This sculpture by Marie Watt is composed of jingle cones, rolled pieces of tin historically fashioned from the circular lids of tobacco containers. Watt’s jingle sculptures bring together several important elements of her artistic language, including materials related to Indigenous history and gestures intended to spark healing. Though their invention and use as fashion adornments dates at least to the late 1800s, tin jingles became an iconic element of Indigenous dance traditions during the Spanish Flu pandemic of 1918. “One version of the story is that a member of the Ojibwa nation had a sick granddaughter,” recalls Watt. “They had this dream in which they were instructed to attach tin jingles to a dress and have women dance around this sick child while wearing the dress. The idea was that the sound would be healing. It’s assumed the medicine worked, because the dance was shared with other communities.” Displayed in such a way that they can be free to float within their environment and be interacted with by viewers, the jingle clouds are meant to activate an immersive landscape and soundscape. Inviting people to explore and expand the boundaries of mutual relationships is an essential part of Watt’s aesthetic vocabulary. As a citizen of the Seneca Nation and a woman with German-Scots ancestry, her perspective has been shaped by values of connectivity and sharing. Connecting to the present through the legacies of our ancestors, Watt’s jingle sculptures remind us of the bonds we share with each other and across generations, and the healing that can flow from connection, music, and community.