Moniquilliloquies.
Showing posts tagged indigenous
Non-Indians devoted much energy to pondering the Native nomenclature of New England, sometimes even searching for the stoires encapsulated by the names. Local narrators took different positions on the value of Native place-names, but those who favored their retention because of their rich symbolic meaning generally lost out to those who argued for the systematic renaming of the landscape. This too constituted a replacement narrative, as place-names argued for the privileging of non-Indian stories to inscribe on the land. This claiming of Indian landscapes found even more tangible expression in stories local narrators told about the land itself, in particular, in the painstaking reconstruction of the “legalities” surrounding the land transactions that undergirded their claims to Indian homelands.
Jean M. O’Brien, Firsting and Lasting: Writing Indians Out of Existence in New England (via fralusans-ana-marein)
(Reblogged from fralusans-ana-marein)
lakotapeopleslawproject:

ALERT: Supreme Court to hear Baby Veronica case!Former SD senator & principal Indian Child Welfare Act author Jim Abourezk stands behind the law. “The Indian tribes were being decimated by white social service agencies,” he says. He also agrees that Taliaferro and Schwab were targeted for “blowing the whistle about what was going on”. Read more:http://argusne.ws/SwwB0b

lakotapeopleslawproject:

ALERT: Supreme Court to hear Baby Veronica case!
Former SD senator & principal Indian Child Welfare Act author Jim Abourezk stands behind the law. “The Indian tribes were being decimated by white social service agencies,” he says. He also agrees that Taliaferro and Schwab were targeted for “blowing the whistle about what was going on”. Read more:http://argusne.ws/SwwB0b

(Reblogged from lakotapeopleslawproject)

lakotapeopleslawproject:

BREAKING NEWS: This morning Judge Gene Paul Kean of the 5th Circuit Court in Aberdeen, SD dismissed ALL charges in the trial against Brandon Taliaferro and Shirley Schwab. This is a huge victory for these two child advocates, who were targeted by the state for speaking out on behalf of sexually molested Lakota foster girls and accusing the DSS of protecting the abusive father. We are grateful to our research and investigative team, which helped expose the state’s actions in a special report last year. And we’re so grateful to our allies and supporters—especially those who made it to Aberdeen for the trial! You can read about Judge Kean’s decision here: http://lakota.cc/U8HK4c

(Reblogged from lakotapeopleslawproject)
nitanahkohe:

Wasco [found glass fishnet float], Geoff Greene (Haida)

nitanahkohe:

Wasco [found glass fishnet float], Geoff Greene (Haida)

(Reblogged from updowncontinue)

karnythia:

Tiny Horrors: A Chilling Reminder of How Cruel Assimilation Was—And Is - ICTMN.com

adailyriot:

image

For such small objects, the child’s handcuffs are surprisingly heavy when cradled in the palms of one’s hand. Although now rusted from years of disuse, they still convey the horror of their brutal purpose, which was to restrain Native children who were being brought to boarding schools. “I felt the weight of their metal on my heart,” said Jessica Lackey of the Cherokee tribe as she described holding the handcuffs for the first time.

Lackey, an alumnus of Haskell Indian Nations University, was working at the school’s Cultural Center & Museum when the handcuffs were unwrapped last spring after being kept in storage for several years. I had heard rumors about the existence of the handcuffs during visits to Haskell over the years and had made numerous inquiries to school authorities about them, but people seemed very reluctant to discuss this touchy artifact. This past summer, however, Haskell agreed to allow a public viewing of the handcuffs. Andy Girty, one of the elders who first blessed the handcuffs when they were given to Haskell in 1989, helped unwrap them for me.

Known as the Haskell Institute in its early years, the school opened its doors in 1884. It was originally founded as an instrument of the final solution to this country’s “Indian problem”; Haskell Institute’s mission then was embodied in the now infamous motto of Captain Richard H. Pratt, founder of the Carlisle Indian Industrial School: “Kill the Indian, Save the Man.” This mind-set led to decades of forced acculturation through brutal military-style incarceration cloaked as education in U.S. Indian boarding schools.

Although begun as a model for assimilation, native students have, over the years, transformed Haskell into a model for self-determination. The school’s early curriculum featured training in domestic and farming skills but has since evolved into four-year university.

Haskell’s Cultural Center & Museum, located on campus, tells the full—and often cruel—story of Haskell’s painful past as well as providing a venue to showcase Native art, culture from the past and present. Opened in 2002, the center features the permanent exhibit Honoring Our Children Through Seasons of Sacrifice, Survival, Change and Celebration, featuring artifacts, photos and letters from the school’s early days.

Among the artifacts currently on display is

Andy Girty and Jessica Lackey
Andy Girty and Jessica Lackey

a heavy iron lock and key for the school jail, which held unruly students. Letters, photographs, copies of early school newspapers and daily menus are among the more commonplace artifacts of early daily life displayed at the museum. One display includes a heavy lock and key from the small on site jail used to punish unruly students. Soon, perhaps, the handcuffs will be included among these artifacts, adding its chilling testimony regarding the practices used by early educators to kill the Indian and save the child.

Not much is known about the diminutive handcuffs, which were donated to the Cultural Center in 1989 by a non-Indian man who described their use to Bobbi Rahder, former director of the Haskell Cultural Center & Museum. “He told us they were used to restrain captured Indian children who were being taken to boarding schools,” says Rahder. The middle-age white man said his father had the handcuffs for years but that he no longer wanted to have them in his possession. “He seemed relieved to get rid of them,” Rahder recalls.

I made many phone calls, but was unable to track down the man, who is said to have lived in Lawrence. According to Rahder, he failed to respond to messages they had left him over the years, and he has not been seen at Haskell since the day he brought the handcuffs to the Cultural Center. “It was all very vague. He didn’t tell us how his father came to have the handcuffs. He showed up one day and donated them to the Center,” she says.

Mysterious donations are common at the Cultural Center. Rahder has witnessed scores of non-Indian donors dropping off important—and often poignant—historical artifacts relating to Haskell. Last year, Roger Bollinger of Pennsylvania donated an 1880s leather-bound photo album containing photos and corresponding identifications of Haskell’s very first students in 1884. This album represents the only known identifiable photos from that inaugural class. Bollinger knew little of Haskell and had no idea how the album came to be in his family’s possession. A supporter of education and cultural understanding, he decided tom donate the album to Haskell.

The handcuffs, however, were different, notes Rahder, who took them from the man. “I was shocked and afraid to touch them,” she recalls.

She says she immediately contacted administrative and spiritual leaders at the school for guidance on handling the handcuffs. Leaders at Haskell were overwhelmed by the brutality of the tiny handcuffs, she noted.

Girty, of the Cherokee Nation, who is a Cherokee language instructor at Haskell and a number of other elders and leaders, conducted a modest ceremony the next day at the school’s medicine fire. His wife, Frances, of the Creek and Choctaw Nations, provided a tiny handmade quilt in which the handcuffs were reverently wrapped before being stored in the Cultural Center’s archives. The handcuffs remained in storage for more than 20 years.

Although the Cultural Center displays a number of artifacts related to the harsh treatment of early Indian students at Haskell, the handcuffs were simply too painful to be addressed, opined Rahder. She says elders blessed the handcuffs and instructed her to put them away. She did as she was told, trusting that students and faculty would one day decide on the appropriate treatment of this painful artifact. The handcuffs languished in the archives of the center until this past summer.

As word of the handcuffs began to leak out over the past few years, students and faculty began discussing the importance of acknowledging their existence and putting them on display. For whatever reason, no one at the school has been willing to take the lead in the handling of this powerful artifact, but with the approval of Haskell administration, Girty agreed to unwrap them for ICTMN.

For Lackey the handcuffs are a tangible example of the painful history between Native people and the U.S. “The history of our genocide has been so swept under the rug by the mainstream. People need to see the impact that these policies had on us,“ she  says.

According to Girty, who was a student at Haskell in 1959, there are many stories of the brutal means used by authorities to bring and keep students at school in its early days. For instance, reservation authorities would hold back Native families’ food rations if they refused to allow children to be sent to early boarding schools, he noted. “If those handcuffs could talk, they would tell some terrible stories,” he says.

Steve Prue, spokesman for Haskell, says there are no immediate plans regarding how the handcuffs will be presented to the public, nor how they will be displayed. He agrees with students that the handcuffs are an appropriate item to be included in displays of other Haskell artifacts at the Cultural Center. “It’s good to have these sorts of things on display in the Cultural Center,” he says. “They tell the story of who paid the price for us to be here now.”

(Source: rematiration)

(Reblogged from karnythia)

girljanitor:

Skeena Reece. “Raven: On the Colonial Fleet”, 2008.

One of the most striking works in the exhibition is the clothing and regalia worn by Reece in her persona as Raven on the Colonial Fleet. It’s comprised of a curvaceous bustier covered in vertical Northwest coast designs and an apron with figures whose outstretched arms are reaching above their heads for AK-47 machine guns. Her traditional button blanket has a surprise on the back: a grenade made out of silver sequins.

Skeena Reece is multi-disciplinary artist based on Vancouver Island and performance work may include, music, spoken word and videography.  Founder of the Native Youth Artists Collective, she has worked in Arts Administration since 2005.  A self-named ‘Sacred Clown’ influenced by her ancestors she is a storyteller. Her work has extended overseas at the 2010 Sydney Biennale: Festival of Contemporary Art in Australia and at the Bbeyond Gallery in Belfast, Ireland.  Performing at community art shows, the main stage or at a cabaret look for her inaugural music cd in Winter 2010.

(Reblogged from girljanitor)

Also, if we’re in the United States, we probably ought to also be doing more than just round dancing.

adailyriot:

Canada’s closed it’s boarders to us so that Native people cant go to aid First Nations people in #idlenomore. 

But we ought to be putting pressure on the United States Government to get Harper to cease with bill C-45.

Folks in other countries ought to be doing this as well.  

(Reblogged from rematiration)
(Reblogged from updowncontinue)
lakotapeopleslawproject:

The Lakota People’s Law Project is challenging the injustices faced by Lakota families throughout South Dakota. As a nonprofit project, our work is sustained entirely through the generosity of our supporters. CLICK ON THE PHOTO TO JOIN US AND DONATE TODAY!

lakotapeopleslawproject:

The Lakota People’s Law Project is challenging the injustices faced by Lakota families throughout South Dakota. As a nonprofit project, our work is sustained entirely through the generosity of our supporters. CLICK ON THE PHOTO TO JOIN US AND DONATE TODAY!

(Reblogged from lakotapeopleslawproject)

/Offensive/

sometimesajerk:

  • Asking me if I live in a Tee-pee
  • Asking me if I have a “Indian Name”
  • Asking me how you can “Become an Indian.
  • Asking me to give you an “Indian Name”
  • Asking me how much money I get from the taxpayers (hint: nothing)
  • Asking me to “war whoop”
  • Asking me to talk in “The Native American Language”
  • Telling me you “totally understand Native issues” because your “great-great-grandmother was a Cherokee Princess”

Feel free to add to this list. Let ignorant people know what offends us. 

  • Asking me if (or more often straight up presuming that) I have any magic or herblore or some shit that will fix your TMI medical issue
  • Asking me to validate your New Age religious practice
(Reblogged from digatisdi)

lastrealindians:

Sioux Tribes Purchase Pe’Sla!

By: Chase Iron Eyes

The unthinkable has happened! The world has shown its support and the Oceti Sakowin (Great Sioux Nation) has provided a powerful new narrative for Indigenous people. Indigenous is not a human construct as is “race.” Indigenous is a respect relationship between families, nations and life’s creatures, land, sacred sites, water, with each other, and with the holy powers of the Universe. Indigenous is not anthropocentric, but biocentric. Mitakuye Oyasin -We Are All Related. Even western science has reached this conclusion, finally. Pe’Sla is secured. Our ancestors are watching us, expecting us to fulfill our roles and reach our potential.

The Pe’Sla effort was driven and shared by many throughout the world, including Dr. Sara Jumping Eagle, Dana Lone Hill, Ruth Hopkins and all who donated time, energy, money and artwork for perks in the first campaign. There are simply too many people in too many capacities to thank. What a whirlwind when we activate. LRI wants to extend its gratitude to the bands of the Oceti Sakowin (Great Sioux Nation) who stepped up to make this happen along with the Indian Land Tenure Foundation. We owe a special shout out to DJ Two Bears, Sol Guy, Ezra Miller, Anneliese Vandenberg, and Piet Suess who helped spring the movement back into consciousness with the second campaign. Additionally, thanks to celebrities P. Diddy, Bette Midler, Lou Diamond Phillips, Rosanne Barr, Whoopi Goldberg, Ashley Judd, and Susan Sarandon who retweeted to raise awareness to help save Pe’Sla. Most thankfully, we send a voice to our spiritual leaders who answer the call to travel to our sacred sites to perform obligations on our behalf.

From the bottom of my heart and spirit I know the world is a better place because of the Pe’Sla campaign. Lastrealindians, Inc. has contributed over $900,000 toward the total purchase price of $9 Million. All the day-to-day hustle to meet our basic needs in the artificial, destructive corporate economy fades away when we are engaged in prayer. Our spirits are lifted. I know that when considerable numbers of people around the globe are all thinking and praying about Pe’Sla, our collective human consciousness ascends in a prayer bringing us all to the center. This is a story that transcends race, space and linear time. Ceremonies have been conducted at Pe’Sla for untold millennia. Indeed, the ceremonies carried out at Pe’Sla are for the survival of humanity and the renewal of life’s gifts.

These are times of prophecy. White buffalo calves are being born, earthquakes and tsunamis abound, droughts ravage our lands, we as humans have lost our way; but there is still hope. We want hope and our spirits require more than what money, oil, and pop “culture” can offer us. As Arvol Looking Horse, 19th Generation Keeper of the Sacred White Buffalo Calf Pipe Bundle, says, “We humans send sacred energy, we have power, but we don’t use it and we need to in these times; our prophecies tell us to return to the Black Hills.” It is time we come together as one. When we are at our center we are one with the Universe. There is nothing more powerful than dedicated humans strong in their love for Creator. Indeed, this is the only thing that will save us. I believe this is a sign that humans are returning to their center as Crazy Horse said they would…READ THE REST HERE:  http://www.lastrealindians.com/axCommentDetails.php?postId=2138
(Reblogged from nakkyy)
fyeahindigenousfashion:

killer whale wrap ring, Robert Cross (Haida)
Born to the Eagle Clan of Haida. He is the son of renowned Gordon Cross, from whom he learned all aspects of Haida carving. From his cousin Nelson Cross he learned to work with metal and, since 1983 has worked in both silver and gold. His jewellery shows his talent and skill and the individuality of his style. Robert signs his artwork as B.Cross, as his friends call him Bob 

fyeahindigenousfashion:

killer whale wrap ring, Robert Cross (Haida)

Born to the Eagle Clan of Haida. He is the son of renowned Gordon Cross, from whom he learned all aspects of Haida carving. From his cousin Nelson Cross he learned to work with metal and, since 1983 has worked in both silver and gold. His jewellery shows his talent and skill and the individuality of his style. Robert signs his artwork as B.Cross, as his friends call him Bob 

(Reblogged from platanos-fritos)
(Reblogged from rematiration)

wildunicornherd:

Publisher’s Weekly review: Walking the Clouds: An Anthology of Indigenous Science Fiction, ed. Grace L. Dillon

Dillon’s superb anthology, the first devoted to indigenous SF, highlights long-overlooked authors alongside better-known figures such as Nalo Hopkinson and Leslie Marmon Silko. The categories include “Slipstream,” a genre Native American SF helped create, and “Apocalypse,” something many Aboriginal populations feel has already happened to them. Gerald Vizenor’s “Custer on the Slipstream” (1978) is the first of several stories dealing with Custer and Crazy Horse. Native views of space and time and reversing the notion of first contact are likewise recurring themes, with both appearing in an engaging excerpt from Gerry William’s 1994 novel The Black Ship. Another regular visitor is the Ghost Dance, meant to drive whites from the Americas; Sherman Alexie shows a world where this worked, albeit delayed, in “Distances” (1993). Every piece is a perspective twister and a thought inducer built on solid storytelling from ancient and newer traditions, and the anthology will encourage readers to further investigate indigenous speculative works.

(Reblogged from beyondvictoriana)
jrahrah:

“Don’t let anybody tell you not to be angry. We have every right to be angry. We have every reason to be angry. And we ARE angry. And the reason that we’re angry — the reason we are angry — is because this is OUR country, and they took our government and imprisoned our queen — right here she was imprisoned in her palace. And they banned our language. And then they forcibly made us a state of the racist, colonialist United States of colonial America. Do you have a right to be angry? Of course you do. Of course you do!”
Speech by the Native Hawaiian Leader Haunani-Kay Trask for the 1993 Centennial Commemoration of the American overthrow of the Hawaiian Kingdom at ‘Iolani Palace, Honolulu

jrahrah:

“Don’t let anybody tell you not to be angry. We have every right to be angry. We have every reason to be angry. And we ARE angry. And the reason that we’re angry — the reason we are angry — is because this is OUR country, and they took our government and imprisoned our queen — right here she was imprisoned in her palace. And they banned our language. And then they forcibly made us a state of the racist, colonialist United States of colonial America. Do you have a right to be angry? Of course you do. Of course you do!”

Speech by the Native Hawaiian Leader Haunani-Kay Trask for the 1993 Centennial Commemoration of the American overthrow of the Hawaiian Kingdom at ‘Iolani Palace, Honolulu

(Reblogged from xtremecaffeine)