Artist sought to illustrate Suquamish Basket Ogress story

The story of Snail Woman, the Suquamish version of the Basket Ogress, will be the second in a four-part children’s book series — and an artist is needed to help bring it to the page.

Suquamish Tribal Elder and storyteller Barbara Lawrence, who leads the tribe’s Since Time Immemorial curriculum development, has adapted the traditional oral story into book form.

Lawrence grew up hearing Coast Salish Basket Ogress story while picking berries with her aunties.

A few years ago, Chairman Leonard Forsman introduced Lawrence to the Suquamish-specific telling of the story, directing her to documented oral histories. Its distinctive ending is one she is saving for readers to discover.

Like the other stories Lawrence shares, its purpose reaches beyond entertainment.

“Every story I tell has something about being respectful, being responsible, being careful,” she says.

$17K award for selected artist

The Suquamish Tribe’s Education Division secured a second ArtsWA grant to pay for illustrations.

The book follows Gossiping Clams, illustrated by Samantha Robson. Once all four books are completed, they will be published as a set.

Details:

  • The selected artist must complete 17 illustrations by June 17, 2027. Applicants must be a Suquamish tribal artist, a local Coast Salish artist, or a direct family member in a local Suquamish family household.
  • The selected artist will be paid $17,000 for the completed project.
  • Interested artists must schedule an in-person appointment with Lawrence in her office to discuss the story. Appointments must be scheduled by Oct. 15, 2026, and take place before Oct. 31, 2026.
  • In addition, applicants must submit a cover illustration concept by Nov. 15, 2026. The Culture Committee will select the artist by the end of the year.
  • Digital design tools are permitted, but AI-generated art is not allowed. Deadlines are firm.
  • To schedule an appointment, contact Lawrence at blawrence@suquamish.nsn.us.

More than a Monster

The Basket Ogress carries a basket big enough to hold children. And she is hungry.

Stray too far from your family, wander too deep into the woods, stop paying attention while picking berries, and you might and yourself inside it.

For generations, Coast Salish children have grown up hearing versions of this frightening story. Also known as the Basket Lady, she appears in a distinctly Suquamish telling as Snail Woman, hunched beneath the basket on her back.

The warning seems simple enough: Stay close. Listen to your elders. Be careful.

But listen again.

The children are not helpless. The ogress can be defeated. And the person who needs the warning might not be a child at all.

As fall brings longer nights and a taste for scary stories, the Basket Ogress is stepping into view in a variety of new ways throughout the Suquamish tribal community, including:

  • An exhibit at La Galleria Art Gallery in Kingston featuring the work of four tribal artists set to premiere with a reception Oct. 3 from 4-6pm, and running through Jan. 3.
  • A special “Stories by the Fire” night Oct. 8 at the House of Awakened Culture from 5-8pm.
  • An upcoming children’s storybook produced by the Suquamish Tribe’s Education Division, now in search of a tribal artist illustrator.

For the people who grew up hearing about her, the story’s staying power comes from everything it can carry beneath the fright. Basket Ogress offers a way into something larger than a good scare, say tribal storytellers, and it’s just one of many traditional stories that teach young and old alike how to recognize danger, find their courage, and take care of one another.

The children fight back

Kate Ahvakana remembers listening to storyteller Johnny Moses on the beach as a child. Her mother, Peg Deam, brought storytellers and language speakers to Suquamish, and the family listened to recordings at home.

The Basket Ogress became a favorite. Years later, Ahvakana shared the story with her own daughter Shyla, who then began telling her friends at school.

For Ahvakana, the story holds more than instructions about behaving or staying out of the woods. It can help children think about situations they are not prepared for, people who might harm them, and decisions that carry consequences.

It also provides an example of children who overcome something terrifying.

In one version of the story, the ogress ends up in the fire, transforming into a swarm of mosquitoes.

“Being young, you can still fight back. You have a voice. You have a way to fight back,” Ahvakana says.

That is a different lesson from simply being afraid. The children recognize their danger and do something about it.

As listeners grow, other meanings emerge.

“If you hear a story for the fifth time, you’re like,‘I don’t remember that part,’ but now I remember it and I connect to it somehow,” Ahvakana says.

First, get their attention

Deam created her Basket Ogress coloring book during a period she remembers as a busy time of cultural renewal, when storytellers were sharing teachings across tribal communities.

Making a coloring book had long been something she wanted to do. When a publisher  offered the opportunity, she photographed local children Lisa and Andrew Jackson as models for the illustrations. With help from Vi Hilbert and another language collaborator, the book included English and Lushootseed text.

Deam used herself as the model for the ogress. Initially, she drew herself much as she looked. Hilbert objected: The Basket Ogress needed to be ugly, a scary monster.

The story had to get its listeners’ attention.

“Fear is one of the storyteller’s tools,” Deam says.

A frightening story can also be fun, Deam says, offering another way to experience feelings and learn to deal with them. But its lessons can reach well beyond the initial scare.

“You can hear it on one surface level, but you can always go deeper,” she says. “What makes it scary?”

In the Basket Ogress story, children have gone somewhere their elders warned them about. They enter a place they do not understand, where they must figure out what to do.

“You always have a choice, but the more you know, the better off you will be maneuvering yourself through just being a human,” Deam says.

For an older listener, that unfamiliar territory might be a university far from home or a city full of strangers. The surroundings change. The need to recognize danger, understand people, and make decisions remains.

Recognizing the ogress

Deam suggests that a young person leaving home might encounter plenty of basket ogresses: people who take advantage of someone’s money, abilities, or kindness.

Learning to recognize them is one lesson. Recognizing those tendencies in yourself is another.

“Don’t use people because they have more money than you,” she says. “Or don’t bully someone because they’re different. Don’t become the Basket Ogress.”

In that telling, the story asks adults to consider their own behaviors as carefully as it asks children to consider their decisions.

That is part of what connects scary stories to a much wider body of teachings, Deam says. Stories carry recognizable human traits: generosity and selfishness, kindness and cruelty, laziness, gossip,  and the willingness to help.

A character may remind a listener of a neighbor, a relative, or themselves. Recognizing that behavior creates an opportunity to decide what to do about it.

For Deam, these teachings reflect generations of people learning how to live together. They address the person who causes harm as well as the people affected by it.

“You don’t beat them up. You help them,” she says. “You help them understand. So many of our traditional stories come back to this recurring theme of what it meant to be a good human,” she says.

“And nobody finishes refining what that means,” Deam says. “Everybody should always be learning.”

What families carry forward

Lisa Jackson still has copies of Deam’s coloring book. She remembers posing on a beach log for the photographs, wearing her cedar regalia.

Today, she keeps the books as keepsakes. But she has chosen not to share the story with her young daughter.

“I don’t want to scare my kids into doing the right thing or making better choices,” Jackson says.

Her mother, Tina Jackson, told traditional stories, including a favorite about Blue Jay saving the sun. Scary stories were not part of their home life, Lisa Jackson recalls. For her own family, she emphasizes the cultural practices she knows best: weaving, canoe culture, song and dance.

Jackson still appreciates the Basket Ogress as art. Denita Holmes’ portrayal a few years ago remains one of her favorite Halloween creations.

The story can be treasured without every fami­ly telling it the same way—or choosing the same time to tell it.

A season to listen

For Ahvakana, fall brings people back togeth­er with plenty to share. Summer travels and canoe journeys become stories of their own. As the harvest season winds down and the nights lengthen, people reconnect through what they have experienced, as well as through teachings passed down to them.

What people bring home includes more than things they can touch.

“It’s stories and information,” she says. “Where we are coming back together and reconnecting in these ways.”

Storytelling has a place in everyday life, as well as in more formal gatherings. Stories also inspire carvings, weavings, books, and photographs. And they can travel with a child to school.

Ahvakana sees those connections in Denita and Joey Holmes’ new art exhibit set to open in Kingston dubbed “Basket Lady Returns.” A story told aloud becomes a cedar mask, a basket, and a figure among the trees. Someone encoun­tering the art may find a new reason to listen.

And someone who has heard the story for the hundredth time may finally hear a piece that makes sense, Deam says. Experience gives listeners new ways to understand what has been there all along.

“You incorporate that into your life, and the un­derstanding becomes deeper and deeper,” she says.

The Basket Ogress can get a child’s attention in an instant. Her teachings can continue long after that child has grown.

“They’re all saying the same thing,” Deam says. “Grow up to be a good person, and here’s how to do it.”

The Basket Lady returns to Kingston

The Basket Lady is back. Also known to Native people across the Salish Seas as the Basket Ogress, she is on the hunt. And just in time. That’s because, for Denita Holmes, fall is her season.

“This is the time of year when it’s getting wet, cold, and dark,” she says. “And it’s soup season, and to me that fits, because that’s what the Basket Lady is trying to turn chil­dren into.”

The dark humor fits the hungry, child-snatching figure at the center of “Basket Lady Returns,” a new exhibit by trib­al artists, and dynamic duo, Denita and Joey Holmes, running Oct. 3 through Jan. 3 at La Galeria in Kingston.

The exhibit builds on the couple’s now-leg­endary Sasquatch and Basket Ogress cos­tumes created for Halloween in 2023. This time, woven pieces accompany a series of photographs captured by Suquamish tribal artist Vincent Chargualaf, telling the story of the ogress.

For Denita, bringing the character to life meant experimenting with a familiar mate­rial in a new form. She wove cedar around a simple plastic mask, working vertically and horizontally, strip by strip. Binder clips held the strips in place as she worked.

A photograph by Daniel George inspired another element of the exhibit: the cedar face resting among bright green ferns. Holmes plans to place a mask in a shadow box with artificial and real fronds. Like the ogress herself, the exhibit will transform as the real ferns dry and turn brown.

“I want to see this cedar face mask kind of morph into it,” she says, “like it’s there but then camouflaging with it over time. I can’t wait to see that.”

For Holmes, who remembers hearing about the Basket Ogress as a child, the story carries meaning that transcends a simple scary story for kids. She sees it as a reminder to be aware of dangers beyond what people can readily see.

“I definitely don’t think there’s a lady out there snatching up kids,” she says. “But I do believe that there are things out there that could harm us, spiritually and emotionally, and we need to be vigilant of the dangers that are out there.”

Native Votes, Native Voices: Your 2026 Voting Guide

Q: Why does voting matter in Indian Country?

A: Voting is one way Native people can exercise our collective civic power. Decisions made by elect­ed officials affect Tribal sovereignty, treaty rights, education, healthcare, natural resources, and the well-being of future generations.

Tribal sovereignty exists independently of state and federal elections. Voting gives Native people an additional way to participate in decisions that affect our communities.

Whether you vote regularly or have never voted before, your voice belongs in the process.

Q: When is Washington’s General Election?

  1. Election Day is Tuesday, November 3, 2026. The voting period begins October 16. All of Washington votes by mail, so all registered voters automatically receive a ballot at their designated mail delivery location.

Q: How do I register or check my registration?

  1. Visit VoteWA.gov to register, update your address, or check your registration status.

Important deadlines:

October 26: Online and mail-in registration deadline. Mailed forms must be received by this date.

November 3: Register or update your infor­mation in person at a county elections office or designated voting center by 8 p.m.

Q: How do I cast my ballot?

  1. Fill out your ballot, place it in the provided envelopes, and sign the return envelope.

Return it by mail – no stamp required – or use an official ballot drop box. Mailed ballots must be postmarked by November 3; drop boxes close at 8 p.m. that day.

Mail early to avoid delays. Track your ballot at VoteWA.gov.

We strongly recommend that if you are returning your ballot after October 26, to place it directly into a ballot drop box. This will help avoid the potential for complications should any further Federal challenges to mail-in ballots arise after election day.

There is a ballot drop box located outside the Tribal Admin Center on Suquamish Way. To lo­cated other drop boxes, go to VoteWA.gov.

Q: What protections exist for Native voters?

  1. Washington’s Native American Voting Rights Act (NAVRA) helps address barriers facing voters in Indian Country.

Eligible voters living on reservations or Indian lands may use nontraditional residential addresses. Tribes may designate government buildings for voter registration addresses, in alignment with precinct requirements.

Tribal identification is accepted for voter reg­istration and at voting centers even without an expiration date or residential address.

Federally recognized tribes with reservations may also request ballot drop boxes on their reservations.

Q: Can I vote if I have a felony conviction?

  1. Yes, if you meet Washington’s general eligibil­ity requirements and are no longer incarcerated for a felony conviction, voting rights are automatically restored upon release from prison.

You must register again, even if you were previ­ously registered. You do not need to complete pro­bation, pay outstanding legal financial obligations, or obtain a certificate of discharge.

Register to vote online at VoteWA.gov.

Q: Are Native candidates running in Washington this year?

  1. Yes! Native candidates appearing on the No­vember ballot include:

Maria Littlesun, Skokomish, running for State Representative in the 35th Legislative District, Position 2.

Debra Lekanoff, Tlingit, running for State Rep­resentative in District 40.

Claudia Kauffman, Nez Perce, running for State Senate in District 47.

Chris Stearns, Navajo, running for State Repre­sentative in District 47.

Jennifer White, Makah, running for Clallam County Treasurer.

Renee Hernandez Greenfield, Cochiti Pueblo, running for State Representative in District 26.

Candidates on your ballot will depend on where you live. Visit VoteWA.gov to see your candidates and read the voters’ pamphlet.

Q: What if I need help?

  1. Contact your county elections office or call Washington’s voter information hotline at 1-800- 448-4881.

You can also reach out to Native Vote Wash­ington through any of our social media channels, or you can contact our Director, Zara Stevens, at zara@waconservationaction.org or (206) 631-2612.

Voting is your choice. Make a plan, learn about your candidates, and exercise your right to partici­pate.

Native Vote Washington’s mission is to foster full participation of Native communities in the democratic process by promoting civic engagement, advancing equitable representation, and cultivating Native leadership grounded in community values and Tribal sovereignty.

Suquamish archaeologists protect the past for future generations

No two days look the same for Stephanie Trudel and Taylor Harriman, the Suquamish Tribe’s two on-staff archaeologists. Some days involve deep dives into research; others are spent monitoring construction projects in the field.

And then there are surprise assignments, like the one that recently turned Harriman into an internet sleuth.

It all began when someone told him about a Facebook post about a Port Orchard resident who’d found a projectile point in his backyard.

“I didn’t have any other way to contact the person, so I just messaged him through Facebook,” Harriman said. “I said, ‘Hey, I’m not trying to be weird or anything, but I work for the Suquamish Tribe, and I would love to learn more about what you found.’ I had to keep reassuring him that he wasn’t in trouble.”

Eventually, Harriman gained the resident’s trust and learned that the projectile point had been found in the hills above Port Orchard, away from the shoreline where most cultural sites are located.

“Every piece of new information matters and helps strengthen our records,” Harriman said.

Those records, maintained by the tribe’s Ar­chaeology & Historic Preservation Program, help identify, preserve, and protect cultural resources throughout the tribe’s territory. The information collected helps ensure that places tied to Suqua­mish history, culture, and ancestors are considered before development occurs, protecting the cultural resources. Those records also include interviews conducted by Traditional Heritage Specialist Mari­lyn Jones.

Any construction project that uses federal or state funding and falls within the tribe’s “Usual and Accustomed” area must be reviewed in consultation with the tribe. In addition, projects within the U&A area that trigger review under Washington’s State Environmental Policy Act also require consultation.

As a result, Trudel and Harriman respond to an average of 2,000 requests each year. As the rate of development increases across Western Washington, that number is expected to grow.

“Ultimately, our role is to protect historic sites and preserve these nonrenewable resources,” said Trudel, who also serves as the Tribal Historic Pres­ervation Officer, a partially federally funded grant position through the National Park Service that assumes the responsibility for preserving cultural sites on tribal lands.

In the past, archaeologists often excavated sites and removed the artifacts, essentially destroying sites in the process.

“Now, it is about avoiding, mitigating, and min­imizing impacts. The best thing to do is not call attention to the area,” she said.

In fact, to protect sites from looting and vandal­ism, information identifying the exact locations of archaeological sites is exempt from public disclo­sure under Washington state law.

And what about land that has already been dis­turbed by underground utilities, roads, or founda­tions? Does that mean nothing of cultural signifi­cance remains to be found?

Both Trudel and Harriman answered with an emphatic “No!”

They shared several stories of artifacts being discovered when existing structures were repaired, replaced, or upgraded.

“People are often surprised to learn that just because a bridge was built 50 years ago, it doesn’t mean the area was properly evaluated for items,” Harriman said.

Trudel and Harriman work to provide thorough and timely consultations, often turning around requests in a matter of days. When they have concerns about the impact of a project, they rec­ommend an outside professional archaeologist be hired to monitor the site during ground-disturbing activities. In those cases, Trudel and Harriman often join field monitoring efforts.

While archaeology focuses on layers from the past, Trudel and Harriman said their work is ulti­mately about serving future generations by ensur­ing important history is preserved.

“We are honored to do such important and meaningful work,” Trudel said. “We’re safeguarding things for the future,” Harriman added.

DID YOU KNOW?

Glacial Till

Because there is so much vegetation in the region, it’s highly unlikely that artifacts will be visible on the surface. In fact, when archaeolo­gists survey local areas, they often probe 18-48 inches deep through years of accumulated vegetation before reaching glacial till. Glacial till is the heavily mixed sediment deposited by glaciers at the end of the last ice age and is typically grayish-blue in color. Once they reach that level, they gauge that if nothing was found in the soil above, the area most likely doesn’t contain artifacts.

Shell Middens

Shell middens are a common indicator of village sites and can be several feet deep. Mid­dens often contain shells, animal bones, char­coal fragments, hearth stones, tool fragments, and sometimes even seeds or pollen. They help identify what daily life was like in the villages.

Beachcombing

Living in western Washington provides easy access to miles of shoreline along Puget Sound, making beach walks and beachcombing a pop­ular activity. So, what should you do if you find something on the shore that may be of cultural significance?

“It’s human nature to pick up interesting things,” Trudel said. “But the best thing to do is to leave it in place, take a picture of it, and contact us with details of the location.”

If it is something small and at risk of wash­ing away, it’s OK to pick it up, but if you do, please take a picture of where you found it and contact the Archaeology & Historic Preserva­tion Program. They will advise you on the next steps and will let you know if it is something that the Suquamish Museum may be interested in adding to its collection.

Contact information:

THPO@suquamish.nsn.us

New BIMA exhibit showcases Indigenous craft and Suquamish style

A new exhibition at the Bainbridge Island Mu­seum of Art showcases Suquamish artists alongside Indigenous makers from across the Salish Sea region, bringing together weaving, jewelry, cloth­ing, and other works that connect generations of cultural knowledge with contemporary creativity.

On view through Nov. 1, “Indigenous Craft” features more than 20 artists, including Suquamish artists Barbara Lawrence, Betty Pasco, and Denita and Joey Holmes. Suquamish Foundation Director Robin Little Wing Sigo co-curated the exhibition, which includes ceremonial regalia and modern fashion alongside wood carving, ceramics, glass, and textiles.

To celebrate the exhibit, the museum recently hosted a special daylong event dubbed “The Abun­dance of Salalberries pədt’aqa: Celebrating the Suquamish Tribe,” featuring traditional song and dance, curator-led tours, weaving activities, craft demonstrations, and screenings of “Sovereign Style.”

The stories behind what people make — and how they choose to wear it — took center stage during a panel discussion with Sigo and Suqua­mish tribal artists Vincent Chargualaf and Chelsea Jones. The panelists explored how clothing and jewelry express identity, carry family connections, and help shape the future of Indigenous culture.

For Jones, a paralegal, that includes bringing Suquamish style into the office. Jewelry, scarves, and other details allow her to express who she is within the expectations of a professional wardrobe. For the panel, she wore beaded earrings as decora­tive accents on her blazer, adapting an idea she had seen online.

Her grandmother’s influence remains especially strong. Jones inherited jewelry and clothing from her grandmother and now wears those pieces alongside her own. She also carries forward the sewing and beading skills her grandmother taught her, making ribbon skirts for her mother and help­ing prepare her mother’s graduation regalia.

Chargualaf ’s interest in documenting Indig­enous style led to a photography project during Canoe Journey. They began asking people to pose with their earrings, drawing on relationships with family, friends, and youth they had worked with. As others saw the photographs being taken, more wanted to participate.

About 50 pairs of earrings later, Chargualaf had assembled a collection of portraits showing the people, artistry, and individual choices behind the jewelry.

Chargualaf described photography as a kind of time machine, preserving a moment along with the memories surrounding it.

“You’ll know exactly what was going on in frame, out of frame, around them, what the sounds were, what the smells were,” they said.

Chargualaf ’s photographs also document an evolving fashion culture, where artists introduce new designs and wearers give them their own meaning.

Sigo challenged the idea that fashion is a minor concern.

“Fashion gets put in this frivolous place,” she said. For Indigenous people, she explained, those choices can connect family history, cultural iden­tity, and hopes for future generations. Her interest in Indigenous futurism includes making room for imagination, joy, and possibilities beyond the demands of survival.

The discussion also questioned distinctions between art and craft. Sigo recalled asking people to contribute ribbon shirts to fashion shows, only to hear that their work did not belong because they had simply sewn something for someone to wear.

She saw creativity and skill deserving of recogni­tion. The panel encouraged visitors to consider the time, labor, and cultural knowledge behind hand­made work — and to support Indigenous artists by buying directly from them and paying their asking prices.

For Chargualaf, the connections behind an outfit are part of its meaning: the artist who made a piece, the relative who selected it, and the person who decides how to wear it.

The exhibition offers visitors a chance to explore those connections for themselves. “Indigenous Craft” continues through Nov. 1 at the Bainbridge Island Museum of Art, 550 Winslow Way E. The museum is open daily from 10am to 5pm. Admis­sion is free.

Mentorship program relaunch brings youth and volunteers together

Tribal youth and prospective mentors gathered at the House of Awakened Culture Sept. 17 to re­launch the Suquamish Tribe’s mentorship program, bringing students and adult volunteers together for lunch, conversation, and a chance to begin building new connections.

The event included an overview of the renewed program, a panel discussion with former mentors and mentees, and a bingo-style speed mixer de­signed to get students and volunteers talking.

The mixer sent students around the room look­ing for adults who matched interests and experi­ences listed on their bingo cards — an easygoing way to break the ice before formal mentor pairings are made.

Chief Kitsap Academy Principal Lucy Dafoe said the program is intended to create lasting re­lationships between students and trusted adults in the community.

“We want to have three luncheons throughout the year,” Dafoe said. Between those gatherings, mentors and mentees will have a menu of activi­ties they can choose from together, ranging from individual outings to group activities.

While more than 80 students have expressed interest in participating, about 37 adults had vol­unteered as mentors at the time of the event. CKA students will take part in the program, tribal youth from other local middle and high schools can opt in as well.

Relationships that last

During the panel discussion, former mentees and mentors reflected on the relationships they built through earlier versions of the program.

Brandy Boure recalled outings to Seattle, indoor skydiving, movies, lunches, and other experiences with her mentor, Randi Purser.

“I just loved being able to experience a bunch more stuff while getting a mentor that would help me out too,” Boure said.

Vincent Chargualaf remembered a very different kind of mentoring relationship.

His mentor, Gyasi Ross, would pick him up before or after school to work out.

“He would show up at my house, pick me up whether I was ready or not, and we would go,” Chargualaf said. “We would lift for a little bit, then just talk about life.”

Over time, Chargualaf said, he came to under­stand that those workouts were about far more than exercise.

“He was trying to show me some things — how to stay healthy and how to navigate things that I might be struggling with while I was 16 or 17 years old.”

Della Crowell said her relationship with a former mentee was built mostly through phone calls.

“We spent a lot of time talking about the day, talking about issues or concerns that she had,” Crowell said.

Years later, the two still occasionally exchange texts and emails.

Crowell also emphasized the importance of having another trusted adult available when young people may not feel ready to talk with a parent.

“Sometimes there are things you can’t talk about with your parents,” she said. “Sometimes that’s something you can talk to us about.”

Making the first connection

Panelist Denita Holmes encouraged both men­tors and students not to worry if their personalities do not seem like an obvious match at first.

Holmes recalled being extremely quiet as a child, so much so that teachers paired her with an outgo­ing high school student who helped draw her out of her shell.

“She was the exact opposite from me,” Holmes said. “But the way she helped me grow up as a teenager to a young adult to an adult now really helped me.”

Her advice for the first mentor meeting was simple: come prepared to ask questions.

“Where did you grow up? What are your in­terests? What’s your favorite color?” Holmes said. “Even those little tiny questions could make a connection.”

Dafoe said organizers also hope to build more intergenerational connections into the program. After meeting with Suquamish Elders, she said there was strong interest in greater Elder involve­ment, including the possibility of an Elders career day.

The mentorship program will hold additional group lunches in January and again in the spring, while mentors and students meet between those larger gatherings.

Anyone in the Suquamish community interested in serving as a mentor is encouraged to reach out to men­torprogram@suquamish.nsn.us.

October 2026 Suquamish News out now!

Public Health Update: Respiratory Illness

There have been reports of COVID-19 and other flu-like respiratory illnesses in the community. Taking a few simple precautions can help protect you, your family, and others.

Help Prevent the Spread of Respiratory Illness
  • Stay up to date with recommended immunizations for Flu, COVID-19, and RSV, if eligible.
  • Wash your hands frequently with soap and water. If soap and water are not available, use an alcohol-based hand sanitizer.
  • Cover coughs and sneezes with a tissue or the upper part of your sleeve. Throw used tissues away and wash your hands afterward.
  • Avoid touching your face with unwashed hands.
  • Consider wearing a well-fitting mask, especially when you are sick or will be around people who may be at higher risk for serious illness.
  • Clean frequently touched surfaces, such as counters and doorknobs.
  • Improve indoor air when possible by bringing in fresh outdoor air or using an air cleaner.
  • Stay home when you are sick.
When You Have a Respiratory Illness

Stay home and away from others, including people you live with who are not sick, when possible.

Symptoms of respiratory illness can include:

  • Chills
  • Fever or feeling feverish
  • Fatigue
  • Cough
  • Runny or stuffy nose
  • Sneezing
  • Headache
  • Sore throat
  • Decreased appetite
  • Muscle or body aches
  • New loss of taste or smell
  • Weakness
  • Wheezing
  • Vomiting or diarrhea
When Can I Return to Normal Activities?

You can return to normal activities, including work, when both of the following have been true for at least 24 hours:

  • Your symptoms are getting better overall; and
  • You have not had a fever and are not using fever-reducing medication.
Take Extra Precautions for the Next 5 Days

Even when you are feeling better, you may still be able to spread the virus that made you sick.

For the next five days:

  • Consider wearing a well-fitting mask when you are around others.
  • Practice good hand hygiene.
  • Improve ventilation or use cleaner indoor air when possible.
  • Consider physical distancing or testing when you will be around other people, particularly those at higher risk for serious illness.

If you develop a fever or begin feeling worse after returning to normal activities, stay home and away from others again. You may return to normal activities when your symptoms are improving overall and you have been fever-free without fever-reducing medication for at least 24 hours. Then take added precautions for another five days.

If You Are at Higher Risk for Serious Illness

If you are age 65 or older or have a medical condition that increases your risk of complications from respiratory illness:

  • Consider testing for COVID-19 or flu. At-home COVID-19 tests and some combination COVID-19/flu tests are available. Community Health and Healing House are not providing tests at this time. Tests may be purchased at pharmacies.
  • Contact your primary care provider promptly to ask whether testing or antiviral medication may be appropriate. Treatments for COVID-19 and flu work best when started early.
  • If you are an established Healing House patient, contact Healing House for guidance. Healing House does not accept walk-ins. If you cannot see your primary care provider, consider an urgent care clinic.
Managing Symptoms at Home

Most people with mild respiratory illness can manage their symptoms at home.

Helpful measures include:

  • Get plenty of rest.
  • Drink plenty of fluids.
  • Use over-the-counter medications, such as fever or pain reducers, as appropriate. Read and follow package directions carefully and contact your healthcare provider or pharmacist if you have questions.
  • Over-the-counter cough and cold medicines are not recommended for children younger than 6 unless directed by a healthcare provider.
  • Consider using a clean, cool-mist humidifier or vaporizer.
When to Seek Medical Care

Contact a healthcare provider if you or your child:

  • Have a medical condition that increases the risk of severe illness.
  • Have signs of dehydration.
  • Have a fever lasting longer than four days.
  • Have symptoms lasting more than 10 days without getting better.
  • Have symptoms, such as fever or cough, that improve and then return or worsen.
  • Have a chronic medical condition that gets worse.

Seek emergency medical care for trouble breathing, chest pain, or other severe or concerning symptoms.

This list is not all-inclusive. Contact a healthcare provider for any symptom that is severe, worsening, or concerning.

Sources

Centers for Disease Control and Prevention (CDC):

  • Preventing Spread of Respiratory Viruses When You’re Sick
  • Manage Common Cold
  • Preventing Respiratory Illnesses

Teaching Our Story

At tribal gatherings, meetings and community events, it is not unusual to find Suquamish Tribal Elder Barbara Lawrence with her hands occupied.

She might be listening to a speaker or visiting with someone while strips of cedar move through her fingers, gradually taking shape as one of the traditional Suquamish cedar hats she is known for weaving — intricate, beautiful and, importantly, made to be used.

Washington state educator Dr. Laura Lynn sees something of that same process in another of Lawrence’s creations, one that has taken years to bring together.

The Suquamish Tribe’s new Since Time Immemorial curriculum, Lynn says, is “a weave of so many of Barbara’s gifts: visionary, researcher, learner, sharer of historic knowledge, storyteller, passion, commitment, and generosity to support students and educators across our region.”

On Aug. 19, that long work reached a milestone as educators from school districts across Suquamish Tribe’s ancestral territory gathered at the Chief Kitsap Academy campus for the first professional development training on the tribe’s newly launched curriculum.

For Lawrence, the day was about much more than unveiling lesson plans. It was about relationship.

“Traditionally, when a big important thing happens,” Lawrence told the assembled educators. “We would send messengers out to go invite our neighbors and friends to come and witness the event.”

Those guests would be fed, given a place to rest and listen, entertained with songs and dances, and sent home with gifts.

“You’re witnessing that,” Lawrence said. “Cultural teachings on top of your academic teachings — and the cultural teachings are more important.”

Telling the Suquamish story

The curriculum gives middle and high school educators classroom-ready lessons developed specifically from a Suquamish perspective, including units on the Treaty of Point Elliott, treaty fishing rights, salmon habitat and the culvert case, housing, environmental issues, and contemporary tribal sovereignty.

The Treaty of Point Elliott unit provides the foundation for the others, beginning with Suquamish ancestral territory and place names and asks students to examine how maps themselves can convey different perspectives about land and ownership.

Later lessons move through the treaty and into contemporary questions — including how treaty fishing rights affirmed in the 1974 Boldt Decision eventually led to another landmark court fight over the state’s obligation to remove culverts that blocked salmon habitat.

The curriculum is designed to be interdisciplinary, connecting history and civics with science, ecology, geography and other subjects.

Chairman Leonard Forsman said its roots reach back decades.

After joining other tribal leaders concerned about low Native graduation rates, Forsman said a state study identified several underlying problems, including the absence of tribal history and culture in public-school curriculum.

That work helped lead to the state’s Since Time Immemorial Tribal Sovereignty Curriculum in 2005. But the state framework was always intended to lead educators toward the tribes whose lands their schools occupy.

The new curriculum allows Suquamish to tell that story directly.

“The more we learn about our first people the more it is good for everybody,” Forsman said. “It teaches us the real, true, factual history of the area.”

It also carries values that extend beyond a history classroom, he said.

“We want to take care of our elders. We want to look after our youth. We want to take care of the land, the water, and the air.”

Built by Suquamish

Creating the curriculum required years of research, writing and review involving Tribal Council and staff across tribal government, including Natural Resources, GIS, Housing, Education, and the Suquamish Museum.

The process was intentionally rigorous.

“Everything was cultivated with a keen eye,” Lawrence said. “If it wasn’t up to standard, for the elders of the tribe, for Tribal Council, for the teachers in the tribe, for administrators in the tribe, then it was reworked.”

In March, Tribal Council formally authorized the materials as the Suquamish Tribe’s Since Time Immemorial curriculum. The public rollout this summer also includes a new curriculum website embedded within the Education section of the Suquamish Tribe’s government website.

The site serves as the curriculum’s central hub, providing educators with lesson plans, teacher guides, presentations, maps, videos, historical documents and other resources. Middle and high school lessons are organized into units teachers can access directly from the site, along with supporting materials and a way to contact the tribe for assistance with the curriculum.

The site also opens with a new video welcome from Chairman Leonard Forsman, who introduces students and educators to the Suquamish people and their ancestral territory and explains the significance of the phrase “since time immemorial.”

“Our history did not begin with settlers,” Forsman tells students in the video. “It did not begin with a date in a textbook.”

Forsman traces the tribe’s connection to the lands and waters of the region back thousands of years, explains the continuing importance of the Treaty of Point Elliott and tribal sovereignty, and describes the cultural resurgence underway today — from Lushootseed language revitalization to carving, weaving, song, ceremony and the modern Tribal Canoe Journey.

He closes the video by asking students to consider themselves part of that continuing story, learning from the generations that came before while thinking about those still to come.

The rollout also introduces a new visual identity for the curriculum. Its logo, created by Lushootseed language teacher and tribal artist Joey Holmes, was selected from eight submissions by the tribe’s Cultural Co-op Committee. The central image draws from a photograph of Lawrence storytelling with children.

The website also incorporates the Unfolding Fern, a traditional basket design representing youth and learning that Suquamish Tribal Elder and artist Peg Dean originally created years ago as an emblem for the tribe’s emerging Education Department. The fern now appears throughout the curriculum site to identify materials developed and approved by the Suquamish Tribe.

“Everything has meaning,” Lawrence said. “They’re not just a design. They’re meaningful.”

At the Aug. 19 training, educators became the first outside group to work through the completed website and lessons.

Dr. Elise Washines, a Yakama educator who helped develop the curriculum, guided participants through the materials while emphasizing three concepts running through the work: relationship, respect, and reciprocity.

Washines contrasted those values with educational systems that can become focused primarily on evaluation — what students or teachers are doing wrong and what must improve next.

“There are ways to grow,” she said. “But before we even think about that, we have to think about all the moments that we appreciate, all the relationships that we’re building with each other.”

For Lynn, who previously helped oversee the statewide implementation of Since Time Immemorial through the Office of Superintendent of Public Instruction, that approach reflects Lawrence herself.

“Her tireless efforts to collaborate with districts and organizations establishes the foundation of positive relationships necessary to implement existing lesson resources and grow future learning,” Lynn said.

The curriculum, she added, stems from Lawrence’s “profound love of the Suquamish People, our lands, waters, and relatives of nature.”

From curriculum to classroom

Now comes the test Lawrence has been working toward for years: getting it used.

Seattle Public Schools is already preparing the Suquamish materials for its learning management system and incorporating them into the district’s required scope and sequence, said Shana Brown, a curriculum specialist with the district’s Native Education Program.

The district plans to use Suquamish curriculum during the second semester in seventh- and eighth-grade social studies and in high school U.S. history and civics courses.

“We got the support of principals so that principals can take that to their schools,” Brown said.

But making curriculum available and getting it into classrooms are two different things.

“Just getting the word out is a lot harder than you think it might be,” Brown said.

Educators at the training discussed ways to integrate the lessons across disciplines. One Chief Kitsap Academy teacher described connecting the curriculum with the school’s Ocean to Table program, where students fish for and process salmon.

Students could simultaneously learn the history behind what they are doing — from the Boldt Decision to treaty rights and salmon habitat restoration.

Other educators identified a need for help introducing tribal perspectives that may challenge what students — or teachers — previously understood.

That is where Lawrence says relationships remain essential.

Teachers should also be able to bring Suquamish cultural educators directly into their classrooms, she said — and schools need to recognize that expertise as professional work.

“School districts need to pay for cultural educators to come in, whether it’s storytellers or fishermen, or a clam digger — somebody cultural from the tribe to come and teach something,” Lawrence said. “It’s real work. It’s real, valuable work, and school districts need to plan for that.”

A living curriculum

The website currently includes two middle school units and three high school units, with the Treaty of Point Elliott serving as the prerequisite foundation. Elementary and early learning sections are planned as funding becomes available.

The work will continue to evolve.

 

“This is a living curriculum,” Lynn told educators. “So keep checking back in because we’re going to continue to refine and add resources.”

That includes videos, maps and other teaching tools as well as lessons connecting treaty history to issues unfolding today.

Acting Education Division Director and Chief Kitsap Academy Principal Lucy Dafoe said the launch is the beginning of an ongoing relationship with educators, not just a single training.

For now, Lawrence asked those attending the first training to make their own commitment.

“We’re saying, here we are,” Lawrence told them. “We’re helping you. We’re creating this and we have all these resources and we’ll help you. So please take informed action with us.”

The lesson of Young Crow

For all the years of research, legal review and curriculum development that brought the project to this point, Lawrence traces her own understanding of education much farther back.

Her first teachers, she says, were Suquamish Elders.

They gathered children to teach them everything from stories and songs to respect and responsibility — sometimes while taking them berry picking, clam digging, or cleaning at the cemetery.

As a child, Lawrence thought the stories told during those chores were entertainment.

Then one day, while the children were berry picking, her younger brother found a creative way to avoid working. Lawrence couldn’t help but notice that an Elder then soon told a story about Young Crow — who worked very hard at not working.

Something clicked.

“I suddenly realized this isn’t entertainment,” Lawrence recalled. “This is education.”

She began listening differently.

Decades later, that understanding is woven throughout a curriculum intended to reach thousands of students across Suquamish territory.

Like one of Lawrence’s cedar hats, the finished work is intricate because the knowledge behind it is interwoven from a history that stretches back thousands of years – literally, since time immemorial.

And it is also made to be used.

“Now the real work begins,” she said with a determined smile. “It’s time to get these lessons into the classrooms.”