Hawaiian and Oceanic fibers culture bearer and contemporary visual artist Marques Hanalei Marzan speaks with Dakota Mace (Diné), an interdisciplinary artist working with alternative photography techniques, weaving, beadwork, and papermaking. The conversation will explore intersections in their practices including, topics such as material culture, Indigeneity in contemporary art, and how knowledge is disseminated through their work.

About the Presenter

Marques Hanalei Marzan (He/‘O ia) is a Hawaiian and Oceanic fibers culture bearer and contemporary visual artist born and raised in Kāne‘ohe, Hawaiʻi. His skill, knowledge, and experience are highly acknowledged within his community where he serves as a mentor and advocate, promoting sustainable gathering practices, perpetuating Hawaiian fiber techniques, and instilling indigenous values in his students. He trained under many esteemed experts in Hawai‘i including master weavers and broadens his understanding and awareness of indigenous Oceanic perspectives through active cultural exchange. Through these interactions, he strengthens his commitment to his culture and champions the ideals of continuity and innovation.

As the Cultural Advisor and the Wayne Pitluck and Judith Pyle Curator for Cultural Resilience at the Bishop Museum in Honolulu, Marques promotes the integration of Indigenous mindsets and practices within the Museum field. He assists cultural practitioners and the community with engaging ancestors and their creative expressions at the Museum and recognizes the need to legitimize Indigenous voices. He shares his understanding and passion of the fiber arts through public engagements and continues to encourage and excite new conversations and viewpoints. Marques bridges the innovations of the past with those of the present, creating dialogues within his work and community engagement that speak to the vibrancy and dynamism of culture.

Instagram: @keahopawalu

About the Moderators

Dakota Mace (Diné) is an interdisciplinary artist who focuses on translating the language of Diné history and beliefs. Mace received her MA and MFA degrees in Photography and Textile Design at the University of Wisconsin-Madison and her BFA in Photography from the Institute of American Indian Arts. As a Diné (Navajo) artist, her work draws from the history of her Diné heritage, exploring the themes of family lineage, community, and identity. In addition, her work pushes the viewer's understanding of Diné culture through alternative photography techniques, weaving, beadwork, and papermaking.

She has also worked with numerous institutions and programs to develop dialogue on cultural appropriation and the importance of Indigenous design work. She is an MFA in Studio Arts Faculty member at the Institute of American Indian Arts and the photographer for the Helen Louise Allen Textile Center and the Center of Design and Material Culture.

Her work is in the collections of the Library of Congress, Forge Project Collection, Whitney Museum of American Art, Everson Museum of Art, Amon Carter Museum, National Gallery of Art, and Museum of Contemporary Photography among other public collections.

Heidi K. Brandow (Diné and Kānaka Maoli) is an artist whose work prioritizes the inclusion of Indigenous people and perspectives in creating ethical and sustainable forms of creative engagement and artistic expression. Through her creative practice, Brandow explores themes of displacement, cultural identity, and the impacts of colonialism through the lens of the Kanaka Maoli and Diné peoples. Through her art, Brandow engages in social commentary and cultural reflection to spark conversations and raise awareness on vital issues.

As a Harvard Indigenous Design Collective co-founder, Brandow emphasizes Indigenous perspectives in design and advocates for their inclusion in the field's global discourse. She also contributes as a Master Artist Mentor at the Institute of American Indian Arts, guiding the next generation of artists. Brandow's roles with the Coe Center for Art, Santa Fe, NM, highlight her commitment to Indigenous empowerment and cultural material reclamation.