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Oil Giant SWN Is Suspending Its Work in New Brunswick After Nationwide Protests

Oil Giant SWN Is Suspending Its Work in New Brunswick After Nationwide Protests



Nice to share some good news in Indian Country!  The First Nations people of New Brunswick, the Mi'kmaq working with other New Brunswickians have halted the continued work SWN to frack their lands. For more information on what has been happening in Elsipogtog check out Wab Kinew's reporting, an Anishinaabe correspondent for Al Jazeera America on it at Fault Lines: Elsipogtog, the Fire over Water

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Poverty Porn or Helping Our Youth? Chase & Status Video shot on Blackfeet Reservation

Poverty Porn or Helping Our Youth? Chase & Status Video shot on Blackfeet Reservation





This video was released this week by the UK techno band Chase & Status.  It has cause a firestorm of controversy in the Native community detailed here in Indian Country Today - Controversial Video Set on Rez Depicts Drug Use, Violence and Sundance.  

My morning after thoughts (I saw this yesterday) on Chase & Status video shot on the Blackfeet Reservation are that yes, it was beautifully shot and I think youth will identify with the story, because, drug use is epidemic in many of our communities. I do worry that it glorifies it a bit and the resolution (his girlfriend dies after they smoke crack all night) and he does the Sundance (they depict this) is a bit stereotypical. They also never speak (it is a music video) but this lack of voice by the protagonist makes "Indians" what we have always been: a blank slate to project others ideas on of who we are & what we think. The director worked with a Blackfeet society who approved the script and I sense his heart is in the right place. He, himself, is from a similar background in the UK. I don't know, it just comes off as exploitive all the same. I know some will be happy to see themselves depicted, but as it is being used to sell the band's music it feels a bit like Slum Tourism. The band is well-known in Europe, but not here, so it won't have the same cultural effect in the United States (it won't be on Good Morning America or Anderson Cooper). Chase & Status gains the cultural cache (they do not plan to donate any of the proceeds to Native youth), their audiences in Europe get a particular type of cultural voyeurism that makes them feel good when they buy the song, a few donations trickle in, perhaps, just perhaps, and this is everyone's greatest hope, a few, even just one Native youth decides to take a different path in life. I suppose, for our community our hopes are small but they are always for the next generation.

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Washington Redsk*ns, Indian Mascotry & Owl Man

Washington Redsk*ns, Indian Mascotry & Owl Man


Delegation from Yankton, Santee, Upper Missouri Sioux, Sac and Fox, Ojibwe, Ottawa, Kickapoo, and Miami tribes posing with President Johnson on the steps of the White House, February 23, 1867

When I see those DC cheerleaders prancing out in skimpy outfits and sexy "NDN War Bonnets" I think of my ancestor Owl Man. Here he is wearing his Eagle Feather headdress to the White House to sign a treaty with President Andrew Johnson. I wonder did he ever foresee this? And would he consider it an "honor"? Everything they gave up to maintain their way of life. The women scolded the men when they got back for signing away the salt mines where they gathered the salt to preserve the meat. Or when he had to shoot a Santee man at the behest of the United States to prove Yankton loyalty and to save the rest of the Santee who had taken refuge with us after the Minnesota Sioux Uprising? Is this what he would have wanted for us 146 years later?
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Thinking of Thought Woman, Leslie Marmon Silko - Poem of the Day Native American Heritage Month

Thinking of Thought Woman, Leslie Marmon Silko - Poem of the Day Native American Heritage Month



Spiderwoman/Thought Woman. Art by Jade Red Moon.
Leslie Marmon Silko is one of those writers who have contributed to my understanding of the world as a Native American woman.  Some of the passages in her novels read like poetry to me and remind me of the voice of my own Navajo mother.  In fact, writers like Silko and Paula Gunn Allen, Native women of the same generation as my mother have perspectives very similar to those she passed on to me.  

Raised in a still very traditional Navajo culture (my grandparents did not speak English and were completely traditional in both dress and worldview) she and other young Native women of her generation left their respective reservations in the 1960's and 1970's to be greeted by an America that had only recently undergone the Civil Rights Movement and in the midsts of the Women's Rights Movement.  My mother saw in this movement a great deal of her own matrilineal Navajo traditions and threw herself enthusiastically into working for the passage of the Equal Rights Amendment.  It is hard to imagine what it is like to be a young woman, to leave all you know, traditions that are clear and in your favor to enter a world where such surety does not exist.  Not as a brown woman in color conscious society, not as a woman in a society that favors men, not as a traditional Navajo in a Judeo Christian society that knows nothing about your cosmological underpinnings.  So, when she raised me in Suburbia, she took great pains to help me bridge those worlds.  

She was proud that Navajo traditions valued women and that these ideas were now being embraced by Euro-American culture.  She emphasized to me the importance of women and their role in the Navajo concept of the world and told me the stories of Changing Woman and her sister White Shell woman.  She made sure I knew my clans and the stories of my clan - a matrilineal line that stretches back to Changing Woman, herself in Navajo culture.  She told me that my clan the Kinyaani (Towering House People) were the first clan of the Navajo people and the first Kinyaani woman (my many-greats grandmother) was made my Changing Woman herself.  In the songs of my cheii (my grandfather), the chants he constantly sang I could hear the rhythms of a continuity that to this day puts me at ease.  I know things are right, even as he would start singing a chant as my masani (grandmother) lectured him about not doing the dishes the night before.  He would smooth over small mishaps and my mother explained to me that he had turned one of his songs, a riding song (songs sung for riding on horseback) into a powerful prayer.  Navajos do not pray the way European Christians do, "I want this, give me that" but it is instead an imagining of the world as they want it to be: "When I ride I will meet friendly people who will give me water and good food when I stop to talk to them, when I ride home I will have a safe and quick journey back." This is how those songs and prayers went with a tempo of confident, soothing optimism of life which is often translated as Hozho, harmony.  It is in this way that I read Silko's writing and how it speaks to me, even though, she is from another Southwestern people, the Laguna Pueblo, there is a cultural similarity that her words feed and nourish and help me navigate this strange between world we modern Native people live in.



Ceremony 
I will tell you something about stories,"
[he said] 
They aren't just entertainment. 
Don't be fooled. 
They're all we have, you see. 
All we have to fight off illness and death. 
You don't have anything 
if you don't have the stories. 
Their evil is mighty, 
but it can't stand up to our stories. 
So they try to destroy the stories, 
but the stories cannot be confused or forgotten. 
They would like that. 
They would be happy 
because we would be defenseless then.
 [He rubs his belly]
 I keep it in here,
[he said] 
Here, put your hand on it. 
See? 
It is moving. 


Ts' its' tsi' nako, Thought-Woman,
is sitting in her room
and what ever she thinks about
appears.
She thought of her sisters,
Nau' ts' ity' i and I' tcs' i,
and together they created the Universe
this world
and the four worlds below.
Thought-Woman, the spider,
named things and
as she named them
they appeared.
She is sitting in her room
thinking of a story now
I'm telling you the story
she is thinking.
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Jacklight by Louise Erdrich  - Poem a Day for Native American Heritage Month

Jacklight by Louise Erdrich - Poem a Day for Native American Heritage Month


Ojiway poet, Louise Erdrich
I've been thinking about poetry and Native Americans.  I have some favorites and I thought that for the rest of Native American Heritage Month, I'd post a few.  If anyone has any they'd like to suggest please feel free to tell me about your favorite poems in the comments!

My daughter was recently reading my copy of Louise Erdrich's book of poetry Jacklight and so, this poem has been on my mind today.  

Jacklight
The same Chippewa word is used both for flirting and hunting game, while another Chippewa word connotes both using force in intercourse and also killing a bear with one’s hands.             
-R.W. Dunning (1959) Social and Economic Change Among the Northern Ojibwa

We have come to the edge of the words,
out of brown grass where we slept, unseen,
out of knotted twigs, out of leaves creaked shut,
out of hiding.

At first the light wavered, glancing over us.
Then it clenched to a fist of light that pointed,
searched out, divided us.
Each took the beams like direct blows the heart answers.
Each of us moved forward alone.

We have come to the edge of the woods,
drawn out of ourselves by this night sun,
this battery of polarized acids,
that outshines the moon.

We smell them behind it
but they are faceless, invisible.
We smell the raw steel of their gun barrels,
mink oil on leather, their tongues of sour barley.
We smell their mothers buried chin-deep in wet dirt.
We smell their fathers with scoured knuckles,
teeth cracked from hot marrow.
We smell their sisters of crushed dogwood, bruised apples,
of fractured cups and concussions of burnt hooks.

We smell their breath steaming lightly behind the jacklight.
We smell the itch underneath the caked guts on their clothes.
We smell their minds like silver hammers
cocked back, held in readiness
for the first of us to step into the open.

We have come to the edge of the woods,
out of brown grass where we slept, unseen,
out of leaves creaked shut, out of our hiding.
We have come here too long.

It is their turn now,
their turn to follow us. Listen,
they put down their equipment.
It is useless in the tall brush.
And now they take the first steps, not knowing
how deep the woods are and lightless.
How deep the woods are.

-Louise Erdrich (Turtle Mountain Chippewa)

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