Published on Oregon ArtsWatch, September 17, 2017, excerpted here
Death gives way to life, to regrowth, and to rebirth, but there is a certain nuance to the dying that has much to tell us about the times, observable in the particular ethos of destruction—be it environmental, social, or political. For Demian DinéYazhi´, a Portland-based indigenous queer artist born to the clans Naasht’ézhí Tábąąhá (Zuni Clan Water’s Edge) and Tódích’íí’nii (Bitter Water), ideas surrounding a death have become the lynchpin of an evening he has curated to honor “the labor and intelligence of indigenous and brown punk energy.” Set to take place Sept. 16 and happening as part of Portland Institute for Contemporary Art’s Time-Based Arts Festival, it will be a Death Dance.
A person of many practices, including poetry, visual art, curation, and organizing through R.I.S.E.: Radical Indigenous Survivance & Empowerment (of which he is founder and director), DinéYazhi´ is no stranger to culling a variety of mediums into one compelling happening. However, the name of the event was originated by another indigenous artist from the region, Sara Siestreem (Hanis Coos and American) in a pivotal conversation with DinéYazhi´ after the 2016 national election. “This is a conversation that I was having numerous times with primarily indigenous and activist-based friends,” DinéYazhi´ explained, noting their pervasive sense of being overwhelmed by the burgeoning of white supremacist momentum in the United States and its perpetuation by the government.