Waking Up with Sleeping Turtle

Photo by Gianguzzi Photography

Born in Newport back in ‘95, Sleeping Turtle (Isaiah Johnson Bey) is a Rhode Island-based musician, author, and decolonization educator. Sleeping Turtle's mixed ancestry—Indigenous American, Moorish (African), and European—informs a creative practice that explores psychedelic music, fantasy, history, and justice. On Sunday July 28, 2024 he’ll be making the trip up from Portsmouth to East Providence to play Myrtle along with with Vudu Sister and Princess June .

The Well (TW): Great to catch you at Myrtle’s Open Mic in April. We’d like to start by asking you to speak on your relationship to Rhode Island.

Sleeping Turtle (ST): I have been involved in the local indigenous community for over 10 years. I have learned and taught much about local history as it pertains to global cultures and topics. Much of the East Bay has historically been the territory of the Pokanoket Nation (tribe). The Pokanokets are related to Metacomet (King Philip) and Massasoit (Yellow Feather). Rhode Island has much history that is not taught.

TW: Expand on that.

ST: It would be helpful if [educators in Rhode Island] explained how all modern politics are rooted in history going back to the early 700s C.E., beginning with the Moorish conquest of Spain, Portugal, and other areas of Europe. The Moorish Conquest began the colonialism of the European lands. This led to the Crusades, the Spanish Inquisition, and European Colonialism as we know it today. Colonialism is nuanced and not solely the work of Europeans. Many Africans and Asiatics both opposed, and supported colonialism.

TW: And what was your own early education like? How’d you find your path? 

ST: Growing up was gray, overall. I began to find who I am in high school, when I learned more about my heritage, while writing my stories and playing music. As a teenager, I went to Foxwoods and bought an arrowhead necklace and a flute CD. I was mesmerized. I went home wearing the necklace; my grandfather saw it and revealed that a hidden part of our ancestry was Indigenous. It explained much of our mixed features. Sometime later, the aide on my school bus saw the necklace and led me to a long tale that got me here. All from a vacation, a necklace, and an album. I will never forget.

Isaiah Sleeping Turtle’s FX pedals

TW: Can you elaborate on “gray” a bit and, what are your thoughts on why your Indigenous ancestry had been hidden?

ST: Growing up was gray because I learned a lot that both helped, and hindered me. All of that, combined, made me the man I am. As a youth the world was black, white, and gray. As an adult, I see all the colors and their nuanced context. It's cryptic, yes, but it's too long of a topic. Thank you for asking.

My indigenous heritage was not spoken with us younger people for a long time. My grandparents were a mixed couple during the Civil Rights Movement. My grandfather is Indigenous, African, and European; my grandmother was mostly French. During the early and mid-20th century, Indigenous Americans would identify as African because of many policies that brought them harm if they proclaimed their tribal heritage. Back then, denying your indigeneity was for safety. It's a dense, macabre topic. To this day, many Indigenous Americans are labeled as other demographics. The laws for Indigenous people vary in all jurisdictions of the Americas. 

TW: And this is kind of where the flute comes in for you, right? As a way to represent these various histories and cultures?

ST: The flute, originally, was an outlet for my heritage. It was also another instrument to add to my repertoire. Since then it has become a way to pray and spread medicine to the listeners—I use the flute for teaching, ceremonies, rituals, and other formal occasions. As a man, it also helped me become more caring, nurturing, relaxed, and peaceful. The Indigenous drums also induce those feelings. With my form of psychedelic music, much of it draws from Indigenous music, Asiatic music, Gothic music, meditations, worship music, Celtic music, Nordic Music and religious texts. I think of it as painting with sounds.

TW: To get a psych-sound, you employ a bunch of pedals...where’d that start and what’s your gear setup?

ST: The idea for my psychedelic flute music was originally inspired by Tommy Hall from the 13th Floor Elevators. In the band, he played a jug and held a microphone to the mouthpiece and his lips. He made all of those trippy sound effects in the band at that time. Miles Davis also used a wah-pedal for his trumpet; Miles got the idea from Jimi Hendrix.

In 2019, I bought the Myers feather pickup which is designed for acoustic instruments. I clipped the microphone inside the barrel of the flute, allowing me to amplify it cleanly. Two good friends also use Myers pickups; Jason and Ariana Principi of Thee Phibbs love them. They're a folk duo from Providence.

For the effects I use reverb, delay (echo), each type of modulation (phaser, chorus, etc), with a compressor, sonic maximizer, and an EQ (equalizer). When performing, I either plug directly into the P.A. or use bass amplifiers. Bass amplifiers work for all instruments and voices; they're like a portable P.A. for all instruments. All of this together is what I use for my music, no matter what instrument.

Some of Sleeping Turtle’s flutes

TW: There’s a great book on the Elevators from a few years back, on Anthology. And you’re an author, too?

ST: Yes, being an author has helped develop my vocabulary. Writing stories was my original outlet during childhood. In high school, I wrote my first book. My second book took ten years to finalize; it was professionally published in 2023. It’s a fantasy novel with other influences mixed in.

TW: What’s the novel about? Why fantasy?

ST: My book, Xavion & Sareyus, was a vast project. I did many hours of studying to write that tale. I could write an entire book about the inspirations, nuances, tributes, and references. I simply wrote the story I wanted to read. Xavion was created by 8 of the 9 Gods—he is a warrior who is mixed with all human ethnicities. Sareyus is the fire goddess who opposed Xavion's creation. Upon meeting, they are smitten. Together they uncover conspiracies that could destabilize Heaven and Earth. My book is only for adults, and is being revised. Whoever wants the original print should get theirs soon. There's a content warning page that should be read before going into the story, too.

Fantasy appeals to me because it taught me how to create and dream. Fantasy also helped me learn how imperialism and other governments work. From there, I studied the real world and saw how authors are inspired by modern and ancient history.

TW: What’s life like for you right now here in the real world? How are you supporting yourself and creative practices?

ST: I work a day job and do music, writing, and teaching on the side. I am getting by decently, but my goal is to save more money. It varies. I personally do not drink, smoke, or take drugs, and I do not engage in promiscuity or casual partnering. I have witnessed much of that and it has led many to hardship. For me, abstaining, while practicing ancestry and culture has done wonders for my life and career.

Sleeping Turtle performing live at the Rhode Island Folk Festival in 2022

TW: Oh yeah, talk to us more about teaching—where are you focused?

ST: I began teaching in 2020; my teaching is usually tied to decolonization and overall cultural awareness. I do this mainly with high schoolers and adults. To be non-partisan, I teach about how Colonialism is a broad nuanced topic. I often teach that humans are not colors under international law etc. I prefer to be independent with my work. Different organizations would censor or omit the connective information that I teach. Especially the legality of identity for heritage, land, history, and culture. Much of my work stems from the United Nations Special Committee for Decolonization. Unfortunately, much of the Left and Right are uncomfortable with how interwoven this is in the modern world. I have long interviews about this on my YouTube channel. It's worth looking into.

TW: We’ve touched on some big topics; do you have a few recommended books for people who want to follow up and learn more?

The Holy Koran of the Moorish Science Temple of America. This is important for us Moorish/African people to decolonize our minds and help uplift fallen humanity.

365 Days of Walking the Red Road. This is important for us Indigenous Americans to learn more about ourselves. It reads quickly and is simple to apply.

My own fantasy novel, Xavion & Sareyus. It’s a different form of fantasy that I believe many would appreciate. My publisher loved it when we worked on it.

TW: Where can folks catch you live? Apart from the Myrtle gig on 7/28.

ST: I am performing at the Summer Solstice Music Festival on Friday 6/21/24 at the Heron Center. It's a three-day festival in Westport, MA.