“Illuminating Heritage: ‘Living Light’ Shines Through Indigenous Photography in Dartmouth”

A new photography exhibition was unveiled this month at Dartmouth’s Hood Museum featuring Chemehuevi photographer Cara Romero. In what is one of her most significant solo displays to date, Romero combines traditional Indigenous customs and attire with contemporary environments, showcasing the vibrant Native communities of today rather than solely focusing on depictions of historical Native American existence.

This exhibition is titled “Cara Romero: Panûpünüwügai,” which means “Living Light” in the Chemehuevi tongue.

“For me, it represents a significant full circle [moment],” Romero expressed. “I aimed to share contemporary, authentic, and genuine narratives of lived experience among Native American individuals, addressing topics that I couldn’t find elsewhere but that offered a rich source of knowledge for young individuals to delve into our communities. So to have it here truly feels like a full circle for that.”

Romero divided her upbringing between Houston, Texas, and the Chemehuevi Valley Indian Reservation in southern California. Numerous photographs in the exhibit spotlight fellow Chemehuevi members and narrate tales of life within the Mojave Desert. This includes the industrialization and transformation of her homeland, exemplified by the large wind turbines that now punctuate the desert scenery.

Romero extended her efforts beyond her own community. Last year, she journeyed to Hanover to photograph Indigenous students at Dartmouth, donning regalia and in settings that honored their identities.

Romero collaborated with Teani Kristina Kawaipuhilani DeFries, a Native Hawaiian who graduated the previous year, in a distinctive location: underwater. They made this choice together, along with two other students from Dartmouth involved in the exhibit.

“We had settled on various ideas regarding what we wanted to convey through the photos, and we came upon the concept of the significance of water and ‘wai’ in Hawaiian culture and language,” DeFries recounted. “We aimed to illustrate the beauty of life within water, as well as hula.”

While participating in the shoot, DeFries donned a traditional hula outfit, which she found necessary to readjust every occasion she entered the water in the pool they used.

“I enjoy engaging in activities in water, but this was an experience unlike any I had before,” DeFries reflected. “And Cara is a pro… It was truly an incredible experience to connect with the water and contribute to the portrayal of my culture in any manner I can.”

DeFries’ image is now featured on brochures, social media platforms, and showcased nearly life-size at the Hood Museum. She described it as something she never anticipated.

“I honestly don’t feel deserving.” DeFries shared. “It’s really amazing to be able to play this minor role in Cara’s remarkable journey and her narrative.”

Romero’s exhibition was presented at the Hood Museum by Jami Powell, Associate Director of Curatorial Affairs and Curator of Indigenous Art. Powell, who is Osage, collaborated closely with Romero to curate and realize the stories depicted in the exhibit.

“[Romero’s] artistry challenges established beliefs about what it signifies to be Native American. It unveils the richness within our nations and communities,” Powell stated.

The Hood Museum operates as an educational institution, so Romero’s creations will be integrated into lesson frameworks at Dartmouth. Curriculum development will stem from the exhibition, extending even to schools in the Upper Valley. Powell emphasized that access to art and current narratives of Indigenous life is essential, particularly for younger audiences.

“I grew up during a time when the portrayals of Native peoples in museums were, at best, outdated. That’s, in my opinion, the gentlest way I could phrase it,” Powell recounted. “[The exhibitions] did not leave me with a positive perception of museums in my youth. Yet, other aspects of museums, like the pyramids and dinosaurs were incredibly thrilling. Hence, I believe this exhibition allows us to create those exciting elements through the installations, but also not detract from the awe-inspiring artwork Cara has produced for this showcase.”

Romero expressed that she values the ability to utilize art as a means to educate and inspire young individuals.

“Visitors can bring their personal experiences to this particular exhibit and uncover valuable information that is often difficult to access in a warm and welcoming manner,” Romero mentioned. “I desire for visitors to pose inquiries. I want them to reassess what they believe they understand about Native American individuals, about women photographers, and about the medium itself.”

“Cara Romero: Panûpünüwügai” is on display at the Hood Museum until August.