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A Heartfelt ‘Thank You’ To Richmond and Native Communities from a Cancer Survivor

Recently, I received a powerful spiritual anti-cancer turtle medicine bag medallion and rope necklace from Chief Gordon Plain Bull Jr., a member of the Assiniboine and Sioux Reservation located near Fort Peck, Montana. He is the great-grandson of Chief Plenty Coups and the great-great nephew of Sitting Bull, the famous defender of native lands against settlers during the 1800s.

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Chief Gordon Plain Bull Jr., a descendant of Sitting Bull, created the healing medallion for Mike Kinney. Photo courtesy of Mike Kinney.
Chief Gordon Plain Bull Jr., a descendant of Sitting Bull, created the healing medallion for Mike Kinney. Photo courtesy of Mike Kinney.

By Mike Kinney

Recently, I received a powerful spiritual anti-cancer turtle medicine bag medallion and rope necklace from Chief Gordon Plain Bull Jr., a member of the Assiniboine and Sioux Reservation located near Fort Peck, Montana.

He is the great-grandson of Chief Plenty Coups and the great-great nephew of Sitting Bull, the famous defender of native lands against settlers during the 1800s.

Chief Plain Bull’s gift was particularly powerful to me, as it was emblematic of the immense kindness and generosity of the communities in which I live and work, which includes fellow Native Americans and my neighbors here in Richmond.

Aside from reporting stories about people, places and events in the Richmond Standard, I have been a Native news journalist for some 45 years here in Richmond, writing for publications such as Native Hoop and Native News Online.

Today, as I celebrate my first-year anniversary as a cancer survivor, I’m taking a break from reporting on the issues of the communities I cover in order to tell my story of recovery. The reason is that my journey in the past year shines a light on the powerful bonds within the Richmond and Native communities. I am forever grateful to write about them, and to be part of them.

In November of 2021, I was diagnosed with small cell lung cancer on my left lung. I had been a career cigarette smoker for 40 years. I gave it up finally in 2014. Naturally, the diagnosis had me fearing death.

On March 13, 2022, I underwent robotic surgery to remove the cancer at the John Muir Hospital campus in Concord. The surgery team removed a quarter of my left lung. It was successful, and I remained at the hospital in recovery for seven days.

But the journey was far from over. Upon returning home, I was required to use an oxygen concentrator until my lungs healed, stripping me of the activities I most loved, from riding my mountain bike to taking long hikes at Wildcat Canyon. I feared being a burden on others, but was limited in what I could do physically.

Moreover, my doctor informed me of my need to undergo chemotherapy and immunotherapy. I would have a monthly infusion from IV bags. While I was fortunate to suffer no pain or side-effects from these therapies, hair loss from the chemotherapy meant I lost my Native ponytail, which was crushing to me.

And I was angry at myself. For 40 years, I chose to smoke cigarettes. I had no one to blame but myself for my condition, and that was difficult to handle; it drove me into depression. I felt alone, but due to the support from members of the Richmond and Native communities, I wouldn’t be alone.

Countless neighbors and Natives rallied to my side. My close friend, the well-known Richmond community activist Antwon Cloird, went out of his way to drive me to out-of-town medical appointments.

Cloird also offered powerful words of encouragement. Rather than considering this condition as the beginning of the end of my life, Cloird pointed out this was in fact my “second chance at creating a first-class life.”

There was also the kindness of Rev. Dr. Ofa Haunga from St. Luke’s United Methodist Church in Richmond, who along with the church community ensured I had fresh cooked food and prayers during my recovery. My good friend Georgette Bynum, a veteran registered nurse, acted as my medical coach, providing invaluable advice.

Richmond resident Don Gosney of “Radio Free Richmond,” along with Tyler Swartz, my nephew Ben, Denise Gianni and Richmond resident and photographer Ellen Gailing, all helped me shop for groceries and attend medical appointments.

Michelle Milam, a Richmond resident who serves as the city’s Crime Prevention Manager, offered prayers and also numerous drops of bottled water to my home to keep me hydrated.

Local Richmond residents John Ziesehenne, owner of M.A. Hays Insurance and Robert Rogers, district coordinator for County Supervisor John Gioia, were also powerful sources of support and encouragement.

Meanwhile, Native people and tribal communities across the nation conducted prayers on my behalf.

Carolyn Martell, a well-known Ojibway tribal artist and photographer in Denver, Colo. conducted numerous sacred ceremonies to support a successful surgery and recovery.

Meanwhile, Pomo tribal elder and leader Connie Reitman instructed me on important spiritual aspects of recovery as my being a Cherokee tribal person.

There are many more examples of generosity, too many to list here. Perhaps the cherry on top was receiving the spiritual anti-cancer turtle medicine bag medallion from Chief Plain Bull. He is a master of beading Native jewelry that comes to him in visions.

“All of my work comes from the Creator,” he told me. “I sit in Prayer for an hour or more before I start. Once the vision is given to me, I begin the work. Sometimes I start with the medallion and sometimes the rope is first. I always ask the person who’s receiving the special gift what their favorite color is.

“Then I start their Protector. When I get close to sewing up the medallion, I put the medicine in it. I have been instructed by the Creator to use seven herbal medicines to put in the medallion,” he said.

The many examples of healing power, from advice from loved ones on positive thinking, to powerful spiritual guidance and medicines, served to dissipate my depression and launch a life of recovery and spiritual journey.

I realized being Cherokee was important to my recovery. I returned to reconnecting with my culture, language, history and most importantly our spiritual and belief value system. Meanwhile, I was reminded why I live and love Richmond.

Recently, my doctor informed me that I am now free of cancer. I believe fully that in addition to the incredible care of medical staff, the incredible care and support from my communities are responsible for this positive outcome.

Thank you, wholeheartedly, to my fellow Native Americans and to the people of Richmond. I love you. You have enriched my story. Now, my mission is to double-down on enriching yours.

See you at the press conference.

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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