We are tremendously saddened to share the passing of trans activist, Ms. Cheryl Courtney-Evans. Ms. Cheryl joined the TJFP team in 2013 as one of our very first community grant making panelists.
TJFP Community Grant Making Panel and Staff, 2013
In 2014, TJFP interviewed her about the work of Trans Individuals Living Their Truth (TILTT).
The interviewer writes, “TILTT is dedicated to creating visibility. For the first time, they were able to represent and participate in Atlanta Pride by having their own booth at the festival. Ms. Cheryl used some of the TJFP funds to make TILTT their very first banner which they marched proudly with in the Trans March. For many members it was their first time being in a pride march. She proudly told me, “At the end of the two days, I felt like we really accomplished something and that it was critical that we were there.”
Ms. Cheryl’s vision and boldness is a gift to us all and it was absolutely critical that she was here. We survive because of her and TJFP will forever hold Ms. Cheryl in our hearts.
Here’s a great opportunity to support a film written and directed by a Navajo trans woman AND TJFP’s upcoming award that will make grants to Native American/Two Spirit groups and organizations in the US working for trans justice.
Mark your calendars for Tuesday, September 26th and bring yourself, a friend, or a group to support the debut of Drunktown’s Finest!
We’re hoping to pack that HOUSE!
Tickets can be purchased at the door or online.
More about the film:
Writer and director Sydney Freeland was born and raised on a Navajo reservation in Gallup, New Mexico—dubbed “Drunktown.” The disconnect between her experiences and the media’s portrayal of reservation life compelled her to create last year’s Sundance success, Drunktown’s Finest. The narrative feature offers not one, but three harrowing interwoven tales of loss and triumph at or around a reservation in Drunktown. Felixia, a trans woman, pursues a spot in the “women of the tribe” calendar. Sick Boy confronts violence and drug abuse. Nizhoni seeks out her past, well after being adopted by a white family. At its core, the film represents the ongoing search for identity and Freeland’s desire to more honestly portray reservation life. View the full article