Over the weekend, the Mound House hosted an evening of Indigenous films under the stars. Before the outdoor screenings began, visitors explored the historic two-story museum, which had been transformed into a Native American art gallery.
A long-haired, tattooed artist named William J. Osceola, or "Popeye," described how his artwork addresses serious topics related to Native American identity.
"The artwork that I have on display reflects how I feel about things around me in this country — the political climate, history, things of that nature," Osceola said. "It’s a lot of my thoughts visualized and boiled down into something that I can use to communicate to others how I see things."
Viewing life through the lens of a Miccosukee Tribe member, secretary, and experienced teacher, Osceola called for greater transparency in the American education system.
"Having taught and attended public school, you just have to be honest with kids," he said. "We tend to simplify things for children, but they’re far more perceptive than we give them credit for. So, what kind of history are you providing them? Maybe you should just teach them the truth. It’s not always pretty, but they can handle it."
Across the room, colorful abstract paintings by Miccosukee tribal artist Cayla Willie highlighted her work, which she says carries ancestral knowledge passed down through generations.
"Art plays a big role in learning to differentiate colors in the Everglades, to know when things are safe, and in survival by recognizing the patterns of the birds," Willie said. "You have to live it to say it; I can’t fully explain."
Willie also founded "Voices of the River of Grass," a nonprofit.
"We help promote Indigenous artists and artists of Indigenous ancestry from all around the world, not just here in America," she said. "That’s my part, and we do that all year- round."
After some time, guests made their way outside and settled into lawn chairs. As the Indigenous films began to play, the audience fell silent. In the darkness, the stories on screen — and those on the gallery walls — brightened perspectives often left in the shadows.
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