Our second stop is this year’s Common Work of Art. They have continued the ceremonies that honor the land and their connection to it.” (319) “The people have endured the pain of being bystanders to the degradation of their lands, but they never surrendered their caregiving responsibilities. I’m interested in creating work and experiences that enhance awareness of nature’s resilience and fragility, causing the viewer to reconsider their actions and responsibility to all other beings.” As a researcher and an artist, I have come to understand that the visual arts powerfully serve as witness to our impact on the earth and advocate for urgent change. In this volatile time on earth, we have a responsibility to each other to build connections that will promote new ways of thriving and perishing thoughtfully. Often when I make work it is to attract or engage humans in this project I attempted to put the bees and their needs first. I chose the glaze colors of the flowers and the chambers by studying the way these bees see and what colors they are attracted to. The flower-like sculptures that sit above ground act as a visual indicator for the bees so that they can find their burrow as they are flying. Much of the work is what you can’t see-chambers below the ground to provide space for their burrows. Colletes are solitary bees but often nest near each other in aggregates and come back to where they were born to lay their eggs. At KU’s Interdisciplinary Ceramic Research Center, I utilized a ceramic 3D printer to produce sculptural habitats that protect native bees, preserve their pollinating range, and allow for further research of the species. Deborah Smith to design ceramic habitats for the Colletes genus of bees. Like so many species, ground nesting bee populations are being greatly impacted by climate change, pesticides, and habitat loss. “I was surprised to learn that more than 70 percent of the world’s bees are solitary and nest in the ground. The artist herself shared the following for our tour: Peek on the ground on either side of the main entrance to the Spencer Museum of Art to see these works. Our first stop is to view the first two of four total “Ceramitats” created by Brandi Lee Cooper, who served as KU’s artist in residence from 2019-2021. It is this dance of cross-pollination that can produce a new species of knowledge, a new way of being in the world.” (47)
Bruce king skywoman moment in flight how to#
It was the bees that showed me how to move between different flowers-to drink the nectar and gather pollen from both. “There was a time when I teetered precariously with an awkward foot in each of two worlds-the scientific and the indigenous. For each stop, we will begin with a passage from Braiding Sweetgrass, and then we will discuss the KU location and its relevance to campus history and sustainability. This page will guide you through the tour stops. Welcome to the KU Common Book Campus Tour. In consultation with KU’s Director of Tribal Relations, Melissa Peterson, this iteration of a land acknowledgment specifically omits the naming of tribal nations until stronger relationships are built and there is a better understanding of the land’s history where the University of Kansas resides.
As a state institution, we ask you to take the time to understand and acknowledge the history that has brought our institution to occupy space on Indigenous land and to understand our institutions' place within that history. Specifically, we reflect on the painful history of genocide and the forced removal while also committing ourselves to supporting the sovereignty of all Native American people and communities. In contrast to Eve’s story, then, the myth of Skywoman suggests that human beings belong to this land and should celebrate its gifts while also treating it with respect, gratitude, and humility.As we begin our tour, we acknowledge that the University of Kansas occupies land that has long been cared for by several tribal nations. She compares Skywoman to Eve from Judeo-Christian mythology: Skywoman is welcomed by the animals and plants a garden to be a home for her future children, while Eve is exiled from her own garden and told to subdue the harsh world beyond Eden. Kimmerer uses Skywoman’s story to illustrate how a culture’s mythology can shape their relationship to the land itself. There Skywoman dances the land into being, plants seeds and creates a garden, and later gives birth to a daughter. In this tale, Skywoman falls from her home the Skyworld to earth, where she is caught by a flock of geese and then helped by the other animals, who work with her to create a new land known as Turtle Island (as it is first created on the back of a turtle). Skywoman is an important figure in the Haudenosaunee creation myth, and Braiding Sweetgrass opens with her story.
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