The animals of Turtle Island is a story exploring the traits of our sacred animal relatives through imagination and wonder. This is the Dakota version. It's an honor to teach my sons how to care for and respect all the amazing spirits of our beautiful homeland.
Animals of Turtle Island is a story exploring the traits of our sacred animal relatives through imagination and wonder. This is the Ojibwe version. translated by Tara Dupui. It's an honor to teach my sons how to care for and respect all the amazing spirits of our beautiful homeland.
The expertise of Native glass artists, in combination with the stories of their cultures, has produced a remarkable new artistic genre. This flowering of glass art in Indian Country is the result of the coming together of two movements that began in the 1960s--the contemporary Native arts movement, championed by Lloyd Kiva New, and the studio glass art movement, founded by American glass artists such as Dale Chihuly, who started several early teaching programs. Taken together, these two movements created a new dimension of cultural and artistic expression. The glass art created by American Indian artists is not only a personal expression but also imbued with cultural heritage. Whether reinterpreting traditional iconography or expressing current issues, Native glass artists have created a rich body of work. These artists have melded the aesthetics and properties inherent in glass art with their respective cultural knowledge. The result is the stunning collection of artwork presented here. A number of American Indian artists were attracted to glass early in the movement, including Larry "Ulaaq" Ahvakana and Tony Jojola. Among the second generation of Native glass blowers are Preston Singletary, Daniel Joseph Friday, Robert "Spooner" Marcus, Raven Skyriver, Raya Friday, Brian Barber, and Ira Lujan. This book also highlights the glass works of major multimedia artists including Ramson Lomatewama, Marvin Oliver, Susan Point, Haila (Ho-Wan-Ut) Old Peter, Joe David, Joe Fedderson, Angela Babby, Ed Archie NoiseCat, Tammy Garcia, Carol Lujan, Rory Erler Wakemup, Lillian Pitt, Adrian Wall, Virgil Ortiz, Harlan Reano, Jody Naranjo, and several others. Four indigenous artists from Australia and New Zealand, who have collaborated with American Indian artists, are also included. This comprehensive look at this new genre of art includes multiple photographs of the impressive works of each artist.
Selected for the Notable Social Studies 2022 List Named to ALA Notable Children's Books 2022 In this Own Voices Native American picture book story, a modern Wabanaki girl is excited to accompany her grandmother for the first time to harvest sweetgrass for basket making. Musquon must overcome her impatience while learning to distinguish sweetgrass from other salt marsh grasses, but slowly the spirit and peace of her surroundings speak to her, and she gathers sweetgrass as her ancestors have done for centuries, leaving the first blade she sees to grow for future generations. This sweet, authentic story from a Maliseet mother and her Passamaquoddy husband includes backmatter about traditional basket making and a Wabanaki glossary.
Takoza - Walks With the Blue Moon Girl by Tara Perron is an endearing, lyrical illustrated children's story about a young Dakota girl, Walks With the Blue Moon Girl, and her kunzi (grandmother). The grandmother teaches her takoza (granddaughter) through story while making star quilts, and planting and caring for a garden.
Whether looking back to a troubled past or welcoming a hopeful future, the powerful voices of Indigenous women across North America resound in this book. In the same style as the best-selling Dreaming in Indian, #Not Your Princess presents an eclectic collection of poems, essays, interviews, and art that combine to express the experience of being a Native woman. Stories of abuse, humiliation, and stereotyping are countered by the voices of passionate women making themselves heard and demanding change. Sometimes angry, often reflective, but always strong, the women in this book will give teen readers insight into the lives of women who, for so long, have been virtually invisible.
¾–Josephine Waggonerês writings offer a unique perspective on the Lakota. Witness will become a widely referenced primary source. Emily Levine has meticulously examined all known collections of Waggonerês manuscripts, sometimes comparing handwritten drafts with multiple typed copies to preserve information in full. Levineês extensive notes are well chosen and informative. Witness will interest both specialist and popular audiences.”ãRaymond DeMallie, Chancellorsê Professor of Anthropology and American Indian Studies at Indiana University¾ During the 1920s and 1930s, Josephine Waggoner (1871_1943), a Lakota woman who had been educated at Hampton Normal and Agricultural Institute in Virginia, grew increasingly concerned that the history and culture of her people were being lost as elders died without passing along their knowledge. A skilled writer, Waggoner set out to record the lifeways of her people and correct much of the misinformation about them spread by white writers, journalists, and scholars of the day. To accomplish this task, she traveled to several Lakota and Dakota reservations to interview chiefs, elders, traditional tribal historians, and other tribal members, including women.¾¾ Published for the first time and augmented by extensive annotations, Witness offers a rare participantês perspective on nineteenth- and early twentieth-century Lakota and Dakota life. The first of Waggonerês two manuscripts presented here includes extraordinary firsthand and as-told-to historical stories by tribal members, such as accounts of life in the Powder River camps and at the agencies in the 1870s, the experiences of a mixed-blood HÏ?kpap?a girl at the first off-reservation boarding school, and descriptions of traditional beliefs. The second manuscript consists of Waggonerês sixty biographies of Lakota and Dakota chiefs and headmen based on eyewitness accounts and interviews with the men themselves. Together these singular manuscripts provide new and extensive information on the history, culture, and experiences of the Lakota and Dakota peoples.
(Re)Generation contains selected poetry by Anishinaabe writer Kateri Akiwenzie-Damm exploring a range of issues: from violence against Indigenous women and lands to Indigenous erotica and the joyous intimate encounters between bodies. From her earliest work in my heart is a stray bullet and Bloodriver Woman, through her spoken word works standing ground and A Constellation of Bones, Akiwenzie-Damm’s poetry demonstrates how to represent Indigenous peoples in their full complexity, especially as it pertains to bodily pleasure, love, and loss. Akiwenzie-Damm's afterword speaks to the relations and obligations Indigenous peoples have to one another and their other-than-human kin, as she reflects on the resilient work that Indigenous creative work has done and continues to do in spite of colonial violence. She stakes a claim for the necessity of poetry in the face of ongoing colonialism, not only in the present but in the future and for the generations to come. The introduction by Dallas Hunt locates Akiwenzie-Damm within the field of Indigenous literature and meditates on her influence on the field of Indigenous erotica. Kateri Akiwenzie-Damm writes in service of Indigenous brilliance, love, intimacy, and joy, and speaks with an unwavering voice, one that, to paraphrase Akiwenzie-Damm herself, “shakes the earth.”