Untouchable Artifacts Opening Event



Indigenous Stories from Ed Edmo, Destiny Smokez, and Dakota Yazzie

About this event

Opening Event featuring stories from Ed Edmo, Destiny Smokez, and Dakota Yazzie

Saturday, July 17 at 3-4 p.m. PST

Virtual, Registration Required


Untouchable Artifacts: A Virtual and Printed Exhibition on Indigenous Storytelling, History, and Resilience is a love letter to the art, practice, and importance of indigenous storytelling on Turtle Island. In the exhibition, eleven indigenous artists continue the tradition of storytelling through their own unique lens.

This exhibition is created by Five Oaks Museum’s 2021 Guest Curators Rya Hueston (Diné) and Kat Salas (Chiricahua, Apache).



Ed Edmo is a Shoshone-Bannock poet, playwright, performer, traditional storyteller, tour guide and lecturer on Northwest tribal culture. He conducts workshops, traditional storytelling performances, dramatic monologues and lectures on such issues as cultural understanding and awareness, drug and alcohol abuse, and mental health. Ed is a published short story writer, poet and playwright, and serves as a consultant to the Smithsonian Museum of the American Indian. He lives in Portland, Oregon, with his wife, Carol, his son, John, and his daughter, Se-ah-dum and her daughter.

Destiny Smokez is a drag performer/show producer. She co-produces Melange: A Queer and BIPOC Variety Show, and Crown Me. She is also part of Portland’s BallRoom KIKI Scene where she is the Prince of the House Of Flora. Destiny uses her art as an outlet from her past to her future.

Dakota Yazzie is an Arizona artist from the Diné tribe. He is originally from Tuba City, AZ, on the Navajo reservation, where a majority of his inspiration and commentary comes from. A place where you feel brown eyes checking on your every move and where the mutts roam in sometimes cute and hostile packs. He currently resides in Dewey, AZ, where white supremacists walk proudly and freely in the domicile of their hicktown fineries. His work divulges the intricacies of indigenous identity and the political nature of being a dang Indian. His mother and father often roll their eyes as yet again his penchant for 21st century hedonism outrule his spiritual return to Hozhojí (sorry Shima)