Capturing Culture: The National Language Through the Lens of Photography

Crouched at the heart of a plain with extending stalks, a woman adorned in a rainbow charm is present. She dons a traditional Indigenous black skirt adorned with white specks and embellished with hues of pink and green. Long, vibrant strands of braided fabric encircle her waist, elegantly cascading into the grass behind her. With eyes softly closed, a hand lightly brushing through her hair, and arms and legs snugly brought to her chest, her depiction epitomizes utter individuality, acceptance, and patience.

A term in Sauk captures the essence of this photograph by B.A. Van Sise: “opyêninetêhi.” In English, it translates to “my heart is taking its time.”

Within Van Sise’s photography exhibition On the National Language: The Poetry of America’s Endangered Tongues at the Skirball Cultural Center, Native American heritage shines prominently. One term from various rare Indigenous tongues—Tongva, Nahuatl, Plains Sign Language, among others—is depicted by Van Sise in a visual. Several words are also paired with a poem, titled with the English interpretation of the word. The beauty of these terms resides in their emotional and poetic significance, which only exists in the language from which they originate; through translation, their true meanings fade.

My experience at Van Sise’s exhibition is something I cherish deeply. He narrates the stories of each language in a distinct and engaging manner, conveying emotions across languages. I also admired his innovative use of photography, such as printing one image on tree bark and tearing portions of other photographs to uncover an image beneath.

Out of Van Sise’s 46 pieces, several photographs had a profound impact on me:

1. Plains Sign Language

Three successive gestures performed with the index finger, signifying “rising man”

The image showcases a figure oriented towards the camera, tilting their head towards the morning sun.

With weariness and resolve etched on the subject’s visage, I appreciate how Van Sise artfully connects the subject to the symbolic sunrise; in some manner, he seems to convey a feeling of rebirth and steadfast perseverance to his audience. Additionally, most connect with language on a spoken and written level, so I valued Van Sise’s incorporation of sign language!

2. Navajo

“hózhó,” meaning “striving for balance”

Laura Tohe, the former Poet Laureate, stands amidst a desert backdrop. Dressed in a striking turquoise gown and bracelet that aligns with the sky’s hue, her feet touch the ground while her body leans right, forming a diagonal alignment towards the audience. With her right arm slightly extended from her waist, she possesses the appearance of about to topple—but her eyes are closed, exuding tranquility.

So much captivated my attention in this photograph: the turquoise accents, the contrast of the word’s meaning opposing Tohe’s tilted position, her serene expression, and Van Sise’s interplay of light and shadow in the background. I enjoyed that this image provoked thought, inviting imagination and curiosity from its viewers.

3. Kuemyaay

“hmi’ches,” meaning “we grow and can keep growing”

The subject is clad in a straw skirt that merges into a field of muted amber straw.

This one intrigued me greatly as Van Sise facilitates a dialogue between humanity and nature, showcasing their capacity to thrive when given space to do so.

4. Chickasaw

“ishtaaonchololili,” meaning “I grow leaves from them”

This term reflects the deep-seated relationship a person has with their roots and ancestry. The artwork consists of an image of an individual wearing glasses printed on a tree slice, with a translucent overlay that reveals a secondary, underlain photograph of a framed headshot suggesting a departed relative. From the subject’s chest, a long strand of synthetic, slender leaves emerges, thickening towards its tip.

To me, Van Sise’s representation of this term was exceptionally original. I felt that its meaning presented a challenge to depict due to the context he needed to provide for the viewer’s understanding (like linking the concept of “growing leaves” as a metaphor for an individual’s lineage, and that the term “them” refers to one’s relatives) alongside the profound emotional resonance that this word holds within its language. The emerging leaves are an essential aspect; their three-dimensionality conveys the subject’s feelings intensely.

Moreover, I found joy in reading the accompanying poem with the photograph. The imagery, repetition, and metaphorical expressions communicate transcendent pride, connection, and purpose.

While the exhibition delved into each language’s history and contemporary relevance via a notecard beside each artwork, after the photographs and poems left such a significative impression, I desired more comprehensive explanations that offered details beyond merely the region where the language was utilized. I felt the descriptions lacked depth in thoroughly exploring the histories of the languages.

In summary, On the National Language effectively and beautifully examines the facets of language and, more importantly, the intricacies of human emotion. Van Sise’s skill in encapsulating immersive narratives in photo form within this exhibit is truly remarkable.