The Inchunwa Project: A journey to reviving Southeastern tribal tattoos

What began as a casual online discussion among Choctaw community members has grown into a cultural rebirth, reconnecting Native communities with their ancestral roots through the Inchunwa Project.

The story of Inchunwa began in 2017 when a small group of Choctaws started researching the cultural significance of traditional tattoos.

While Lindsay Reeder-Mendoza wasn’t part of the initial group, she joined in 2018 when conversations about traditional tattoos resumed in an online chat for Choctaw women and Two-Spirits.”We talked about gathering together to walk the Trail of Tears and receive our tattoos as a way to commemorate our friendship,” Reeder-Mendoza said.

These conversations laid the foundation for what would become the Inchunwa Project.

From 2018 to 2021, a small group of passionate individuals gathered on Zoom and Discord to conduct interviews, research and develop a podcast to share their findings. This podcast would later become a key part of the Inchunwa movement, providing a platform for education and cultural preservation.

For Reeder-Mendoza, the meaning of Inchunwa goes beyond the literal translation of the Chahta word, which means “to be marked, branded, or tattooed.” For her, the project symbolizes community, friendship and belonging.

Through Inchunwa, she has not only deepened her personal connections but also helped others reconnect with their cultural heritage. “Some people from the community have reached out and said how much this project has helped them heal emotionally.”

The project wasn’t without its challenges. In the early stages, the team of young Choctaw and Chickasaw community members struggled to figure out how to spread their message and fund the project. “We were four college kids who were just inspired to research but had no clue how to do anything else,” Reeder-Mendoza said.

Despite the challenges, the group persevered, and with support from the broader Native community, they built a library of interviews and first-hand accounts, advancing the visibility of cultural tattooing.

Reeder-Mendoza believes that traditional tattoos are a vital part of Southeastern tribal identity.

Historically, these tattoos weren’t just decorative but served as a form of communication, representing a person’s place within the community and connection to nature.

“We tattooed flora, fauna and constellations important to our people. We were tattooed for rites of passage and life markers,” she explained. “These Inchunwa were so important and intertwined into so many aspects of our ancestors’ lives.”

She stated that Southeastern Native communities stopped tattooing not by choice but due to colonization.

As a result, Inchunwa is not merely a “revitalization” project—it’s a “revivalization” project.

“We want to revive our Inchunwa, breathe life into them again amongst our people, where they belong,” she said.

Tattooing traditions vary among Southeastern tribes, but there are common designs, including lines and swirls.

While each tribe assigns meanings to these designs, the shared history of intertribal exchanges is evident in the similarities.

“Before colonization, Southeastern tribes traded and intermingled amongst one another, influencing each other. So, it’s no surprise to me as an art historian that we all carry similar imagery on our bodies,” Reeder-Mendoza explained.

Today, there’s an understanding within the community that designs can be shared and interchanged among Southeastern people.

The decision to create a podcast stemmed from the desire to make this information more accessible. The team initially considered writing a book, but they realized a podcast was a quicker and more effective way to reach their audience. “Listening to information for a lot of people is an easier way to learn compared to reading,” says Reeder-Mendoza, who also happens to be dyslexic. “We do still plan to write a book, but for now, the podcast is the best way for us to share what we’ve learned.”

The Inchunwa podcast has resonated deeply with listeners. Episode three of the first series, which explores the intersections of Southeastern tattoo history and Native history, remains the most listened-to episode.

Reeder-Mendoza recalls her interview with long-time friend Danie Cansino in episode four, where they discussed the global history of tattooing and its relevance to Native tattoo history.

Another memorable moment was her conversation with Julie Cordero-Lamb in episode 13 of series three, in which they discussed the importance of adapting traditional practices to modern times.

The community’s response to Inchunwa has been overwhelmingly positive.

At events like the Indigenous Futurisms Festival and IPX 2024, Inchunwa’s panels drew large crowds eager to learn more. “At IPX 2024 at FAM, our booth had to be staffed by six people, even though we had no retail options and were only sharing academic findings, research and temporary tattoos,” Reeder-Mendoza said.

For Reeder-Mendoza, the most rewarding part of the Inchunwa project is hearing from individuals who have found healing and reconnection through the movement. “When someone tells me my research has helped them feel more connected or healed in any way, admittedly, I cry. They’re always happy tears when I hear that I’ve helped a fellow Native in any capacity,” she said.

For Reeder-Mendoza, these moments have helped her on her own healing journey.

Another member of Inchunwa is Miss Indian Oklahoma, Faithlyn Taloa Seawright. Seawright is using her platform to preserve and celebrate southeastern tribal traditions through her involvement with the project.
Seawright has two types of tattoos, including six lines on her fingers and two lines on her face.

Her tattoos carry both cultural and personal significance. The six lines on her fingers pay homage to southeastern traditional tattoos, and she said each one represents a personal promise to herself to be better in some way.
Of the six lines, one is red to raise awareness for missing and murdered Indigenous women.

Seawright’s tattoos also hold a deep personal connection to her family’s experience with loss. “My mother and my father experienced infant loss when they were trying to conceive me, and so I picked that number from a discussion I had with them,” Seawright said. “As It honors these siblings that I have that did not get to, you know, walk this earth with me. And so, I carry them in their memory on my hands.”

The two lines across her face represent womanhood, and that she does not have children. “When I become like a mother, have kids, or become an older adult, I can have three lines,” said Seawright. “When I become an elder or have grandkids, I can have four lines.”

Seawright explained that the decision to receive a traditional tattoo should not be made lightly. “I was taught to pray about them and wait for it to come. Wait until either you feel the time is right to add on to your tattoos or to get one. Don’t just go out and get them because all images have a meaning.”

Seawright believes traditional tattoos play a large part in educating non-natives and create a pathway to introduce them to Indigenous culture. “I think it’s just a visual impact to show that we are still here. You know, since I’ve gotten my tattoos, I started getting them in 2018; I get asked by people all over the state, all over the country, and even around the world about them. And it’s just that moment to educate for them, to just interact,” said Seawright. “Because some people have never met a Native American person, they don’t know that we’re still here. They don’t know we’re still alive and showing that visually, and getting to tell them in person and answer any questions and negative stereotypes, you know, like help to knock those down and show them how we’re here. We’re proud of people, and we’re not going away anytime soon.”

Seawright also encourages people to start by learning about their culture in general. “I always encourage starting out learning about just culture in general, going out to our cultural centers, learning, knowing your family lineage, because our tattoos can signify anything, where you come from, who you are, who your family is.”

Inchunwa has big plans for the future.

The team hopes to develop a tattoo apprenticeship program for southeastern Natives who want to learn the practice of cultural tattooing. They also hope to launch a website that will serve as an information hub for those interested in learning about traditional tattoos.

“We’ll be able to take all the information we’ve gathered over the years from different books and resources and have them in a central location to make it easier for everyone to learn,” Reeder-Mendoza said.

For those who want to support the project, Reeder-Mendoza encourages readers to tune in to the podcast, follow Inchunwa on social media and consider donating through Patreon.

With upcoming events like the Indigenous Tattoo & Music Festival in Albuquerque, where Inchunwa will lead a panel on the intersections of body sovereignty and cultural heritage in tattoo revival work, the project shows no signs of slowing down.

Reeder-Mendoza and her team are already planning for 2025, with participation in major events such as IndigiPopX and the Okla Chahta Clan Gathering in California.

As Inchunwa continues to grow, its mission remains clear: to revive and celebrate the traditional tattoos that once defined Southeastern Native identity, ensuring they remain a living part of the culture for generations to come.