Episode 20: Dante Biss-Grayson

On this episode of Not Invisible: Native Peoples on the Frontlines we speak with Osage clothing designer, artist and MMIWGT2S advocate Dante Biss-Grayson. We discuss his clothing label Sky Eagle Collection, his advocacy and activism, and what it was like working on the upcoming film “Killers of the Flower Moon” starring Lily Gladstone, Tantoo Cardinal and Leonard DiCaprio.

"After finding out about the missing and murdered Indigenous women epidemic (MMIW), I looked to my daughter, so little, and wanted to see what I could do to protect her, and protect my sisters. I began to design works that I hope inspire others, give them strength, pride, hope, empowerment, and resilience. This is when the Sky-Eagle Collection was born. " - Dante Biss-Grayson

To learn more about Dante and his work check out his website skyeaglecollection.com and be sure to follow him on Instagram at @skyeaglecollection.

This episode of Not Invisible: Native Peoples on the Frontlines was produced by Viktor Maco, Spirit Buffalo and J.B. Hart. Edited by Abbey Franz. Research by Sarah Rose Harper.  Hosted by LeAndra Nephin.

Our theme song is Another Side, by Wild Whispers, Produced by Ben Reno, Eli Lev, and  Megan Leigh. 

This season of Not Invisible is produced with support from Earth Rising Foundation, and our Patreon Producers, Kathey Duerr, Reena Krishnan and Brenda George.

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Transcript

Dante Biss-Grayson  00:00

I mean, I hope for the future generations to one, hold on to their traditions, their ceremonies and their ways, because that's how we were taught always to hold on to that. But also to walk tall, you know, and don't stand down, get educated, go out there and get that master's, get their PhD. And then bring it back. Go see the world. Bring it back, though, and then you know, teach that next generation

LeAndra Nephin  00:27

Welcome to another episode of not invisible native peoples on the front lines. I'm your host Leander Nafion. Joining us today is Osage artists, fashion designer and MMI. W advocate Dante vis Grayson, we will be discussing his clothing label sky Eagle collection, his advocacy and activism and what it was like working on the upcoming film killers of the flower Moon starring Lily Gladstone, town to Cardinal and Leonardo DiCaprio, thank you for joining us. Dante, welcome to our virtual couch. I'm really excited to have this conversation with you. I wondered if you could just introduce yourself to our listeners.

Dante Biss-Grayson  01:10

Sure thing. First off, thank you for having me. I'm Dante beste Grayson. I'm Osage, and I'm from the eagle clan. I'm a straight answer. I'm also a veteran who served quite quite a long time overseas. I'm also a artist, and fashion designer. So happy to be here. I do a lot of projects and just a wide variety of different advocacy as far as bringing awareness philosophy that I have is to bring more awareness to the issue. Hopefully it inspires action. So that's the core of what what I'm doing right now.

LeAndra Nephin  01:49

Yeah, and it's such important work as well. I guess I want to just rewind a little bit, let's just take it back to the beginning. I know you mentioned that you served in the forces in the military, you're a veteran? How did it all get started? What's that like for you as a indigenous male kind of being involved in the military and traveling far away from your homelands?

Dante Biss-Grayson  02:09

Well, you know, I grew up around original, you know, Southwest artists, you know, my mentor, stepfather, irbis, Gina Gray, there was a whole circle back in the Institute of American Indian Arts. So back in like the 60s and 70s, right when it was really going with like TC cannon and follow them. So I grew up around it, and then became, you know, an artist myself, very, you know, interested in design, history, culture philosophy, I was one of the youngest ones to ever be accepted to an art academy in Amsterdam. And so I went to Amsterdam, and then four passports later, I started traveling a lot, seeing a lot of culture, join the military, and that was before 911. And then I was just going to do my four years, you know, finish up my degrees. And you know, it was nice, because I got stationed in Italy, but then 911, and the war kicked off. And it was just a nonstop barrage of, you know, missions, that type of thing. I was on search teams, I was on chemical response teams, munitions, response, teams, fire protection, so it was a whole thing. And training is, you know, basically never let anybody you know, left behind that type of thing. So that's why I just, I spent so much time overseas, even after I got out of the military, I was a contractor, a lot of missions, right. And then going through four passports, I've seen, you know, tons of countries, tons of cultures, and it just a real broad experience of, you know, being as a native, but being abroad and foreign lands a lot of similarities to different cultures out there. And a lot of designs that are like root cause design, like root designs, I just thought it was all very beautiful, you know, I mean, I was in ancient Samaria, you know, I was in the Rift Valley, you know, I was in, really, you know, I read a lot, right. And so it was interesting to actually go there and see these places, like in ancient Babylon, that type of thing. So I've seen a lot of really interesting places, and a lot of it was to bring back some ideas. And back then, you know, I had a little cycle of PTSD, highly traumatic incidents, and I'm still kind of unraveling all of that. And it's like a continuous type of therapy. But that's a whole nother, like, advocacy that I'm doing just to bring awareness for that for veterans and suicide. And there's a huge, huge disconnect out there between when you come back from the war, but then you look at different things. For instance, natives, you know, they're the highest percentage of volunteers for the military, which is, you know, another interesting aspect of it all since if you look at the history of western expansion, and Native communities, but why are we serving, you know, those so it's like, kind of like a new tribe. That's how I see it, that's how I see it as and that's that would that warrior spirit, you know, like, you know, being a lawyer going out there representing them, my daughter was born. And, you know, I started reflecting on it and I found out about the missing murdered and Digitas women's epidemic and I started looking at the numbers, real academic, you know, I have a master's and you know, emergency management and I was just looking at it, you know, like, what, what can I do, you know, my, my wars were over my tours were over. But it's still, you know, I gotta protect, you know, my tribe and my daughter. So I started thinking, I'm an artist. So I reopened my studio as a way to heal, but also as a way to advocate. So I started building these platforms. And I've always been very interested in fashion design, and there's a whole bunch of other aspects to it. I think a lot of it was from travel and the history and all that really looking at the Renaissance, and you know, theater, I really enjoy the theater and opera. So then using something, those type of platforms to advocate, bring awareness to those issues, to see if we can kind of connect different resources out there and community so that they either legislation can be written community advocacy groups can be written, you know, developed that type of thing, and may sound, you know, left field, but you know, design art, that type of thing can inspire people, because a lot of it empowers them, you know? So that's kind of where I'm at right now.

LeAndra Nephin  06:08

Yeah, you're kind of speaking to a lot of themes in terms of healing, you know, our is therapy, you know, or ceremony. So, while you were way overseas and abroad, fighting in various wars, were you doing any artwork at that time just to kind of cope and manage with some of the things that you were experiencing, and seeing, I mean, it must have been such a, you know, as you mentioned, you know, there were these kind of traumatic experiences that you had, at that time, were you engaging in artwork or as therapy

Dante Biss-Grayson  06:37

not so much, I had a lot of, I wrote a lot in my diary. And I had a sketchbook, so I did a lot of like, design concepts. And then I did a lot of poetry as well, because there's, when, when you're in the war zone, it's just basically, your laser focus, you're looking through a straw, your perspective is, is focused on that. But it was nice to like, kind of like, kinda, you know, release a little bit of it. But my first series of works was abstract expressionism, the whole thing was painted with, like, these butcher knives, and it was great, basically, to bring awareness to the veteran suicides, there's, like, there's numbers out there on how many are killing themselves every day, but it's just too high, you know, one is too many that type of thing. And then in those those those notes, and those concepts in those books, was a lot of fashion was a lot of poems with a lot of just so it was in my own little micro world for a while, but then when I finally got back, I was able to, you know, really do it, you know, get the studio, start designing actually actually really producing,

LeAndra Nephin  07:36

we're kind of seeing an emergence of out of those adversity or adverse experiences, you know, you kind of creating something, something powerful in terms of the movements that you're involved with. So why women's fashion? Why did you start to kind of get into that, and doing ribbon skirts, and, you know, was that kind of a concept that you were sort of building or Germany in that, you know, while you were up and coming or even while you were away abroad overseas?

Dante Biss-Grayson  08:05

Yeah, it was multiple inputs. And it's not just women's fashion, because going into men's fashion as well. And also like couture, because really, like, you know, that kind of like, because it can be real outlandish and beautiful and abstract and a lot of ways. So I really liked that part of it. It's just something that, you know, growing up around the theater, as well, like opera, and seeing kind of like the, you know, the Flemish artists like, Bosch, there's this whole really kind of an interesting aspect to it, and the Renaissance, you know, kind of like how, you know, the classical Mona Lisa type of clothing. So I could, I started seeing that, but also started, like connecting dots in my mind as far as, you know, being able to modernize and make it very contemporary and Design for All right, there's not too many, like global native fashion brands. And that's what I want to be. Right. And so I figured out a really a whole lot of different things. And it's really great to give back. And I like that platform for it. Because I don't want to just be like a generic kind of like Corporation, just like oh, you know, reel it in, reel it in and take designs from other people, you know, like, I'm just laser focused on on who I am staying out of the drama and politics because fashion world is like, totally like that, you know, and just be who I am. You know, and that's part of the message is, you know, empowering. You know, these these ladies, these guys to see that, you know, that they can walk in the modern world also be traditional and ceremonial, right? Because there's a balance there. I'm a straight dancer. You know, I've been Native American church. I know the ceremony and my grandpa was like one of the last full bloods or was in my tribe. So a lot of that remembering the past but also being you know, a warrior in today's society and the warrior is defined. Doesn't matter if you're a guy or girl, a native you can be a warrior in many ways, and it's not just you know, Going out to battle, it's like going out to, you know, societal battle or going out to advocate for things is a way to intellectualize your own battle, you know, and say, Okay, I can go out there and do it doesn't mean I go out there and like, like in Kabul and Afghanistan, you know, like, drop some grenades, it's, it's a, it's a different way to look at the modern aspect of being a warrior in today's world. So I just really, I enjoyed it, I was just trying to, you know, I tried out a few designs, and I was like, I'm very kind of like, in the back, I was like, maybe they'll like it, maybe, I don't know, you know, but it's like, for me, it's like a new canvas, like, each and every material is very interesting. I love the process, the background of it. But it's like these little mini canvases, like I'm doing like these high heels, they're launching soon. And that's like, just little canvases on where I can do my new designs on them. So I don't know, it's, it's just been this whirlwind. And then it basically, as they say, like, I wasn't even social media before all this, I was just like, old school, like, pick up the phone, you know. And then so I started doing it. And that was pretty fun, too, you know, like these little vignettes, these little, tell your story in seven seconds, you know, and it's just, it's fun. It's been fun. So that's where I'm at.

LeAndra Nephin  11:12

Yeah, and I think it kind of really brings to light that concept. As you mentioned, you know, that we are all warriors in whatever avenue we pursue. But when you talk about even that blend of art and activism, you know, which is basically what you're doing, you're making a state, you know, these huge statements in terms of the art that you're producing, and putting out into the world themes of empowerment, themes of addressing the missing and murdered indigenous women and girls crisis. So in terms of your inspiration, how, where do you find your inspiration? Do you have kind of, and how do you formulate, when you're getting ready to do a project? What does that look like?

Dante Biss-Grayson  11:51

Depending on the project, seeing a trend and an issue? If you look at the stats for my my W there, if you look at the stats for veterans are there. So you know, I kind of ruminate on that and say, Okay, well, what can I do? What can I do? What can I do what I asked myself in my studio, what can I do. And then I look at, you know, different aspects of design, like the Morningstar, for instance, is really powerful symbol, with part of, you know, a lot of different tribes, and it's also very inspirational. So, like, my minor was in philosophy when I studied in university, and that part really, really helps because it's, it's how to inspire, right. And by me, understanding and like, basically, I guess, internalizing and how I feel about it, and then externalizing, that feeling and that emotion and that statement on how I feel about it. That's what I'm trying to convey, you know, how I feel about it, which is, you know, MMA WM, I'm absolutely upset about it, right, I'm absolutely want to do something, I want to be the warrior that goes out there and, and finds each and every one that's missing, or who has been murdered, right, and give them give them a name, give them some honor. And so in that way, you know, we are respecting our ways, but we're also you know, living in today's society, so everyone's different. And it's, it's also it can also be serene and beautiful. You know, I talked about abstract expressionism earlier, but my my work has evolved also into more of a expressionistic, you know, interpretation of like the landscape and how I feel about it. That's therapy right there that every time I do a painting, or every time I do a design, it's therapy, because it's just, I'm sharing a little piece of my soul. But I'm also looking at it from a distance and say, okay, that happened. And that's where it is, and then, you know, move on. You're kind of

LeAndra Nephin  13:37

taking these abstract expressionism and incorporating that into your artwork. But it sounded like you were weaving healing into that, in terms of your themes. So you hit some work, killers of the flower moon. I'm really excited to see this movie. And I think a lot of Indian country are really looking forward to seeing the interpretation of this. What was that? Like? First? Can you just talk us through what you were working on on the onset and what that was like for you?

Dante Biss-Grayson  14:06

Yeah, the killers of the flower moon. So if anybody doesn't know about it about the, my tribe, we bought some land from the Cherokee back in the day and found a bunch of oil on there, and had rights were given to, you know, families, and I'm a head right owner. My great, great grandpa was Henry Rome. And so what happened was they really, we were the richest people on the planet for a while. And then people would murder us. They would marry us and then murder us. They would take all of our money. It was a huge thing. It was just wholesale violence back in the 20s, the 30s. And it was one of the first cases of the FBI. So it had to be formed to figure out some sort of Justice back there and it's still going on to a certain extent so huge issue. There was a book written about it called killers on the flower moon and Then Scorsese picked it up. And then Robert DeNiro was in it. And then Leonardo DiCaprio. And it was just turned into this giant thing. So I got on to the production as a, as a consultant, kind of like a, you know, I did a FX I'm credited as doing stage FX. So I did a little research project on the paints, Canvas easels, and they wanted me to do a portrait at a picnic scene. So it was really cool. And then they flew me out. And then I was actually in there and then painting like off camera on my face. And I got the Nero right here, the Caprio and it was like this whole thing, right? It was that part was like pretty intense like that, that level of production. Obviously, I've never been on a very honored to be on it. But the actual outcome, you know, the story itself, hopefully it you know, raises more awareness about, you know, some pretty tragic moments in history. And that a lot of them, they don't even teach it in the history books. So it's like, back to, you know, people who are trying to revise history and like Texas and all this about different native, you know, historical facts, hopefully we bring them to the forefront. And there's different platforms for to write, I mean, with social media with, with these giant movies, these big productions to be able to tell our story and get control of the narrative as well. So yeah, it was interesting being on colors and flowers, and I look forward to and also, I think I'll have a few of my dresses on the red carpet. There's already people reaching out to me, like, I want this one. And I'm like, okay, so because I sent I sent them all gifts, and I totally supported 100%. So,

LeAndra Nephin  16:39

yeah, I mean, it sounds like an amazing, amazing project, you know, karegi admires? You know, a lot of natives that were involved with that. And I'm looking forward to, to watching that. But speaking of the book and writing, you've got an upcoming book that's about to be released as well of poetry. Is that right?

Dante Biss-Grayson  16:56

Right, right. Um, well, so I just finished the 400 Ribbon spirit project. And that was a two years in the works. And I said, 400, ribbon skirts, to the four directions, and then actually six directions, up to Canada to dv shelter, domestic violence shelters on reservations. And that was a giant project. But while I was doing that, I found all these databases for missing and murdered indigenous women, right. And I started looking at them and you know, really trying to think about what the root cause was, as far as you know, what, is there a trend in there? What is the reason why, you know, is there a disconnect access to, or lack of access to you know, education, health care, that type of thing. So I started theorizing all these things. And I started reading each and every case, like from the 70s, you know, and then the 80s. And then, so I started writing poems, really simple. It's kind of a haiku hybrid with prose, it's really a longer lyrical type of poem. And for each case, I started writing a poem and a way to honor that, right, because a lot of them, they didn't know who they were like a Jane Doe, or, or, you know, they tragically died. So I wanted to, in a way to say their name, to honor them. And each and every poem is a case from MMI W, and I'm the first Compendium the first volume is this going to be like in the 70s, and then I'll do one for the 80s. And so that's what I'm working on. And then I'm just gonna donate it 100%. I haven't found a publisher yet. But it's, that's my next project after the 400 Ribbon skirt. So it will take some time, I'm pretty much half done with the first volume. One poem will be published this year. And New Mexico poet, the state, there's a state poem thing. So that's the current project that I'm working on to another way to get back on, bring awareness. Hopefully, it inspires action.

LeAndra Nephin  18:54

Yeah, and I suppose even when you think about the common themes throughout colonization, for this time of contact, you know, this is violence against women, by violence against our men or to spirit relatives. These are things that have continued on for the last sort of 500 years, and the fact that you're kind of taking the helm and, and basically, basically, as an indigenous man, you know, to fight with that warrior spirit, through your art through the work that you're doing for our women, girls and relatives. What really inspired that for you, was this kind of a personal journey, or were you impacted by MI W? Or was this more about the future, the hopes for the future generation in terms of, you know, raising your own daughter and this kind of atmosphere where there is this targeted violence?

Dante Biss-Grayson  19:40

I'd say a little bit of both. I mean, I'm a I'm a first son in my tribe, that's a I'm a lumber and my name was was set, which means first son of the ego plan. So just by definition, I'm to lead and protect our track. And so I think that really Uh, you know, it's very important. So I translate that into, you know, also looking at my daughter, my aunt's, you know, my grandma's all my relatives out there, as as another expansion of is how are to my role, you know, and I take it seriously. So by fighting in the wars, I did that part, but now it's to protect the tribe. And this is one way to do it.

LeAndra Nephin  20:24

Yeah, and you kind of speaking to that, because I'm Omaha and we kind of migrated as one group with the five cognate tribes, Osage punker qua parkour. So, our dialect and even, you know, the Dougie Ha, branch of dialect in terms of our speaking, and even our clan ship ways, you know, belong to the sky, people on my slash, and they are Thunderclan woman, and you're really speaking to these themes that I think, as we grow into our, our names that are given to us, or even as we grow into our roles and responsibilities for our community, a lot of times, you know, these things kind of happen. And it's almost like, These doors are opening for me in my journey, sometimes without even kind of conscious effort. But when you look back, you know, I'm 45 now, and looking back on my life and thinking, it makes sense, you know, it now makes that everything is opened up in the way that it has. And so I just think that's really beautiful, in terms of our responsibilities and our understanding of our responsibility for our community. So for you, then what is your hope for our future generations? What is what kind of impact are you hoping to leave? For those who follow in your footsteps?

Dante Biss-Grayson  21:42

I mean, I hope for the future generations to one, hold on to their traditions, their ceremonies and their way, it's because that's how we were taught, always to hold on to that. But also to walk tall, you know, and don't stand down, get educated, go out there, get that master's, get that PhD, and then bring it back, go see the world, bring it back, though. And then, you know, teach that next generation, as we always do, though, as you know, I'm 45 to and I don't know, one day, I'll be the elder. Right. And take that role. But you know, right now, you know, in that teaching, leading warrior role, to inspire, to continue that cycle to always inspire, and to protect our ways, but also, how do you do that? Right, academically? You know, you could do community building capacity expansion, capability building, you know, to a top down assessment on how do we define sovereignty, right? And how do we really exercise that sovereignty? No, we're never going to coin our own money. But we're going to keep our own language, right? There's a whole different ways to do that. And I never want to go back to the world. When my mom was talking about it when you know, there was, you know, the separations of white and black people, right? Well, you go to the bathrooms, and she always told me the story. There'll be a white bathroom and a segregation black bathroom. And she was like, well, where's native? Right? Where do they fit into the conversation? So obviously, we've never want to regress to that point. So, you know, continue, Inspire, Inspire, is huge. It can create so much, so much, so much action can come from it, right? Look at Ukraine, right? The president there, he could have easily ran away, he could have easily just went to Europe and stayed safe. He's staying and he's holding a line for his beliefs and his community. It's inspiring everybody, right? Everybody's like, Okay, well, these invaders are coming in, we're gonna fight. I you know, that type of inspiration can happen. And that goes back to the philosophy of me, right, and a philosopher as far as like, well, if you empower and inspire somebody, maybe they will go out and do something great for their people and their community. So yeah, that's a great way to look at it.

LeAndra Nephin  24:00

Yeah. And it goes to show that we all have a place in the circle. I just love how you're kind of speaking to these themes around indigenizing philosophy through art. And we're seeing that kind of even in the projects that you're doing, from, I think, even, you know, abstract or macro level, all the way down to the micro level in terms of your advocacy work that you're doing within your community. So, I know we spoke a little bit about your upcoming book, but what can you speak to any other future projects that you have upcoming at all that that we could have a keep an eye out

Dante Biss-Grayson  24:35

for? So I'm going to London

LeAndra Nephin  24:38

are you so this is my touch of the woods. I'm in the UK right now. What are you going to be there

Dante Biss-Grayson  24:43

in July? at the Olympia trade show? I got accepted into that. launching my my high heel line and my trench coat. In July. I'll be there. So you should come down. And then in February, I got accepted to the New York Fashion Week. So that's pretty big. And then And I met with the Paris Federation for fashion. And then I'll be meeting them in the spring next year as well. So it really goes in line with my overall goal to be one of the first Native global fashion brands. Right? So yeah, it's, it takes a lot of work. But it's also it's really, it's great, though, had so much great reception great. Like, we're almost at 10,000 followers on Instagram, and like, that's a big thing, you know, and as, but it's like, really organic. And it's like true supporters. And it's not just like robots and all this, it's, and I'm learning along the way, but it's like, I'm really good at logistics, global supply chains, I'm really good at certain aspects that are unique to being able to really scale this thing and really drive the message home, because once I build those larger platforms, then I just kind of infuse it with those issues that I want to drive home. And I'll be able to advocate even to a greater level. And I

LeAndra Nephin  25:57

think to that, that combination, that you're talking about that, you know, that business mindset with the artist, you know, that's actually not a very common combination, but you seem to be working that out beautifully. And we're seeing kind of an emergence here of the first Native global brand. And I think this is really exciting that we've been able to kind of have this conversation and really follow your journey. So in terms of outside of that goal, do you have any other kind of personal goals that you have in around some of your advocacy work that you you'd hope to achieve in your lifetime?

Dante Biss-Grayson  26:32

Next one, I think it was starting the fine art and fashion scholarship. So that'd be useful, because I want to be able to, like, look at portfolios, look for the next thing, and that's kind of breaking the cycle of, you know, our teaching in our ways, you know, finding the next one, and maybe mentoring them into, you know, into greatness as well. So, that's kind of the next like, step. And then also, I opened my flagship here in Taos, which is great. And just keep creating, you know, I have, I really have a couple, I just designed a few years of designs, you know, and it's just like, that's how my mind works on the design side of things, it's just, I can generate fresh content, fresh ideas, and just keep on going. Because, again, in my mind, I'm kind of in less coming out of left field with with this whole design thing, because, you know, just very unique background, and I don't see a lot of designers who are veterans at all, or, you know, who are straight amateurs, you know, there's a whole thing, but it's just like, I see just fresh, new designs, I'm able to maybe, you know, inspire to a point of generating legislation, right? How we can protect or support, you know, on a roll Secretary Deb Holland and her all of her work for him IW, there's got to be a way in there to really help, you know, and the outcome as well, because we all know about it. But we need to have greater awareness and greater action as surrounding it. So that theme, but also, you know, there's a lot of cultural appropriation that's going on out there as well. So I'm working with some native lawyers as well. And there's, there's a real definitive way to go after these companies who are doing it. So using and building these platforms, you can really make a change once you bring awareness to it. And then actual legal action, which is another great way to you know, take down some of these companies that are really just stealing from natives again, right, it's a whole nother level of theft. And so I want to make sure that that's protected. So just a multitude of different projects. But yeah, the scholarship will be be great. And then, I mean, New York Fashion Week is pretty big, you know, so I like to be there and, and the world is the future's bright.

LeAndra Nephin  28:57

Yeah, yeah. And it sounds like you've got your, you know, kind of a lot of projects up and coming. And I really liked the idea of kind of reaching back and helping, you know, the the next generation to come, particularly in the art world. I mean, I'm not too involved in the art world, but certainly, some of the themes that seem to be coming up quite a bit, as you said, are issues around cultural misappropriation, but also even the exploitation of gallery owners, you know, towards Indigenous artists. And I have a couple of friends who are artists who are looking to even just create their own indigenous owned galleries that they can show native art in a safe space. I mean, what's your experience been? Have you come across any of that kind of exploitative or predatory mentality when you're dealing with gallery owners or kind of suppliers or anything like that in the art world?

Dante Biss-Grayson  29:50

Yeah, they try to come at me a little bit. But again, I'm just so singular as far as like where I'm driven to. If they want to come I barked at him twice as hard. You know, like, it's just, it's, if they want to lock horns with me and go, I'm all for it. Because I really did have nothing to lose, I have nothing to prove as well. I've served my country, you know, I've served my tribe, my community. So, but again, I decided not to have any stress in my life anymore. So. So growing up around some of the biggest galleries. Yeah, I've seen it. So I guess that would be another idea too, as to, you know, maybe giving back as far as the business acumen is concerned, you know, sharing those those best practices, those tools of the trade as it were, and how to navigate it. Because, yeah, the first time, you know, getting my foot in the door, you know, they'll take 70% 80%, and then just run you into the ground. And it's just like, it shouldn't be like that. There's ways to do it. Now. Without that, you know, and even the pandemic showed us that there's ways to succeed in business and not have to rely on these kind of, I guess, antiquated, older type of platforms. Hopefully, that new generation comes in and just basically, you know, and that's another exercise your sovereignty, do it yourself. Don't wait for that handout. Don't wait for those don't wait for those commodities, you know, just go out there and take care of it.

LeAndra Nephin  31:15

Yeah, absolutely. And I think over here, particularly in Europe, which I'm sure you're probably aware, you know, hobbyists, in Germany and Czech Republic and even England, we have a group of hobbyists that misappropriate from indigenous peoples and tribes and have their own kind of fake powers and things. And this is something that our group over here in the United Kingdom of Natives living here have constantly battled against, you know, particularly around in the States, you know, we've got the Indian Arts and Crafts act, you know, there is legislation there in place to prosecute and, and basically manage that. And it would just be really nice to have something more globally, maybe perhaps for in terms of a human rights issue, to monitor to track this, and to really kind of put a stop to this continuation, because it is very, you know, it's all based on stereotypes and homogenization. And I guess, for me, I'd be really curious and interested to see kind of the work that you're doing in terms of legislation. Can you talk about that a little bit? Well,

Dante Biss-Grayson  32:19

again, it kind of goes back to like, empowering and inspiring, right? And the more my platform reached, the more people have reached out to and connected to. And if skagle says we can do it, then that person can do it. Right. There was a lady up in Oregon, and she she brought some legislation, she was coordinating, and she started working with SkyGo, a little bit, she's like, yes, we can. I mean, it's so basic, as far as like the philosophy behind it, because you got to keep on trying, keep on trying, keep are trying. And then at the end of it, she did get some protections passed as far as for domestic violence shelters up in Oregon. And the idea being she wrote, wrote me back, I was like, Well, I would never have even taken this chance. Had it not been for your, your, your advocacy, right? So it starts a fire? Well, one little thing starts a fire. And in a lot of ways, that's that's the core of it is, you know, I mean, personally, I don't know how to write legislation, but I know how to inspire somebody to do write that legislation, right. And so if I keep on sending that message, that continual message, maybe that will help and then you have these these giant platforms, right, like I hit 5 million views, right? That means 5 million people out there saw something that I did, right. And in that group of people, maybe we could at least educate them. Because I saw those ones in Europe, those little powwows and those German because I used to live in Italy. I've been on a bunch of times, I've been to Germany. And I live in Holland, I know exactly what you're talking about. And it's just it's that point blank, Disney Pocahontas kind of thing. And it's like, Y'all, you know, obviously, we're not going to battle them just yet. But let's educate them first, let's try that route. You know, like, okay, let's This is the ways this is the way forward, this is how it should be, you know, like, illuminate of, you know, they're doing a lot of really great work to try to change that narrative. But it needs to be expanded, right? And then follow it up with like, what does that exactly mean? And then on the back end of it, right? You look at these great work that like Deb Holland zoom, right. And there is this proposed legislation? Well in these media and these networks, if you keep sending the message as well, maybe those who vote for it would be inspired to vote as well. Right. So there's a whole nother ways for media to really have a, you know, a truthful and impactful meaning for your message.

LeAndra Nephin  34:41

Yeah, absolutely. You know, planting those seeds, watering those flowers and hoping to see the fruition of all of that hard work and in what you're doing, Dante it's been absolutely amazing having you on our virtual couch, just talking through your process, the work that you're doing, and I'm just really excited Good to see your journey into into follow it in terms of your global branding when you come over here I'm definitely looking forward to catching up with you and visiting in real life. So I want to just say thank you want to read the whole thank you for for our listeners and for joining us today.

Dante Biss-Grayson  35:15

Absolutely pleasure to be here. Thank you.

LeAndra Nephin  35:21

This has been not invisible native peoples on the front lines a house on fire production. To learn more about Dante and his work follow him on Instagram at Dante underscore best underscore Grayson, and be sure to check out his incredible clothing designs on Instagram at Sky Eagle collection. This episode is produced by Victor Mako spirit Buffalo and JB Hart. Our editor is Abby Franz research by Sarah rose Harper. Our theme song is another side by wild whispers produced by Ben Reno Eli love and Meghan Lee. This season of not invisible is produced with support from Earth rising Foundation, and our Patreon producers Kathy Dewar, Rena Krishnan and Brenda George. We'd like to give a special shout out to all of our Patreon supporters. You too can become a patron by finding us at Red House series on Patreon or bias a coffee links in our show notes and on our website at Red House. series.com wonky they read the HA I thank you all