Written by Bryan Welsh, Cultural and Wellness Coordinator at Keweenaw Bay Ojibwa Community College
Boozhoo, aaniin! Biinidigan! Our featured Native American artist this February is Mary Kay Shalifoe, Zhaawa nuung oo kwe (Southern Star Woman), Anishinaabe Arts adjunct instructor). Mary Kaye and her husband, Anthony Shalifoe, of Baraga, MI, have four children and three grandchildren. Mary is a proud member of the Bear Clan (Makwa), and was born and raised in Zeba, Michigan. She earned her associate degree from Keweenaw Bay Ojibwa Community College (KBOCC) in 2016 and has worked as the college’s bookstore clerk since 2021. Deeply connected to her cultural heritage, she actively participates in traditional ceremonies and practices, bringing that rich experience to her teachings. Mary Kaye loves spending time with her family and enjoys the outdoors. She encourages others to live Mino-Bimaadiziwin—a good and balanced life.
It is a cloudy day on the reservation and a bitter coldness has settled into our area. Mary and I are sitting in the Three Sisters Café, sipping hot coffee and laughing too loudly at our own observations of ‘rez’ life. In other words, we are gossiping.
When did you begin your journey into Native Arts? “My journey to remember what was forgotten started when I was a little girl from my aunt, Virginia Shalifoe. She was the first person to ever sit with me and show me how to make my first ribbon skirt.”
What do you mean by what was forgotten? “My aunt instilled in me remembering what the government tried to take away from Native Americans: ours rights to practice our culture and traditions. She did not want me to forget what the Indians had gone through and are still going through. Returning to our ways is healing.”
What drives your passion to do what you do? Obsession, she says. Mary recalls when she was thirteen and the need to bead and make regalia was becoming an obsession. Mary also loved the stories passed down to her from Virginia. She would tell her how the Native American people were nearly destroyed by many years of assimilation and oppression. Virginia wanted Mary to know these skills and stories for a reason. “We were not even allowed to dance and make our own regalia until the seventies,” Virginia would remind Mary. “We would have to sneak off to Canada just to dance at Pow Wows.”
Do you consider Virginia your mentor today? Yes, Mary replies. Mary keeps in mind a time when Virginia told her there was no concept of perfection; only the creator is perfect. Her aunt shared the story of the spirit bead; a deliberate mistake of humility to remind humans they are not perfect. Yes, make a mistake, but learn from that mistake. Mary commemorates this teaching by including a spirit bead in all her works. Virginia also taught Mary to use only what you need and do not waste, especially the materials needed to make earrings or a skirt. “Have a good heart and mind when you are making regalia or earrings for your relations,” her aunt said.
Where does your inspiration come from? Mary looks right at me and says, “If they can do it, so can I!” Mary does not let obstacles get in her way. A lot of Mary’s beadwork and regalia represent something more than a tangible outcome. Her Native Art represents resiliency by continuing in Native ways of being and doing so despite the assimilation processes Native Americans have endured since colonial contact.
Mary’s thoughts on why working with other TCUs grant program is important. “Working with other TCUs is advantageous to Native American students because it provides a way to keep Native Arts alive for future artists. Grant monies targeting TCUs support them in carrying out their cultural callings by bringing down-to-earth, place-based, cultural learning experiences in traditional and contemporary Native art knowledge and skills to our people.”
As Mary and I finish our last cup of coffee and near the end of our storytelling, she casts her eyes on me. I regard her too. I can tell she wants to shed tears. I feel as though I have stepped and traveled though Mary’s timeline; feeling strengths, sadness, and turmoil as she mulled over past archives in her place of memories. “I am thankful, and I am happy you chose me to talk with. Talking with you helped me remember what I almost had forgotten and the reason I do what it is I do: Mino bimaadiziwin.”
