sheep camp was taken over, you
know, or, you know, you got brothers and sisters that were white, black,
Mexican, whatever, you know, the moms bringing them back and then you're
ostracized. Then they send you to the school, and then you get traumatized
there. So, it was intergenerational trauma, trauma, trauma, trauma. So, what my
grandma and my mom went to school, what they did was they didn't teach them, you
know, the basics like of, you know, science or anything. It taught them to be
servants. My mom always said that. She always said that. She always wonders what
she would have been if she hadn't gone to, you know, the boarding school, if she
had gone to a regular school to get the education she needs to have a better
life. So, I became trapped in all of this, even myself, being trapped into all
this trauma and everything. So, when you're really dirt poor and everything,
people have a lot of clothes and sometimes people would feel sorry for us and
would give my mom clothes. And so she taught me how to do alterations. They call
it alterations now, and it was like, hey, let's make it a little bigger so it
fits. So, you have all the trauma and, you know, with them being forced to sew
like that. So, how my mom taught me to sew was the same way she was taught. And
when my mom, when I got older and stuff, and I would say, mom, why did you hit
me? And I had made the decision, you know, after, you know, the whippings I
would get if the, you know, the stitches weren't right and everything, I did not
want to teach my children or my grandchildren. So, I told them if they want to
learn how to sew, I will pay for the classes. I cannot teach. I don't really
like giving classes. I'll give them, but I really don't like
doing it. So, you know, that's, so that's a little bit of trauma of what my
ancestors, my mom, my grandma, my mom went through, so I can be here to talk
about my quilts and to tell the stories for that heartbreak for what they have
done for me. Definitely. [Teresa Duryea Wong] And your mom was surprised I think
and your grandmother also right that you chose to take up quilting. Because the
sewing for them had such painful memories. [Susan Hudson] Yeah, that was, it
was. They knew that I would sew for survival because I had children to take care
of, you know, when you have kids, you know, the problem with them is they like
to grow and they like to eat and they get big feet. You know, in the middle, you
got to grow animals and you know, hey, or whatever you could afford you put on
them and maybe complain and as older, you know, they didn't like that anymore.
So, I always tell my grandkids, you know what, you're not so bad to be around,
but you know what, this guy just want to eat all the time, you know, so I had to
do something to, to survive. And that's what I did, I would make shawls and I
would make quilts, start quilts, I can make, I knew I can make them and make
money but during those days, we didn't have a lot of places to shop. You know,
you know, and then when we did have places you know it was a cheap material. And
so when, um, when I, after I talked with Ben and everything he told me about the
Herd Museum so I applied there and they accepted me and my first quilt I won and
I was like kind of shocked. And then Cowboys Indian magazine came around, and I
didn't know who they were so I had my kids investigate and they told me oh Ben's
in there so when I told Ben he's going, free advertisement. So,
I did it and I ended up being Best of the West. Yeah, it was Best of the West
and they had Johnny Depp there I guess he was a little ranger or something like
that. [Teresa Duryea Wong] And we're going to talk about quilt too in just a
minute. Yeah, you put really powerful messages in all of your quilts. Very much
a storyteller. And as you said at the beginning, some of them are, you know,
painful messages. This is one of your story quilts that we're looking at it's
called missing murdered indigenous women since 1492. It is part now of the
International Quilt Museum collection. So can you talk a little bit about maybe
this quilt but also just in general, how do you choose which story you want to
tell. [Susan Hudson] My show quilts take about 18 months to make. I really don't
choose them. As a matter of fact, I don't choose them. I had dreams, I started
dreaming. And then, you know, pictures come in front of me, and I would say
they're like a little filing system. One's delete, and the other one is save.
And I'll delete ones go away and then the ones that are saved, I mean I can sit
here like right now and I'll just start seeing pictures. I'll start seeing that
or I'll dream about them. And then when it's coming down to about four pictures,
then I'll start dreaming and when I start getting those dreams, the ones that
make me cry, the ones that four times that I'll sit up and start crying. Because
there, I will hear the crying, you know, the verbal abuse, the emotional abuse,
you know, the rapes, you know, and it's really traumatic. And it's kind of like
can't wake up until I finish it, you know, then start smelling the sweat, the
blood. And then all of a sudden that picture will be right
there and that's what I know I'm going to make and it takes me a long time to
gather fabric. And then try to figure out how I'm going to do this because, you
know, I try to do little sketches, but like I said I'm bad at drawing, so I do
my little stick people. And it starts coming together, it takes a long time, you
know, using fabrics and everything. But it does come together and when I get to
a point where I cannot go any farther because I'm not sure what's supposed to
go, I'll put it to the side and then I'll pray about it. Either something will
tell me this is the way it has to be, this is the way it's going to be, or this
is how you put it, you know, move the pieces around. So, it's them, it's my
spirit helpers, you know, they, you know, Tegoshila and Wakans, they help me out
and that's where I started doing it. And it's something that I really can't
explain a lot of the process because that's between my spirit helpers, quilt
makers, my ancestors. [Teresa Duryea Wong] Yeah. And tell us about this
particular quilt, you know, explain what you're trying to tell here with the
Missing Murdered Indigenous Women and this tiny, tiny pieces of clothing that
you've recreated here. And just so everyone knows, these blocks that you're
looking at, they're about, probably about five inches or so, right? So, it's
really miniature. And the detail is just incredible. [Susan Hudson] I, when I
started seeing the dreams, I started seeing all this. And so, I know this is
going to be kind of sensitive to a lot of people because, you know, as we go
through life, you know, we have people that are, have died through all our
lives. And one of the things is,
depends on what kind of closet you have, you know, we had a, up in the sheep
camp and stuff, they would put a nail there and you just put your clothes on
there. We didn't have closets because, you know, when you're in a hometown or a
log cabin, you don't have the room for that. I wanted this to look at, like, the
closet. You can open the door up and see clothes there. Those clothes are a
reminder of that person that's no longer here. The smell of the clothes, the
memories of that clothes, it's the clothes in there that are waiting for that
young girl to come back to put the clothes on so they can make more memories.
And so, I decided to make all the pieces, you know, there's four of them for the
four directions. And two of them are made old style and two are made younger
styles. And I had my grandkids help me with this one, had them sewing. So, as
they sit there with me and they know the stories, you know, I had to sit down
and explain to them about what rape was, you know, pedophiles, I had to explain
everything to them, people got upset. And I said, why? It's happening in the
world. Why not have them tell the stories of our families? And so, I would
explain, you know, the different type of clothing, I would explain, you know,
like the one with the fox skin dress, it's not fully done, it's because he had
disappeared. It was taken before the dress was made and to show that they're
human beings, that somebody loved them, that some, you know, aunt, a grandma, a
mom would brush their hair or, you know, make, you know, a brother or father
would go out there and do the hunting for the leather. So, I wanted them, people
to see we are human beings, we're
not trash. We're not something that you can just do and then, you know, you can
do whatever you do to the young girls and then kill them and then dispose of the
bodies like nothing and the government allows that. So, I wanted to bring
attention to what was going on in our world that, you know, where we live in
fear, it's kind of like, what did the girls say? You know, what do we do if
we're raped? But they say, what do we do when we're raped? What do we do when
someone tries to kidnap us and then, let's just say, you know, prostitution, you
know, drug them up. So, this is what I did. I wanted to bring awareness to that
and kind of that shock value of this is what's happening in your own home, in
your backyard or wherever. We're not invisible, we're here, we have family,
we're humans. So, that's what I did and I had my grandkids help me with that.
[Teresa Duryea Wong] That must have been a really powerful experience for your
grandchildren as well. [Susan Hudson] Yes, it's something that they know in the
stories and that was really something that when I'm no longer here and my
grandkids can go up and take their grandchildren to see the quilts and they know
the story and that's our story. Unfortunately, that's our story. [Teresa Duryea
Wong] And then you also, when you decided to give this particular quilt to the
International Quilt Museum, you had a sort of a small giveaway ceremony. Do you
want to talk a little bit about that? What we're looking at here is that quilt
is stored flat in the archives of the International Quilt Museum and do you just
want to share maybe a little bit about that? [Susan Hudson] Yes, that was a real
kicker for me because when I make the quilts,
I have a connection with the quilts, but the quilts decide where they're going
to go. And it had been at the Eiteljorf Museum in Indianapolis and so they
shipped it over to the International Quilt Museum. So, I didn't have anything in
between and I wasn't, I was not expecting, you know, for the offer to come
through. And so, I was still connected to the quilt and what I needed to do was
to hand it over. So, the quilt belonged over there. It still didn't have that
attachment to me. And so, that's why I had asked if I can go over there and do
what I needed to do for myself and for the quilt. And it was, it was, you know,
it was pretty cool and I was really appreciated that when I went over and said
my prayers and everything. And I had, because once I do that, I can't touch it
anymore. Once I touch Mother Earth and stuff, I give it to somebody that's, you
know, in the middle of that which was you and then, you know, you know, and I
hugged it and I talked with it. And, you know, the tree was right there and then
I handed it over to you and then slowly that bond would go over and then when
you handed it over and it was done. It belongs to you. I do that with my quilts.
[Teresa Duryea Wong] Yeah, it was a beautiful moment. You talk to your quilts.
[Susan Hudson] Yes, I talked to them because they have life. It's life. It's
stories. It's something that maybe a lot of people out there that are Navajo or
maybe from another tribe or someplace else that they can look at and they can
relate. We all have those stories in our life. I wanted to make sure that people
understood what I was doing. And it was, especially between the quilt
and I, because like I said, it's the spirit helps anybody help me do that. And
the quilts have spirits with them. And that's what I wanted to do was to let it
go and go where the home that it chose. [Teresa Duryea Wong] And it really, I
mean, I think this is an aesthetic that is so unique to you, Susan. This really
comes through in your art because you're putting your heart and your soul and
your history and, you know, the memories of your family and your, you know, your
hopes for the future. I think we can see all of these things in your art, such a
beautiful, really treasures that you're creating and sharing with all of us. And
I think as viewers, we learn a lot through your art and appreciate, I think, get
a better appreciation of the story that you're sharing with us. Okay, I
appreciate that. And then this is another quilt. This is one that is part of the
Smithsonian National Museum of the American Indian, and very much telling a
story here. I want you to walk us through this story, but also I want to point
out, so what you're looking at on this particular slide is the front and back of
this particular quilt. And on the back, photographed here with the back are some
of the ribbons. Susan is, you know, so many awards that she has won. When she
finishes her art quilts, they're just immediately snapped up by museums or
collectors. But this is one of your first big awards, I think, that you're super
proud of. Do you want to talk a little bit about this one? [Susan Hudson] This
one, everybody calls the tears. It's called Tears for Your Children, Tears of
Our Children. And I wanted to honor my ancestors. Well, mostly emotional. Honor
my mother. And I wanted to show
that how the government came in, the missionary schools, the government schools,
all the schools, the important schools that the kids went to, that we had these
beautiful clothes. We're beautiful. You know, we have all these clothes and, you
know, and there's a behind a lot of them. And then when they went to these
schools and stuff, they just destroyed, you know, the genocide that happened.
When they put us, I call them the little house in the prairie clothes because
they were butt ugly. They put them in the uniforms and stuff. And so if you look
at some of the pictures that they have out, you know, they show the boarding
school, you know, you see what the hair chopped down in their clothes. But what
you need to do is look in their eyes. You know, after this, look up, look a
picture, look up pictures, look in their eyes. They tell a story. So I wanted to
show that, you know, some of them with the girls with the little ribbons. My
grandmother, when she went to the boarding school, they chopped the hair down.
And, you know, then they would, during the time they wanted them to have those
curls like Shirley Temple. And, you know, our hair doesn't curl like that. Maybe
she said that it would have the rags in there, have the curls, and it wouldn't
work. So what they would do, the patrons would do was get mad, grab that rag
curl and cut it. And then sometimes be cutting their skin, they would be
bleeding, but they would get a little pieces of those rags and then make like
little bows. So they wanted to be beautiful. And then I show with a little boy
where he's holding his braids, where they cut his braids, because in our ways,
if you cut your hair like that, that means somebody has died. Now, when they
took his braids like that, he thought his whole family died.
You know, it was really, really traumatic. And then I showed on the bottom, you
know, this represents some of my family members. Senator Nighthorse, his
grandmas that survived the San Cri massacre. And a lady, Gina, her mom, who
survived the boarding schools, the traumatic, you know, the agony that she went
through, and then our holy people. But the one on the bottom is, I have a lot
of, you probably can't see it too good, it's outlines of the spirits. And so, if
you look at there, there's a wagon, and there's a little girl there, that's to
represent my mom. And then the soldiers keeping the women back, they would shoot
the parents when they would try to get the children. But what it is, is I mess
around with the wheels, and then with the flag and everything, I know people get
upset with me, but on the wagon, those aren't wheels, those are handcuffs. They
would make little handcuffs for these children. I mean, why would you put a
handcuffs on a little four year old or five year old? And so, this was to
represent my mom being in the wagon, being taken away, but the kids that went
before her and the kids that will go after. So, this was my tribute to them. You
know, yeah. [Teresa Duryea Wong] Yeah, it's a really beautiful tribute. And also
you're, you know, sort of recreating clothing in miniature here. These are, you
know, very small figures and the intricate details that you've put on all of
these with the beads and the braids and the pieces of leather. Can you talk a
little bit about that? That must be so difficult to work. It's so small like
that. [Susan Hudson] It's one of those where I was like, I didn't know what I
was doing. I'll tell you what, I'm
really good at French knots. Oh, that's good. I'm really good. Well, I grew up
the Cheyenne way, so I'm able to do a lot of this in publicized and then within,
you know, being Cheyenne too. So, I always tell the beaders, because on his
little vest, I did some beadwork on there. It took me six hours to do that. Oh
my God, I'm like, I can't bead. So, I always tell the beaders, hey, I'm not a
competition. But it was something that I needed to do and I wanted to make it in
the old style, the old style of clothing instead of the new style, because I
wanted to show how beautiful our clothes are. Even though in the Navajos that
you see them like that one, the lady in purple, that's what they use now, but
that's actually not what we used to use in the old days. How we used to dress.
This is something that picked up with the Army wives. They look at some of their
clothes, the skirts, and the velvet, and all of a sudden, I don't know who it
is, all of a sudden, you know, velvet, you know, somebody that could trade for
velvet made a shirt. So, there's a lot of stories of how we got our clothing,
but I just wanted to show we were more beautiful than the ugly little houses.
[Teresa Duryea Wong] Yes, definitely, which you're talking about the top panel,
which is really brown clothing. Depressing, just like them. Yeah, yeah. Yeah.
And this is a real and even more close up of those French knots that you love so
much, which are so beautiful. Yes, the French knots. [Susan Hudson] Yeah,
because what they did, they used to have the elk teeth, and they would, you
know, generation after generation, and elk don't have, you know, each one only
had a set. So you have to be a great hunter
in order to have a dress like this. I did the French knots and I did the
leather, and then I found some fabric and then made them into an eagle fan.
[Teresa Duryea Wong] Yeah, and this is a close up showing the wagon wheels which
are actually handcuffs. And Susan just described. And then this is a video I
really want to show you guys so I was able to go into the archives of the
Smithsonian National Museum of the American Indian, where I, I saw Susan's quilt
in person along with other quilts from another collection. And so these are some
of the collection managers, and they are carefully wrapping Susan's quilt back
up and I always think it's also, it's always interesting to watch how people
store quilts but all of the quilts there are rolled. And these women were very
meticulous doing a really careful job of caring for this precious quilt, and I
spent the whole day there and so many people were so interested that some quilt
lady came to see quilts and so people were coming in all day and this particular
quilt had quite a crowd around it earlier in the day so it was a real treat and
again this is the Smithsonian National Museum of the American Indian, their
collections archive staffs are kind of on the outskirts of Washington DC. So
that was, that was a real treat. So Susan let's talk a little bit more about
your heritage and not only are you telling kind of the painful parts of your
history but I think you also are trying to capture a little bit about your
future. And so you do focus a lot on the children. And do you want to talk a
little bit about, you know how you're trying to capture those stories for future
generations. [Susan Hudson] In,
in my thought process you know like I said before that, um, we have our own
creation stories, and we had changing moment, and you know the prayers I started
from there, and that the prayers from the beginning the time when our
Kinyaa'a'anii is because we're one of the four major plans that those women got
up every morning, and they put down the poverty, and they pray, not only for
them, but for the future, and I'm part of that future. And they went to what
they did the same thing, no matter how much they suffered and everything they
said the prayers for us. And when I say my prayers, I pray for my ancestors
thanking them for surviving because if they did not survive all that they went
through. I would not be here. And I think you know and I pray because my mother,
you know, chose me to be in her life. And so then I pray for my children because
they're doing great things and there were not that statistics were, you know,
edgy highly educated, our families highly educated, or my, my, my kids are
highly educated. And then I sit down and I talk with my grandkids and I involved
in with this because that is their history, and is a story, and nobody nobody in
this world is going to take it away. And when others would talk about, we can't
talk about this, you know, best stuff comes and they were silenced by my chase
their co talk because they couldn't talk about it. Well, I'm going to talk about
it and nobody's going to stop me, because I'm going to end up there and I don't
care, I'm going to be the activist, because these quilts are going to last way
beyond my lifetime. Hundreds of years from now because they'll be taken care of.
This is more important than me going out there wearing a pink hat, you know, I'm
going out there and you know protesting. Yeah, this
means more this is going to last more because no one's going to remember that I
was there, but they'll remember millions of people are going to see their
stories. And they're, and they're important to me. [Teresa Duryea Wong] So many
of your quilts are in such, you know, esteemed museums around the country to
definitely will be preserved for all time. Oh yeah, let's switch gears a little
bit you are involved in a really great project. So I did want to talk to us
about that real quickly, the Navajo quilt project. And this is a partnership
with French General. So there's lots of information on the French General
website. And do you want to talk a little bit about this particular project and
we'll show a few photos to have some of the people in your community that you're
working with. [Susan Hudson] Oh, I would be so happy to do that but you know
what, sorry. I know you're listening. Thank you. You don't know how much it
means to me to all the people that are out there, I have donated fabric because
I have grandmas that cannot afford fabric. They can't, you know, if you're from
the cheap kind of stuff, you can't afford to, you know, go down, you know, go to
town which is 80 miles away to go buy fabrics, and all the people with their
generous hearts that donate all this fabric and not only keeps them warm. We get
we get to check up on them we get to interact with them. They get the so they
get to tell stories they involve their children or grandchildren. You know,
telling stories laughing just getting along with each other, you know, and, you
know, math score for these kids have gone up because you know they have to learn
quarter inch five eighths of an inch, whatever, you know, seven, seven eighths
of an inch you know when you're making blocks angles you know they're they're
vast scores have gone up enough to, you know, the chapter house sheet screen
this is my chapter right here, she brings right here, what they've done
is they have started a sewing sewing circle, where they make things for the
elders they get the fabric from the devil donated to make up these quilts. A
couple of weeks ago just before Christmas in the chapter house. They went in on
all these tables and sewing machines together and they made was a Christmas
stockings. Teenagers that don't want to do any they were there, you know, making
Christmas presents and stuff and, you know, it goes all over the reservation,
you know, I've got people all over the help out, you know, and what the yarn
and, you know, yarn that's donated goes to some of our ceremonies in a lot of
them we especially in the wintertime we have, you know, anyway, anyway ceremony
we have your pitches. And you know you have to change your nine days so what
they do is they get that fabric and they give it out into whoever donates, they
get those blessings. You guys don't know from our in our way, you get those
lessons and you know it's really good and I really appreciate it. [Teresa Duryea
Wong] So this slide is some of the addresses, and we're going to link this on
the from the textile talks I know there's a lot of information to get on the
screen. But maybe you can just easily remember the stitch a quilt store in
Durango. They're one of the another sponsor partner with this along with Kari at
French General, so you can also that you can send donations in a fabric. Yarn
machines, even, and you can definitely call and get some more information or go
on the French General website so that's a really great project if you're
interested in helping support the Navajo quilt project. And lastly, I just want
to say there. I do have a book that came out earlier this year, and this is a
comprehensive book on the history
of Native American quilting for about the last hundred and 50 years or so. And
Susan is featured in this book so you can definitely see all of her quilts that
mostly that we've shown today, and her story is captured here as well. And if
you go to my website if anyone's interested you can use the code textile talk
for a discount 20% off and free shipping. Also, I donate $4 of every book sold
to the American Indian College Fund, and just at year end was able to wrap up a
nice donation for them from all of the books that have been sold so far so thank
you to everyone that has already purchased a book. So I'm super excited Susan to
have been able to present this textile talk with you. You're so amazing and
you're so generous with your time and talent and Sarah sharing all of your
stories with us and we just so much appreciate it. And so I guess I'll turn it
back to Amy if they want to go through questions or comments that we have in
the, the q amp a Teresa I'll let you look through the q amp a and pick ones
you'd like I think we've got a bunch of questions. [Amy Milne] Thank you so much
as always for for your candor and your, you know, you're so eloquent in the way
that you tell your story, and we all need to hear it so don't ever stop telling
your story for our community. [Teresa Duryea Wong] So we have lots of questions.
So a simple one I think you can answer quickly is when we were looking at the
ledger quilt with the horses on it. They're asking are these applique or painted
Okay, I can't remember. No painting. So another question is, I'm not sure that
all of our viewers understand you know the different cultures and the different painful
parts of history that different tribes went through and nations. So someone,
we've got a question, an anonymous question. Can you describe the difference
between the Long Walk and the Trail of Tears. [Susan Hudson] Well the Trail of
Tears was the Cherokee, Choctaws you know the seven nations over there, I think
there were seven nations, and the Long Walk with Navajos was when Kit Carson
came in the government, and they wanted to take us actually to Oklahoma, one of
the few tribes that came back to our, our sacred lands. Yeah. [Teresa Duryea
Wong] And so many of those stories and there's so many amazing books that you
can go out and read about all that different history, and, you know, it's just a
lot of information out there. We have another question about when your mother
and your grandmother were forced to so can you just describe like who were they
sewing for and what, what were they selling. [Susan Hudson] They were sewing a
lot of the uniforms you know because the kids they needed the uniforms and they
were sewing quilts. And I've always wondered why, because when you look at the
pictures in the boarding school to have the army blankets. So I always said well
where the quotes at so I figured that whoever institute that they were in we're
selling the books off and, you know, not giving it back to the kids you know or
feeding them properly or medicine or anything like that. It just, it was
horrible so it's like, what happened to the quilts but that's what I think.
Yeah. [Teresa Duryea Wong] So there's a question here about language and
language is one of the first things this is the question I'm reading that were
stripped away by the colonizers, and in my community and slavers. Have you made
quilts that do not include English but instead feature the Navajo language.
[Susan Hudson] Oh yeah I have one is called [title in Navajo language] That
one I sold it. at the Herd so if you want to buy one of my quilts you got to be
at the Herd because that's where I usually sell 'em real quick. I saw that one
and after I hold it up in 10 minutes. [Teresa Duryea Wong] Yeah. So and she's
talking about the Herd Museum of American Indian art in Phoenix, Arizona, and
there's a series of Indian markets that sort of go across the country, mostly
through the spring and summer and the Herd is kind of the first one right that
sort of kicks off that series. So when Susan works for a year or 18 months on
one particular quilt, she debuts it at the Indian market at the Herd Museum. So
that's why she's saying go, go to the Indian market at the Herd it's in March,
and you can be first in line to get one. [Susan Hudson] Yeah, I collected that
one that I saw there was like 10 minutes so that was the fastest, but last one
was the center fade I saw that right when they opened. Yes. [Teresa Duryea Wong]
And in 2022. I came to see you at the Santa Fe Indian market which was the
hundredth anniversary of that particular market which is really just astounding.
And it's a really beautiful market and so much art to absorb and take in. So
another person says that you have touched our heart, and another person says can
we get a Canadian quilt shop to carry Teresa's book, we're going to work on that
that's a really good one. What and here's another program what what programs are
available on the reservation for learning to so and is there a need for basic
sewing machines. [Susan Hudson] Yes, there is a need for basic sewing machines,
if you look online, it goes to French General, you'll see my studio I have a
studio in Colorado. Because all the sewing machine should be coming to me
because I know where to go because a lot of times,
people are really nice to send these sewing machines but a lot of times my
grandma's don't have electricity. So I have a really cool couple in St. Louis
that come out and bring the tunnel some sewing machines. I, they're beautiful,
but I'm traumatized bro because when I was little my grandma had on still
around, had one and we used to play with it. And then one day she kept telling
us that and we didn't realize she was sewing while we were messing around with
it then we wanted to get up and we had a double for that so total sewing
machines have traumatized me. [Teresa Duryea Wong] What and here's another
question. It's kind of a long question but I know we're running out of time so
I'm just kind of paraphrase, what do you need most for the Navajo quilt project,
how can people help you the most of fabric. [Susan Hudson] One thing. Number one
thing is fabric and adding. Yeah. [Teresa Duryea Wong] And your African batting,
so you can go on the French General website and find the Navajo quilt project
and all the addresses, plus we're going to have a link to those addresses with
this textile talk and Emma's just put that link to the Navajo project on the
French General site, and you can mail boxes of fabric directly to Susan, and
other people in her community as well as the quilt shop in Durango. [Susan
Hudson] Yes. Yes. In the stitch quilt shop in Durango. People have, you know,
bought sewing machines from them and or added to buy a gift certificate so if
there's a need we can go in there. Oh, that's perfect. Yes. It's much easier
than shipping fabric. Yeah, the end of the market. Yeah, yeah. [Teresa Duryea
Wong] Well, this is really great. I'm just so excited to such an honor to
interview you today, Susan, and really appreciate your time. And thank you to
everyone who's listening to this textile talk,
and I'll turn it back over to Amy to wrap it up. [Amy Milne] Thank you both so
much. What an incredible start to the Textile Talks New Year. That was a
fantastic talk, and I hope that many, many more people will be able to access it
by the recording. That's such a nice way to... Also, those who watched it today,
I saw someone say, I'm going to rewatch this. I just want to remind everyone
that the Quilt Alliance is a membership organization, and we have a new, brand
new start to the year. So we're going to have an open house on January 10th. So
if you're a QA member, just check your inbox later this week for a reminder. And
if not, it's a great time to join. You can join on our website for as little as
$30. Also coming up is the start to the season four of Running Stitch, a QSOS
podcast, which draws from QSOS interviews like this. There are over 1,200 in the
collection. So it draws excerpts, invites back guests who've already been
interviewed and new guests. And Janneken Smucker is the host of our podcast.
Wonderful. Coming up on January 16th is the next one. And I want to mention too,
next week's Textile Talk will be Cindy Grisdela, Abstractions in Color at the
Virginia Quilt Museum. That's presented by SAQA. That sounds like it's going to
be great. And you can find the link to register on all the partner
organizations' websites. And of course, registration is free. Thanks to our
sponsors and our donors. And you can make an individual donation to Textile
Talks if you're so moved. Emma can put the link to the donations page, if she
would, in our chat box. You can find it on the registration page for all the
groups too. But thanks for being here today. I hope you all have had a great
start to the new year. [Amy Milne] And we'll see you next week. Thank you.
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