Podcasts about anishinaabemowin

The Manitoba government is launching a pilot to translate Hansard into 7 Indigenous languages, starting with Anishinaabemowin, aiming to preserve and revitalize culture through language.

Dennis Chartrand grew up in Duck Bay, Manitoba, and is deeply connected to Anishinaabemowin, viewing it as a vital source of Indigenous expression, cultural identity, and a means of healing from colonial impacts. Chartrand's childhood was very different from what we see now. He lived in the woods, had to collect firewood, and had no running water.

Dennis Chartrand grew up in Duck Bay, Manitoba, and is deeply connected to Anishinaabemowin, viewing it as a vital source of Indigenous expression, cultural identity, and a means of healing from colonial impacts. With the continued loss of language, Chartrand had an epiphany. He worked through the fear and committed to help preserve it.

Dennis Chartrand grew up in Duck Bay, Manitoba, and is deeply connected to Anishinaabemowin, viewing it as a vital source of Indigenous expression, cultural identity, and a means of healing from colonial impacts. Dennis talks about how his culture has opened opportunities for him and helped him and others.

Mary Maytwayashing, Strong Standing Golden Eagle, is from Lake Manitoba First Nations, also known as Dog Creek. She is a mother of three and grandmother to eleven. She is fluent in her language of Anishinaabemowin, which is spiritual and sacred to her people. Mary shares about the time of harvest and the importance of taking care of the earth.

Mary Maytwayashing, Strong Standing Golden Eagle, is from Lake Manitoba First Nations, also known as Dog Creek. She is a mother of three and grandmother to eleven. She is fluent in her language of Anishinaabemowin, which is spiritual and sacred to her people. Modern life has made us feel disconnected from the land, and Mary believes it's important to reconnect with it.

One of the most-streamed films online is the original Star Wars: A New Hope. You can watch it in a bunch of different languages. Now, that includes Anishinaabemowin. That means Ojibwe people in Michigan and all over North America can see an absolute classic in their language. We talked to one of the actors involved in the Anishinaabemowin dubbing of the film about the project and what it meant to see one of Hollywood's biggest blockbusters in a language that many of his ancestors were once forbidden from speaking. GUEST: Niigaanii-Animikii Inini Kalvin Hartwig, filmmaker and voice actor Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.

Kenny Pheasant first became a teacher of Anishinaabemowin at 14 years-old, teaching customers from behind the meat counter at a grocery store. Now, it's his life mission to get more people speaking the Great Lakes' original and endangered language.

Armand Garnet Ruffo's staggeringly powerful poetry collection, The Dialogues: The Song of Francis Pegahmagabow, was published in spring 2024 by Wolsak & Wynn. This collection of poems and lyric essays brings to life not only the story of the famed WWI Indigenous sniper, but also the complexities of telling Indigenous stories. From Wasauksing (Parry Island) to the trenches of WWI to the stage, Ruffo moves seamlessly through time in these poems, taking the reader on a captivating journey through Pegahmagabow's story and onto the creation of Sounding Thunder, the opera based on his life. Throughout, Ruffo uses the Ojibwe concept of two-eyed seeing, which combines the strengths of western and Indigenous ways of knowing, and invites the reader to do the same, particularly through the inclusion of the Anishinaabemowin language within the collection. These are poems that challenge western conventions of thinking, that celebrate hope and that show us a new way to see the world. The collection also just won the Betsy Garland Award for hybrid genre books. Armand Garnet Ruffo is an Anishinaabe writer from Treaty #9 territory in northern Ontario. A recipient of an Honourary Life Membership Award from the League of Canadian Poets and the Latner Griffin Writers' Trust Poetry Prize, he is recognized as a major contributor to both Indigenous literature and Indigenous literary scholarship in Canada. His publications Norval Morrisseau: Man Changing into Thunderbird (2014) and Treaty # (2019) were finalists for Govenor General's Literary Awards. He teaches at Queen's University in Kingston, Ontario. Hollay Ghadery is a multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, is scheduled for release with Gordon Hill Press in fall 2024. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Armand Garnet Ruffo's staggeringly powerful poetry collection, The Dialogues: The Song of Francis Pegahmagabow, was published in spring 2024 by Wolsak & Wynn. This collection of poems and lyric essays brings to life not only the story of the famed WWI Indigenous sniper, but also the complexities of telling Indigenous stories. From Wasauksing (Parry Island) to the trenches of WWI to the stage, Ruffo moves seamlessly through time in these poems, taking the reader on a captivating journey through Pegahmagabow's story and onto the creation of Sounding Thunder, the opera based on his life. Throughout, Ruffo uses the Ojibwe concept of two-eyed seeing, which combines the strengths of western and Indigenous ways of knowing, and invites the reader to do the same, particularly through the inclusion of the Anishinaabemowin language within the collection. These are poems that challenge western conventions of thinking, that celebrate hope and that show us a new way to see the world. The collection also just won the Betsy Garland Award for hybrid genre books. Armand Garnet Ruffo is an Anishinaabe writer from Treaty #9 territory in northern Ontario. A recipient of an Honourary Life Membership Award from the League of Canadian Poets and the Latner Griffin Writers' Trust Poetry Prize, he is recognized as a major contributor to both Indigenous literature and Indigenous literary scholarship in Canada. His publications Norval Morrisseau: Man Changing into Thunderbird (2014) and Treaty # (2019) were finalists for Govenor General's Literary Awards. He teaches at Queen's University in Kingston, Ontario. Hollay Ghadery is a multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, is scheduled for release with Gordon Hill Press in fall 2024. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Armand Garnet Ruffo's staggeringly powerful poetry collection, The Dialogues: The Song of Francis Pegahmagabow, was published in spring 2024 by Wolsak & Wynn. This collection of poems and lyric essays brings to life not only the story of the famed WWI Indigenous sniper, but also the complexities of telling Indigenous stories. From Wasauksing (Parry Island) to the trenches of WWI to the stage, Ruffo moves seamlessly through time in these poems, taking the reader on a captivating journey through Pegahmagabow's story and onto the creation of Sounding Thunder, the opera based on his life. Throughout, Ruffo uses the Ojibwe concept of two-eyed seeing, which combines the strengths of western and Indigenous ways of knowing, and invites the reader to do the same, particularly through the inclusion of the Anishinaabemowin language within the collection. These are poems that challenge western conventions of thinking, that celebrate hope and that show us a new way to see the world. The collection also just won the Betsy Garland Award for hybrid genre books. Armand Garnet Ruffo is an Anishinaabe writer from Treaty #9 territory in northern Ontario. A recipient of an Honourary Life Membership Award from the League of Canadian Poets and the Latner Griffin Writers' Trust Poetry Prize, he is recognized as a major contributor to both Indigenous literature and Indigenous literary scholarship in Canada. His publications Norval Morrisseau: Man Changing into Thunderbird (2014) and Treaty # (2019) were finalists for Govenor General's Literary Awards. He teaches at Queen's University in Kingston, Ontario. Hollay Ghadery is a multi-genre writer living in Ontario on Anishinaabe land. She has her MFA in Creative Writing from the University of Guelph. Fuse, her memoir of mixed-race identity and mental health, was released by Guernica Editions in 2021 and won the 2023 Canadian Bookclub Award for Nonfiction/Memoir. Her collection of poetry, Rebellion Box was released by Radiant Press in 2023, and her collection of short fiction, Widow Fantasies, is scheduled for release with Gordon Hill Press in fall 2024. Hollay is the host of the 105.5 FM Bookclub, as well as a co-host on HOWL on CIUT 89.5 FM. She is also the Poet Laureate of Scugog Township. Learn more about Hollay at www.hollayghadery.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/poetry

Last December, Theresa Eischen was watching the news when a story caught her attention. The original Star Wars film was being translated into Anishinaabemowin, an endangered language. Theresa had zero voice acting experience, but she loves Star Wars and is fluent in Anishinaabemowin. So she auditioned to voice Princess Leia. It was a long shot.

We're thrilled to welcome Becca Meuninck, Regional Executive Director of the National Wildlife Federation's Great Lakes Regional Center. In this wonderful conversation with State of Water host Seth Bernard, we hear about (3:30) NWF's current efforts across the region advocating for clean water for people and wildlife collaborating with a broad coalition of organizations and communities across the region. (5:30) Becca shares about how her love for the outdoors has inspired and informed her own educational and vocational path, having worked for more than 20 years at the Ecology Center which included time working with residents and families impacted by PFAS and lead poisoning. (13:05) She speaks to the importance of collaboration in taking on the many challenges in environmental work and how many people and organizations working together can maximize impact and reduce a sense of overwhelm. (21:30) Becca reflects on how growing up in Michigan in a family of nature lovers has nurtured a connection to the environment and how that has continued to sustain and inspire her. (27:40) Finally, she shares how people can get involved in NWF's efforts including urgent efforts to address climate change, to shut down Line 5, to grow access to renewable energy, and to support solutions to protect Great Lakes fisheries. Learn more about how you can support National Wildlife Federation's Great Lakes Center at: https://www.nwf.org/Great-Lakes We encourage you to to also check out our new podcast, Eminazhichiget, which translates in Anishinaabemowin to “person who does good things for others.” This new program celebrates Anishinaabek leaders by uplifting their efforts by providing a snapshot into their work and lives. Learn more and listen in or watch: https://titletrackmichigan.org/eminazhichiget/ Find the full video of this episode and all 2024 State of Water episodes on our YouTube: https://www.youtube.com/@MICleanH2O /// EPISODE 50 / Becca Meuninch interviewed by Seth Bernard / Produced, edited and mixed by Dan Rickabus and Chris Good / Narrators - Alex Smith, Ben Darcie, Dan Rickabus, Jenny Jones, Angela Gallegos, Rachel Marco-Havens / Graphic by Chris Good / Theme Music - Mike Savina, Seth Bernard & Dan Rickabus / Featured Music - “Homestretch” by Ecotone and “Authors (instrumental demo)" by Dan Rickabus

It took a little creativity to find the Ojibway words for a sci-fi glossary fit for Star Wars, but concepts like "The Force" and "The Resistance" are familiar concepts to Indigenous people. It made Star Wars: A New Hope a rewarding challenge to dub into Anishinaabemowin. Rosanna speaks with the actors who brought the words to life, and the translators who are passing language to the next generation. Plus, we step into the triology and hear how Padme Amidala looks with a little Choctaw flare.

Our lead story: how one of Jeremy Skibicki's four murder victims—crimes for which he's set to be sentenced—received her Anishinaabemowin spirit name, Muskode Bizihiki'ikwe, or ‘Buffalo Woman.'

The Points North Podcast from Interlochen Public Radio won a national Edward R. Murrow award last week for their story about Kenny Pheasant, an Anishinaabe Michigander working to teach and preserve the Anishinaabemowin language. Today, we bring that episode in honor of their great podcast and wonderful story. GUEST: Dan Wanshura, host of Points North podcast Kenny Phesant, teacher of AnishinaabemowinSee omnystudio.com/listener for privacy information.

This week, our penultimate program of 2023 reunites Kim and Ken for another mini INDIGENA (the rough and ready version of MEDIA INDIGENA) to discuss an array of items, including: a response to pushback against our discussion (ep 334) about state vs. federal recognition of tribes in the U.S. the mass resignation of CN Rail's Indigenous Advisory Council, citing “the company's ineffective use of the Council's strategic input” plans announced for Anishinaabemowin version of the first ‘Star Wars' movie Canadian bureaucrats crow about their new eagle-shaped correctional building “to support Indigenous inmates on their rehabilitation journey,” to which Twitter naturally reacted CREDITS: 'All Your Faustian Bargains' and 'Love Is Chemical' by Steve Combs (CC BY 4.0); Lifecycle by Fabian Measures (CC BY). Edited by Cassidy Villebrun-Buracas and Rick Harp.

Mary Maytwayashing, Strong Standing Golden Eagle, is from Lake Manitoba First Nations, also known as Dog Creek. She is a mother of three children and a grandmother of eleven grandchildren. She is fluent in her language of Anishinaabemowin, which is spiritual and sacred to her people.

Mary Maytwayashing, Strong Standing Golden Eagle, is from Lake Manitoba First Nations, also known as Dog Creek. She is a mother of three children and a grandmother of eleven grandchildren. She is fluent in her language of Anishinaabemowin, which is spiritual and sacred to her people.

Anishinaabemowin, the language of the Anishinaabe nation, is one of the oldest and most historically important Native American languages in North America.  It is the native toungue of the Great Lakes Region of North America. But it is in danger of becoming extinct if not passed on to a new generation. In earlier times, the language was passed on orally from a tribe's elders to its younger members, but in more recent times, this practice has fallen victim to outside influences.The word Anishinaabe translated means a good person. And Kenny Pheasant is a good person, who has been working hard to preserve Anishinaabemowin. Kenny has approached the preservation and proliferation of the language by skillfully using modern social media to help bring it to not only native listeners but to non-native people who are interested in learning the language. His website and YouTube videos has brought together people of all cultures and has also brought new attention on Anishinaabemowin. You can learn about the language camp that has been established so people can meet, camp and practice speaking the language that has been held every summer. The camp combines eco-activism as well as learning to master the Anishinaabemowin.  www.anishinaabemdaa.com.  Support the showWe are always grateful to have you listening to STRUNG OUT. If you like what you are hearing, please reach out to Martin at www.MartinMcCormack.com. There you can see his music, his art and his writings. We deeply appreciate your financial support as well. This link will bring you to Buy Me A Coffee.

Anishinaabemowin, the language of the Anishinaabe nation, is one of the oldest and most historically important Native American languages in North America.  It is the native toungue of the Great Lakes Region of North America.  But it is in danger of becoming extinct if not passed on to a new generation. In earlier times, the language was passed on orally from a tribe's elders to its younger members, but in more recent times, this practice has fallen victim to outside influences.The word Anishinaabe translated means a good person. And Kenny Pheasant is a good person, who has been working hard to preserve Anishinaabemowin. Kenny has approached the preservation and proliferation of the language by skillfully using modern social media to help bring it to not only native listeners but to non-native people who are interested in learning the language. His website and YouTube videos has brought together people of all cultures and has also brought new attention on Anishinaabemowin. You can learn about the language camp that has been established so people can meet, camp and practice speaking the language that has been held every summer. The camp combines eco-activism as well as learning to master the Anishinaabemowin.  www.anishinaabemdaa.com.  Support the showWe are always grateful to have you listening to STRUNG OUT. If you like what you are hearing, please reach out to Martin at www.MartinMcCormack.com. There you can see his music, his art and his writings. We deeply appreciate your financial support as well. This link will bring you to Buy Me A Coffee.

“Two-Spirit Community “Two-spirit” refers to a person who identifies as having both a masculine and a feminine spirit, and is used by some Indigenous people to describe their sexual, gender and/or spiritual identity. As an umbrella term it may encompass same-sex attraction and a wide variety of gender variance, including people who might be described in Western culture as gay, lesbian, bisexual, transsexual, transgender, gender queer, cross-dressers or who have multiple gender identities. Two-spirit can also include relationships that could be considered poly. The creation of the term “two-spirit” is attributed to Elder Myra Laramee, who proposed its use during the Third Annual Inter-tribal Native American, First Nations, Gay and Lesbian American Conference, held in Winnipeg in 1990. The term is a translation of the Anishinaabemowin term niizh manidoowag, two spirits. Two-spirit people may also use terms from their Indigenous language to describe same-sex attraction or gender variance, such as winkt (Lakota) or nàdleehé (Dinéh). Some Indigenous languages do not have terms to describe sexual identities such as gay, lesbian, or bisexual. Many Indigenous languages are verb-focussed, and describe what people do rather than how they identify. For more information, please refer to the Canadian Encyclopedia. In 2018, our team chose to change our name to Re:searching for LGBTQ2S+ health, in order to make two-spirit people a more visible part of our research. We hope to be able to work in partnership with Indigenous communities to use research as a tool to make visible and address the impacts of colonization on Indigenous LGBTQ2S+ people.” --- Send in a voice message: https://podcasters.spotify.com/pod/show/antonio-myers4/message Support this podcast: https://podcasters.spotify.com/pod/show/antonio-myers4/support

Andrea Menard is an accomplished Métis singer/songwriter, actor, speaker, wellness trainer, and the founder of the Sacred Feminine Learning Lodge. ======= Thanks to my Sponsors for Helping Support me: If you or know some body you know is struggling with anxiety and want to know how to be 100% anxiety free, in 6 weeks, without therapy or drugs, fully guaranteed - then let me tell you about our sponsor Daniel Packard. His research company spent 8 years testing to develop an innovative process that solves your anxiety permanently in just 6 weeks - with an astounding 90% success rate.  Because their program is so effective, people who join their program only pay at the end, once they have clear, measurable results. If you're interested in solving your anxiety in 6 weeks - fully guaranteed  - and you want to learn more and have a free consultation with Daniel, go to https://www.danielpackard.com/ -------------------------- Do you have High Blood Pressure and/ or want to get off the Meds Doctors are amazed at what the Zona Plus can do $50 Discount with my Code ROY https://www.zona.com/discount/ROY   Speaking Podcast Social Media / Coaching My Other Podcasts ⁠https://bio.link/podcaster⁠   ============ About Andrea Menard: Andrea Menard is an accomplished Métis singer/songwriter, actor, speaker, wellness trainer, and the founder of the Sacred Feminine Learning Lodge. As seen in USA Today, Andrea is an influencer in Feminine leadership and was named one of the Women Executive Network's (WXN) Canada's Most Powerful Women: Top 100 Award Winner in 2020. An advocate for rematriation and reconciliation, Andrea trains women to “Lead Like a Goddess” and helps all-gendered people to reclaim and embody the qualities of the Sacred Feminine. She is also the author of the Seeds from the Sacred Feminine Wisdom Cards to be released with Mango Publishing on May 9th, 2023. One of the all-star cast of the new hit CTV series, Sullivan's Crossing, Andrea is a five-time Gemini-nominated actress, a 15-time music award winner, and she was named ACTRA National's Woman of the Year in 2021. Andrea has released 5 award-winning albums, including a Michif language album, a symphony show, 2 television programs, and her TEDx Talk called “Silent No More” has reached over 128,000 views. She has performed for royalty, prime ministers, governor-generals, residential school survivors, families of the missing and murdered Indigenous women, and even sang her song “Peace” to the world's NATO generals. Born in Manitoba, Andrea is a proud member of the Metis Nation of Canada. Her Metis family originates from St. Laurent, Manitoba (Treaty 1) and then settled in the interlakes region of Treaty 2 territory. Andrea's carries the name Skooteah Equahh which means Fire Woman in Anishinaabemowin and the Nehiyewan name Notigwew Yutin, which means Grandmother Wind. What we Discussed:   - Who is Andrea ( 3 mins) - How she started Speaking ( 4 mins) - Benefits of being a member of a Speaking Association ( 8 mins) - Connecting with the Audience ( 10mins) - Her Music ( 13 mins) - Her Acting Career (15 mins) - Her TEDx Speech ( 16 mins) - Human Right for the Canadian Indigenous People ( 24 mins) - Oracle Matis Cards ( 28 mins) - Singing Peace to the World Nato Generals ( 36 mins) - The meaning of her Cards ( 38 mins)   and more ====================   How to Contact Andrea Menard: WEBSITE: www.andreamenard.com Cards www.andreamenard.com/cards LINKEDIN: @andreamenard TWITTER: @andreamenard FACEBOOK: @andreamenardmusic INSTAGRAM: @andreamenard YOUTUBE: @andreamenardmusic iTUNES: @andreamenard SPOTIFY: @andreamenard SOUNDCLOUD: @andreamenard BANDCAMP: @andreamenard =============== Donations  ⁠⁠https://www.podpage.com/speaking-podcast/support/⁠⁠   Speaking Podcast Social Media / Coaching My Other Podcasts + Donations ⁠https://bio.link/podcaster   --- Send in a voice message: https://podcasters.spotify.com/pod/show/roy-coughlan/message

INTRO: “Golliwog's Cakewalk” by Claude Debussy (https://www.youtube.com/watch?v=p5Rhv1E3tEM); “6 Keys to Having Genuine Dialogue” (https://www.sgi-usa.org/2022/05/09/6-keys-to-having-genuine-dialogue/); MOVEMENT ONE: “The Minnesota Orchestra presents the world premiere of ‘brea(d)th'” (https://dailyplanetdc.com/2023/04/28/the-minnesota-orchestra-presents-the-world-premiere-of-breadth/); “Breadth” by Carlos Simon (https://www.youtube.com/watch?v=btA17lhNXfU&t=6s); “Why is classical music making a comeback?” (https://faroutmagazine.co.uk/why-is-classical-music-making-a-comeback/);  “Reckoner” arr. Robert Glasper (https://www.youtube.com/watch?v=Lsl4TW3Hm1o) MOVEMENT TWO: “Money Good” perf. Megan Thee Stallion and Phony Ppl (https://www.youtube.com/watch?v=GYJ03MIPoIk&t=1283s); “Don't You (Forget Me)” by Simple Minds (https://www.youtube.com/watch?v=CdqoNKCCt7A) MOVEMENT THREE: Interview feat. Bethany Reed (https://www.listennotes.com/podcasts/surviving/its-already-happening-with-QBpJ3oYy62T/); Laurie Anderson's “Statue of Liberty” arr. Lara St. John (https://www.youtube.com/watch?v=NFe9WiYZHCY); “Vision Chant” by Andrew Balfour (https://www.youtube.com/watch?v=hWpJ7zXAHrk); Open Letter from Indigenous Classical Musicians (https://ipaa.ca/open-letter-from-indigenous-classical-musicians/); “It's Already Happening” Credits: Jacob Crane (he/him) of Indigenous Climate Action on "Climate, Alleyship, Music", opened by musician Andrew Burn (he/him), historical Bassoonist; Dr. Lise Vaugeois (she/her, pronounced Lee-s Vow-jwa), Professor at Lakehead University on  "Settler Colonial Values in the Classical Music World" opened by musician Dwayne Trudeau of Sudbury ON, Blues Guitar; Danielle Klein (she/her), UX Research Manager at Wealthsimple on "Design Thinking in Action: An interactive intro to UX"; Vu Le (he/him, pronounced "voo lay"), Nonprofit AF and Community Centric Fundraising, on "Money, Funding, and Equity", opened my musician Grace Martins, Vocalist, of St. Catharines ON; Caroline Whiddon (she/her), Co-founder to the Me2/Orchestra, on "Building an Orchestra from the Groud Up: melding mental health and classical music"; Lara St John (she/her), International Violin Soloist, Musical Maverick, Survivor,  on "Surviving Sexual Assault in the Classical Music Sector"; Andrew Balfour (he/him), Composer, Conductor (recently Juno nominated), on "Indigenous Musical Sovereignty & the future of "classical music'; Parmel Attariwala (she, her, pronounced  Pahr' mullah Atahr' ee wah la), Violinist, ethnomusicologist, composer, music educator and equity advocate on "How the Western Orchestra and Western classical music are problematic symbols in the era of social justice and equity" with opening music by Lucy Nesbitt, French Horn, of Toronto ON; Mx. Xavia A. Publius (she/her or ze/hir,  for how to pronounce Xavia click here, for how to pronounce Publius click here), Dept. of Drama, PhD Student, University of Albert on "Transgender Inclusion in Classical Music", opened with music by Hamilton ON's finest, B.A. Johnston; Gaitrie Persaud (she/her) , Tkaronto-Guyanese, Deaf IBPOC/QIBPOC activist, empowerer of Deaf artists, on "Empowering Deaf Artists", with short-film opening ROAD TO NOWHERE, an Electric Moose production, created by Brian Solomon, muti-disciplinary artist, including dance, instillations, painting and drawing, born in the remote community of shebahonaning (i pronounce it 'sheba-non-aning', but this isn't correct. there are many ways to pronounce this Anishinaabemowin (the Ojibwe/Ojibwa language) word and I have further learning to do, so take my pronunciation with salt); A limited time screening of the Film Orchestrating Change, Executive Producers/Directors: Emmy-winning Margie Friedman & Barbara Multer-Wellin was made available for several days or the project (it was a doc made about the Me2/Orchestra); Joey Solomon, Sudbury ON based visual artist, produced the logo.; 100s of other people offered time, expertise, support, knowledge, and co-created this event together: I want to acknowledge them for the importance they deserve, as this event was molded, shaped, and made possible by a community of peoples. MOVEMENT FOUR: “It's So Hard to Say Goodbye to Yesterday” by Boyz II Men (https://www.youtube.com/watch?v=dtkbfkmW808) ★ Support this podcast ★

Today, the beautiful resistance of Indigenous music makers carrying powerful messages Digging Roots is Raven Kanatakta and Shoshona Kish. The blues/folk/soul duo just won a JUNO Award for their latest album Zhawenim. Their fourth studio album takes inspiration from skylines and mountain ranges; something the couple call Anishinabek Songlines, an ancient way of creating music. Rising star Aysanabee also got to shine on Canada's JUNO stage this year. The singer/songwriter from Sandy Lake First Nation gave an emotional performance of his song, We Were Here featuring Northern Cree. We catch up with him to find out where his album Watin, about his grandfather, has taken him since its powerful debut. It's rage and recovery with Kristi Lane Sinclair on her new record Super Blood Wolf Moon. The Haida/Cree rocker takes us through her personal journey as a survivor of domestic violence and PTSD. But more than that it is a journey of reclamation, healing and ultimately, the power of women who rise above it all. Zoon, also known as Daniel Monkman, represents young two-spirit identity in their latest record Bekka Ma'iingan, available now. Anishinaabemowin for ‘slow down' and ‘wolf,' Bekka Ma'iingan is both a grieving and a celebration of lost loved ones. From escaping a religious cult, to receiving JUNO nominations Jayli Wolf has seen a lot. Her 2021 debut EP Wild Whisper helped her work through intergenerational trauma and the shame she experienced as a young queer woman. Ultimately, the Anishinaabe woman reclaimed the Indigenous identity she had been displaced from. On her new record, God is an Endless Mirror, set for release this summer, Jayli shares her spiritual awakening. Plus a taste of the latest music from Indian Giver, Wyatt C. Louis, Sebastian Gaskin, and Andrina Turenne

The Legacy of Hope Foundation (LHF) is pleased to announce the release of episode 16, with James Darin Corbiere. Mr. Corbiere is an Ojibwe artist and former police officer as well as teacher of Native Studies and the Ojibwe language. Darin shares insights into the strategies of both learning and teaching Anishinaabemowin, and the intricate connection that language has to culture. 

Andrea Menard is an accomplished Métis singer/songwriter, actor, speaker, wellness trainer, retreat host, and the founder of the Sacred Feminine Learning Lodge. As seen in USA Today, Andrea is an influencer in Feminine leadership and was named one of Women Executive Network's (WXN) Canada's Most Powerful Women: Top 100 Award Winner in 2020. An advocate for rematriation and reconciliation, Andrea trains women to “Lead Like a Goddess” and helps all-gendered people to name, reclaim and embody the qualities of the Sacred Feminine. She is also the author of the Seeds from the Sacred Feminine Wisdom Cards, to be launched with Mango Publishing in 2023. One of the stars of the CTV series, Sullivan's Crossing, Andrea is a five-time Gemini-nominated actress, a 15-time music award winner, and was named ACTRA National's Woman of the Year for 2021. She has released 5 award-winning albums, including her latest Michif language album, a symphony show, 2 television programs, and her TEDx Talk called “Silent No More” has reached over 128,000 views. Andrea has performed for royalty, prime ministers, governor-generals, residential school survivors, families of the missing and murdered Indigenous women, and even sang her song “Peace” to the world's NATO generals. Born in Manitoba, Andrea is a proud member of the Metis Nation of Canada. Her Metis family originates from St. Laurent, Manitoba, but settled in the interlakes region of Treaty 2 territory. She carries the name Skooteah Equahh, which means Fire Woman in Anishinaabemowin and the Nêhiyawêwin name Notigwew Yutin, which means Grandmother Wind. These names deeply inform Andrea's work. She is also the creator of the new show Rubaboo: A Métis Cabaret e which is running at the Grand Theatre in London, ON from March 7th to 23rd. 2023 More info at: https://andreamenard.com/ More info at: https://www.grandtheatre.com/event/rubaboo

Kenny Pheasant first became a teacher of Anishinaabemowin at 14 – from behind the meat counter at a grocery store. Now, it's his life mission to get more people speaking the Great Lakes' original and endangered language.

What Stories Does the Land Hold? is a conversation series co-presented by the Center for Humans and Nature and The New School at Commonweal as part of the Center's Questions for a Resilient Future Series Across the world, Indigenous people share something in common: a connection to land and their Ancestral territories. This series of conversations spotlights a collection of Indigenous voices telling the stories of the land and its stories, connecting us to each other and to all of our relations. In this conversation, join Host Christine Luckasavitch with Dr. Amy Shawanda, an Odawa kwe is from Wikwemikong Unceded territory whose academic work is focused on Anishinaabe motherhood, specifically identifying the challenges, tensions, and strengths of incorporating traditional teachings and pedagogies in daily life. Amy and Christine will discuss the revitalization of Indigenous knowledges, unapologetically making space for Indigenous knowledges, and the realm of Indigenous health. Photo: Alyssa Bardy Photography Dr. Amy Shawanda Amy is an Odawa kwe from Wiikwemkoong, Manitoulin Island. She is a mother, auntie, student, and life-long learner of Anishinaabe cultural ways and Anishinaabemowin. Her research interests primarily lie within Anishinaabe thinking, being, doing, and connecting with the land. She has a specific focus on bringing Indigenous health knowledge into Western health care. Her first publication was with the Turtle Island Journal of Indigenous Health titled Baawaajige: Exploring Dreams as Academic References. She has diverse research interests that includes Indigenous pedagogies, research methods and methodologies, star knowledge, Dream Knowledges, history, and storytelling. Christine Luckasavitch Christine Luckasavitch is an Omàmìwininì Madaoueskarini Anishinaabekwe (a woman of the Madawaska River Algonquin people), belonging to the Crane Clan, and mixed settler heritage. Christine continues to live in Omàmìwininìaki, unceded Algonquin territory. Christine is the Owner/Executive Consultant of Waaseyaa Consulting and Waaseyaa Cultural Tours, two small businesses dedicated to reviving and celebrating Indigenous ancestral knowledge and culture-based practices through educational opportunities. She is the co-owner of Algonquin Motors, a woman-led motorcycle clothing company honouring the spirit of unceded Algonquin territory. She is currently writing her thesis to complete her Master of Arts in Indigenous Studies at Trent University. Christine is the former Executive Director of Native Land Digital, an Indigenous-led not-for-profit dedicated to providing a digital platform for Indigenous peoples to share knowledge about their Indigenous cultures, territories, and knowledge systems across the world. Her work is centered around creating spaces for Indigenous peoples to share their knowledges, both in physical and digital spaces, and encouraging the re-emergence of ancestral kinship ties. Find out more about The New School at Commonweal on our website: tns.commonweal.org. And like/follow our Soundcloud channel for more great podcasts.

As the wind blows across the darkened Minnesota State Fairgrounds, snow sculptor Heather Friedli is feeling the almost-zero temperatures in her knees. They feel “rubbery,” and it's happened before. In fact, Friedli, who has been snow sculpting for 15 years, says she's developed something like permanent callous on her knees from all her bouts of frost bite. It's nearing the end of day two of three of the Minnesota State Snow Sculpting Competition, Jan. 27-29, at the Vulcan Snow Park. Friedli, the captain of Team Kwe, is joined by her sister Juliana Welter and her “snow sister” Kelly Thune, a team substitute (the best you can get, really, Thune was on the team that won the World Championships in Stillwater the week before).  Their 2023 sculpture design — knitting needles, yarn and knitting — is inspired by Team Kwe member Maggie Thompson, who had to bow out at the last minute due to a family emergency. Thompson is a textile artist and knitter. The trio gather around their chiseled mound, what started the morning before as a 8-by-8 foot packed cube of snow. It's three degrees Fahrenheit.  Surrounding them, spotlights cast strange blue shadows of creatures rising from other teams — a lacey fungi cluster; a snake and bird in a fight to the death; a swan mother nuzzling her cygnets; “Thing” from “The Addams Family.” With less than 20 hours to go, there is much work to be done. Thune the sub couldn't start helping Team Kwe until 6 p.m. the first day, so they're behind and they've run into trouble carving the needles straight. The ball of yarn is also more difficult than predicted. “You would think a sphere is a sphere, but it's actually really difficult to sculpt a sphere,” Friedli says. “We've been doing this a long time and we were like, ‘What the h---?'”The team laughs. After dozens of hours on site, are they still having fun? “This is what I call ‘type two' fun sometimes, where it's really hard when you're doing it, but after you go ‘That was great.'” Friedli says. “If we didn't like it, we wouldn't do it,” Thune adds.  Joy — and motivational fuel — to work in freezing temps, they say, comes from spending time with their “snow family,” fellow sculptors who they see mostly during the intense competitive snow sculpting season that runs through January and February.  Thompson later adds she thrives on “the endurance you have to have with the intensity of Minnesota winters,” and the camaraderie.In what Friedli calls her “crazy little art sport,” bonds form over sharing tools and staying up all night, taking breaks in warming houses, or, in the case of the Minnesota competition, the warming chapel. Thune's brother Dusty, captain of House of Thune, the team that won the World Championships, often brings music to play through the night. Friedli says it helps her to chisel to the beat.  That night, Friedli will remain on site, grabbing an hour or two of sleep on the chapel floor. The day before, it was just the sisters. Friedli and Welter were working in the icy sunshine, scaling their block like ants on a sugar cube.  As they chisel, brush and push-shovel, they explained how the team formed in 2021, with veteran snow sculptor Friedli, who is also a painter, as the lead.  Friedli is a bit of a star in the snow art world. She got her start with a friend 15 years ago in Ely while she was working as a camp counselor. Then she was on Team Dino Fight!, which won the 2017 state competition, and the 2019 national championships. She also subbed on the German team for the 2022 World Championship in Stillwater. And she competed on the Disney+ reality competition, “Best in Snow,” which aired in November 2022. For her current team name, they chose “Kwe” because it is an Anishinaabemowin term for woman. “We all have Anishinaabe roots, so we decided that we would pull from that strength and call it Team Kwe,” Friedli says, squinting in the whiteout sunshine. Friedli and Welter, who live in St. Paul and south Minneapolis respectively, are first generation descendants of the Little Traverse Bay Bands of Odawa Indians. Thompson, who was born and raised in Minneapolis, is an enrolled member of the Fond Du Lac Band of Lake Superior Chippewa.  To their knowledge, they are the only all-women Indigenous team in the country.  “This sport is male-heavy, first of all, so being an all-female team is kind of special,” Friedli says. “But also, you don't see too many people of color out here snow sculpting.”  “We're in Minnesota on Native land, so it really feels important to have that influence in the snow as we're working with something that comes from nature and goes back to nature,” Welter adds. “It's important to share those stories,” Friedli says. “Especially during storytelling season. It's winter. The snow is on the ground. This is the traditional season for telling those stories.” Because of the lack of Indigenous representation in the small world of competitive snow sculpting, Team Kwe tries to weave in stories of Anishinaabe culture.  For the team's first Minnesota state competition in 2021 (which was only a drive-by symposium because of the pandemic), they sculpted the regalia of a jingle dress dancer. Thompson herself was a jingle dress dancer, Friedli explains. The sculpture won the People's Choice award. “Our grandma was a jingle dress dancer,” Friedli says, nodding to her sister. “But also, the jingle dress specifically was made during the last pandemic, which was the flu pandemic of 1918, and it was created because somebody had a vision that if people would dance with this jingle dress on, that it would bring healing. So, we wanted to bring healing to that.” At the 2022 Indigenous Arts Festival in Mankato, the team, with the help of Kelly Thune and friends, created a “fancy shawl dancer” sculpture with bison to honor the victims of the Missing and Murdered Indigenous Women epidemic. And for last year's Minnesota state competition, they carved a winged bison who had snagged the pants off some poor fellow with its horns. This year, they chose the theme of knitting. This was to honor Thompson. Knitting is also historically a women's pastime, something that may not show up often in this male-dominated “art sport.” Team Kwe also chose it because it was ambitious and technical.  With minutes left in the competition on day 3, Friedli, Welter and Thune are sanding and picking out the finer detail of the intricate knit pattern. While visitors begin stopping by to ooh and ahh, the team says its unfinished. They wish they had an extra day, Welter says. “There's never enough time in the world for any snow sculpture,” she says. “There's one thing I know about snow: I usually say I'll never do something again and then I do it again,” Friedli says. Then she starts to sing: “Because we're masochists.” They laugh. A horn blasts at noon, and the team puts down their tools. The trio hugs for a prolonged moment. Murmurs of “I love you” and “That was tough” seep out of the parka-clad huddle.  What are they feeling? “Tired,” Friedli says. “Pain,” Welter says. “Emotional,” says Thune. They miss Thompson, they say. But they've been texting her updates the whole time. The team is also beginning to crash from the adrenaline. “You just put so much heart and soul into it,” Friedli says. “Your whole body is in it so your whole body is exhausted.” House of Thune is announced as the winner with its fungi sculpture, “Flakeophora sculptorious.” Team Kwe already must turn their attention to the next competition: The National Snow Sculpting Championships in Lake Geneva, Wisconsin, Feb. 1-5. Their design is an otter swimming underwater with lily pads floating above, all framed by traditional beadwork and floral patterns. Thune has agreed to join them, again. They begin Feb. 1.Welter looks back at their creation. “I'm feeling good now that it's over. The sun is on my back, but it's cold so the sculpture is looking good, and I'm just happy. We did it together, and it kind of came together,” she says. “I love you, sister,” Friedli says.  To follow Team Kwe's journey through Nationals, find @friedliarts on Instagram or Facebook. 

95-year-old Percy Henry is the last fluent speaker of the Hän language in the Tr'ondëk Hwëch'in First Nation in Yukon. Now, work is underway to capture his knowledge of the language so it's not forgotten. Matt Galloway discusses those efforts with Georgette McLeod, the First Nation's language administrator and oral historian in Dawson City, Yukon, who's learning more of the Hän language from Henry. He also speaks with Mskwaankwad Rice, an Anishinaabemowin adult learner who studies linguistics; and Belinda Daniels, an assistant professor of Indigenous education with the University of Victoria, who is Nehiyaw from Sturgeon Lake First Nation in Saskatchewan.

On today's show, we talk with Megan Lhotka, a descendant of the White Earth Nation. Megan is a Facilitator for the White Earth Indigenous Parent Leadership Initiative (IPLI), a training program that guides parents to become leading advocates for children using a cultural lens.Megan is also teaching dual language classes for the first time this fall and works as a Anishinaabemowin translator and teacher. We hear how Megan found the path to her current work and how learning the language has been a gift in her life. This summer, Megan is training for her first triathlon as a way to highlight IPLI and she shares with us how training is going. Miigwech Megan for your chatting with us today!The Indigenous Parent Leadership Initiative is a 21-week course for parents that integrates Ojibwe culture, child development and leadership. Megan's triathlon is in support of IPLI, you can find more information at: https://www.gofundme.com/f/raise-awareness-for-native-american-parentingTo find out more about the next cohort at IPLI, visit https://www.indigenousvisioning.com/ or on their Facebook page: https://m.facebook.com/Indigenous-Parent-Leadership-Initiative-104913428664845Native Lights: Where Indigenous Voices Shine is produced by Minnesota Native News and Ampers, Diverse Radio for Minnesota's Communities with support from the Minnesota Arts and Cultural Heritage fund. Online at https://minnesotanativenews.org/

Bkejwanong means “where the waters part,” but the waters of St. Clair River are not a point of separation. The same waters that sustain life on and around Bkejwanong—formerly known as Walpole Island, Ontario—flow down into Chippewas of the Thames, the community to which author Monty McGahey II belongs. While there are no living fluent speakers of Anishinaabemowin in this community, McGahey has fostered relationships with fluent speakers from nearby Bkejwanong. Bkejwanong Dbaajmowinan is a collection of stories from these elders, who understand the vital importance of passing on the language to future generations in order to preserve the beloved language and legacy of the community. Like the waters of St. Clair River, the relationships between language speakers and learners have continued to nourish Anishinaabe communities in Bkejwanong and Chippewas of the Thames, particularly in language revitalization. With English translations, this resource is essential for Anishinaabemowin learners, teachers, linguists, and historians.Monty McGahey II is of Anishinaabe and Oneida descent and was raised in Chippewas of the Thames, where he currently works in language revitalization. He is a second-language speaker of Anishinaabemowin and holds a master's of professional education in Indigenous educational leadership from Western University in London, Ontario. Monty McGahey's Bkejwanong Dbaajmowinan/Stories of Where the Waters Divide is available at msupress.org and other fine booksellers. Monty and his wife have a podcast about the challenges of raising their kids in Anishinaabemowin called Enweying (Our Sound) which is available wherever you get your podcasts. You can connect with the press on Facebook and @msupress on Twitter, where you can also find me @kurtmilb.The MSU Press podcast is a joint production of MSU Press and the College of Arts & Letters at Michigan State University. Thanks to the team at MSU Press for helping to produce this podcast. Our theme music is “Coffee” by Cambo. Michigan State University occupies the ancestral, traditional, and contemporary Lands of the Anishinaabeg – Three Fires Confederacy of Ojibwe, Odawa and Potawatomi people. The University resides on Land ceded in the 1819 Treaty of Saginaw.

Consisting of husband-and-wife duo Raven Kanatakta and ShoShona Kish, Digging Roots is a JUNO Award-winning band that combines a strong social message with elements of folk-rock, pop, blues and hip-hop. They are a band that strongly believes in the transformative power of music and its healing effects, much like the traditional medicine in which their name is derived. As was the case with many artists over the course of the pandemic, the duo spent their time in lockdown crafting the songs that would eventually serve as the basis for their fourth studio album. Their latest release Zhawenim – a Anishinaabemowin word meaning “to love unconditionally”- marks the duo's first album in eight years. The new LP serves as a distillation of their values and perfectly encapsulates their ethos of truth and love. With messages ranging from connection to the land, residential schools, gun-related violence and the climate crisis, the songs featured in this latest album all share a strong message of change, while ultimately aiming to inspire people to move together. In this episode of CKUA's Hidden Track podcast, music and life partners Raven and ShoShona bring us a behind-the-scenes look at the inspirations behind their long-awaited Zhawenim album.

The Language is a podcast dedicated to the revitalization of Anishinaabemowin. Our language urgently needs you to learn it and it is our hopes that we will recruit some new learners with this show. For this inaugural episode, hosts Jessica Miigwanaabiikwe Shonias and Mskwaankwad Menoomnii introduce themselves and share their language learning journeys that have gotten them to this point today. 

Canada recognizes the best in music with the annual Juno Awards and this year Indigenous musicians have twice the reason to celebrate. There are now two Indigenous music awards: one for contemporary music and one for traditional music. Our Indigi-musicologists Jarett Martineau, Jade Harper and Alan Greyeyes weigh in on the celebration and contention. She is one of Turtle Island's most recognized and beloved voices. Susan Aglukark has had an incredible music career spanning over 30 years, earning herself three Juno awards and 11 nominations. This year, she's been honoured with the Humanitarian Award for her long-standing commitment to improving the lives of Indigenous youth in the North. In a feature interview with Rosanna Deerchild, Aglukark shares why that work is so important to her and how music has been healing in her own life. Jayli Wolf and Shawnee Kish are both first-time nominees for Contemporary Indigenous Artist or Group of the Year. Both artists share personal stories through their music. Jayli didn't know she was Indigenous growing up, but she has since embraced her identity and that shines through in her music. Her nominated album, Wild Whisper blends traditional Indigenous sounds with an electronic-R&B-style. Shawnee Kish is a proud two-spirit Mohawk artist who has been compared to Amy Winehouse and Etta James. In her Juno-nominated self-titled debut EP, she uses her music to talk about everything from love and romance, to misogyny in the music industry. Nimkii Osawamick makes music as an act of decolonization. His band Nimkii and the Ninniis is nominated for Traditional Indigenous Artist or Group of the Year. Their EP Nang Giizhigoong means "star realm" in Anishinaabemowin and is a collection of heart thumping drums and choral singing.

Association on American Indian Affairs, Colleen Medicine Project Director.Our second guest from the AAIA - A wonderful and not to be missed show about #NativeAmerican, #History, #Culture and efforts to strengthen #Equality, and facilitating healing for #Indigenous people.Part 1 Colleen Medicine: Importance of Indigenous Language, Healing, and Sacred Land

Association on American Indian Affairs, Colleen Medicine Project Director.Our second guest from the AAIA - A wonderful and not to be missed show about #NativeAmerican, #History, #Culture and efforts to strengthen #Equality, and facilitating healing for #Indigenous people.Part 1 Colleen Medicine: Importance of Indigenous Language, Healing, and Sacred Land

In this episode, Margaret Noodin joins us to discuss her poem "What the Peepers Say." In our conversation, we talk about Margaret's writing in both Anishinaabemowin and English, her attention to sounds and rhythms, and what the peeper--a tiny springtime frog--can teach us about presence and listening. Margaret Noodin (https://uwm.edu/english/our-people/noodin-margaret/) is the author of two bilingual collections of poetry in both Anishinaabemowin and English: Weweni (https://www.wsupress.wayne.edu/books/detail/weweni) and What the Chickadee Knows (https://www.wsupress.wayne.edu/books/detail/what-chickadee-knows#:~:text=What%20the%20Chickadee%20Knows%20is,one%20another%20on%20facing%20pages.). She is a professor of English and American Indian Studies at the University of Wisconsin–Milwaukee, where she also serves as director of the Electa Quinney Institute for American Indian Education. To learn more about Ahishinaabemowin, visit ojibwe.net (https://ojibwe.net/). To hear the sound of the spring peeper, click on this link (https://www.youtube.com/watch?v=q_L7Ha6uwQA). Photo of Margaret Noodin © Troye Fox.

Keeping Indigenous languages alive is not a small job. The more hands, the better. That's why the team behind Ojibwe.net created an online platform to make learning the Anishinaabemowin language more accessible for language learners everywhere. GUESTS: Margaret Noodin, poet, teacher of language, professor in the departments of English and American Indian studies at the University of Wisconsin-Milwaukee, director of the Electa Quinney Institute Stacie Sheldon, user experience (UX) strategist, designer & researcher; author; language advocate Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Stateside's theme music is by 14KT. Additional music by Blue Dot Sessions. See omnystudio.com/listener for privacy information.

We're here to say “baamaapii” to the last day of 2021 and tell you all the places to find Sofía Syntaxx on the web until the ANGR Podcast returns for Season 2 in 2022! Bookclub with Julia & Victoria : Ogimaans (The Little Prince) : Sofia Syntaxx Guest Episode Learning Brazilian Portuguese Podcast Turn Leftist Podcast Learn how to say “Happy New Year” in Anishinaabemowin. Support the show (paypal.me/SofiaSyntaxx) Join us on Patreon! Do you want to participate? Message us @ANGRPodcast on Twitter and Instagram. Email us at ANGRpodcast@SofiaSyntaxx.com Visit linktr.ee/ANGRpodcast for more information. New episode released on the 23rd of every month. The ANGR Podcast Theme Song is written and performed by MarcusWorx. Mi'iwi [that's all]

As we head into 2022, we celebrate some of the Indigenous leaders and changemakers who shared their stories and wisdom on Unreserved over the past year. As cultural guardians who are breaking down barriers, they deserve a little pomp and circumstance. We revisit conversations with Cree actor and director Michael Greyeyes, novelist Angeline Boulley, Anishinaabemowin learner and teacher Emmaline Beauchamp, Inuit leaders and climate activists Natan Obed, Lisa Koperqualuk and Brian Pottle, and former senator and chair of the Truth and Reconciliation Commission Murray Sinclair. Plus we remember and honour Ojibwe musician Curtis "Shingoose" Jonnie and Sto:lo writer Lee Maracle who passed on to their ancestors in 2021.

Ojibwemodaa Podcast:Episode 1: VII IntroductionsSome Great Online Resources for Learning Minnesota Ojibwe:https://ojibwe.lib.umn.edu/ I highly recommend Wendy Makoons Genius's Ojibwe classes at UW Eau Claire, which she makes available online to everyone:https://www.uwec.edu/academics/college-arts-sciences/departments-programs/languages/academic-offerings/online-ojibwe-language-program/ I'll be reading from and referring back to the Oshkaabewis Native Journal Volume 4 No. 1. The article about VIIs begins on page 121. You can download a PDF here:https://www.bemidjistate.edu/airc/wp-content/uploads/sites/85/2016/03/onj-vol4-num1.pdf VIIs Covered in this Episode:Gisinaa vii: It is coldAte vii: It is in a certain place Example: Desinaagan ate adoopowining= The plate is on the table.Noondaagwad vii it is heard Example: Ziibi noondaagwad imaa= The river is heard there.Gimiwan vii it is raining Example: Gimiwan Agwajiing = It is raining outsideIf you want to get in touch with me feel free to email me at ojibwemodaapodcast@gmail.com To attend the Language table: The White Earth Tribal and Community College Ojibwe Langauge Table meets every Tuesday and Thursday starting around 7 and ending between 8 and 9. Zoom Meeting ID: 945 8146 7003Password: 749886

The Bill Kelly Show Podcast: Ontario unveiled its winter COVID-19 testing strategy on Thursday which includes a “holiday blitz” as well as providing students with take-home rapid antigen tests over the school break. The province said it is looking to expand its testing plan as winter and the colder weather comes in and pushes people to spend more time indoors and increase close contact. The winter strategy is a three-prong response — a holiday mobile testing blitz, access to low barrier testing options for elementary and secondary school students and expanded access to testing through pharmacies. ALSO: Health Canada has approved Pfizer's Covid 19 vaccine for children GUEST: Dr. Chris Bauch, Research Chair in the Department of Applied Mathematics and a Specialist in Mathematical and Computer Modelling of Infectious Disease Outbreaks with the University of Waterloo - Prime Minister Justine Trudeau says he directly raised concerns about a proposed electric-vehicle tax credit, Buy American rhetoric and the cross-border Line 5 oil pipeline with U.S. President Joe Biden. Trudeau made the remarks on Thursday night following a trilateral summit with the American leader and his Mexican counterpart, Andres Manuel Lopez Obrador, which the prime minister described as “extremely effective.” ALSO: Throne speech from the Liberals this Tuesday, what can we expect? GUEST: Richard Brennan, Former Journalist with The Toronto Star covering both Queen's Park and Parliament Hill - Ryerson Public School in Burlington, Ont., has been renamed Makwendam — an Anishinaabemowin word meaning "to remember," according to the Halton District School Board (HDSB). The new name, which the board said is pronounced "muck-kwen-dum," was unanimously approved during a meeting Wednesday night. ALSO: Help Ryerson University pick its new name GUEST: Dr. Dawn Lavell-Harvard, Former President of the Ontario Native Women's Association and Director at the First Peoples House of Learning at Trent University See omnystudio.com/listener for privacy information.

This week, a celebration of collaboration. Su Cho had the honor of speaking with poets and scholars Kimberly Blaeser, Molly McGlennen, and Margaret Noodin. They talk about how language is a kind of time travel; it helps us preserve our memories, but also puts us in conversation with our ancestors and larger histories. You'll hear from their collaborative poem in the November issue of Poetry, written in both English and Anishinaabemowin, and how, for each poet, language acquisition is an ongoing, creative, and radical act of resistance.

After a historic flooding event in 2016, which left the Bad River Band of Lake Superior Chippewa without power and critical infrastructure, the tribe committed themselves to installing microgrids to ensure clean, resilient power on tribal lands. In May 2021, the tribe commissioned three building level microgrids, incorporating more than 520 kW of solar and over 1MWh of battery storage, the largest battery system to date in the state of Wisconsin. The project is named Ishkonige Nawadide, which means "it catches fire" in Anishinaabemowin.  Dan Wiggins is the visionary who led the team to implement these projects. He's been working for the tribe for over 10 years as a tribal energy manager and air quality technician, with expertise from utility scale infrastructure to residential energy efficiency, and now three tremendously successful microgrids.  It's been my great pleasure to work with Dan on his energy team to plan, design, and realize his vision for resilient tribal energy and energy sovereignty. This conversation is an extension of our professional partnership, and our friendship: fiery, passionate, fun, and very committed to doing projects when they are the right thing to do. Referenced in this episode:Episode 1.06 with Liana Cassar on Energy Policy Episode 1.09 with Katherine Lucey on Air QualityQuotables"We all answer to somebody, whether it's leadership, whether it's our children, or whether it's the community we reside in. Really listening to all of those resources is the right thing to do." "The way I approach renewable energy is that you have do first do it because it's the right thing to do. That has to be the #1 goal for any renewable energy project.""Strategic planning is the fun part of project development. You get to take everybody's ideas, throw them in a blender, and hope something magic comes out." This week's guestDaniel Wiggins Jr is a Bad River Tribal Member and the Mashkiiziibii (Bad River) Natural Resource Department's Air Quality Technician (AQT). He has worked for the Tribe for nearly 10 years as the AQT and has had oversight of the Tribe's Renewable Energy Activities since 2017. He was recently tasked as Project Lead for the Ishkonige Nawadide Solar Microgrid Project, which installed over 500 kilowatts of solar and 1,000 kilowatt hours of batteries at three tribal facilities. The Tribe's energy projects are planned and executed on the Tribe's ability to exercise energy sovereignty, and eventually reach the Tribe's energy vision, “to empower and enable the community to move towards energy independence.”Resources:Connect with the Mashkiiziibii Natural Resource Departmen on Facebook.Check out Bad River's website.If you enjoyed the conversation, please share the episode with other innovators. Leave us a positive review and subscribe to Power Flow on Apple podcasts, Spotify, or wherever you listen to podcasts.Thank you for listening. See you at the whiteboard!

Ishkōdé Records is a new Indigenous women-owned label created to foster and amplify Indigenous voices. Ishkōdé Records arrives to advocate for Indigenous artists, songs and stories in the commercial music landscape. Led by artists, organizers and activists Anishinaabekwe ShoShona Kish (Digging Roots) and solo artist Amanda Rheaume, Citizen of the Metis Nation of Ontario, Ishkōdé approaches the independent label operations through the lens of women and artist entrepreneurship, long-standing industry experience and cultural and ancestral processes. The word Ishkōdé means fire in Anishinaabemowin.Find out more about Ishkōdé Records HERE.Amanda Rheaume is a citizen of the Métis Nation of Ontario and a singer/songwriter that has self-managed her music career for over 15 years. Her album Keep a Fire was nominated for a JUNO Award and won a Canadian Folk Music Award for Indigenous Songwriter of the Year. Amanda identifies as she/her and is an active and proud member of the LGBTQ2S+ community. Amanda is also the Director of Operations for the International Indigenous Music Summit, Co-Founder of Ishkōdé Records and Project Coordinator for the new National Indigenous Music Organization here in “Canada.”Find out more about Amanda HERE.ShoShona Kish is an Anishinaabekwe community organizer, producer, activist and  artist in JUNO award-winning band Digging Roots. Co-Founder of Ishkōdé Records, Kish is also the Artistic Director of the International Indigenous Music Summit and has curated and collaborated on projects with Canada's National Art Centre, the Women of the World Festival and the Sydney Opera House. Kish's work has been recognized with Folk Alliance's Spirit of Folk Award and WOMEX's Professional Excellence Award.Find out more about ShoShona and Digging Roots HERE.

Starting thinking now about ordering books for Christmas gifts! Sue Carter the former editor-in-chief at Quill & Quire, Canada's book-publishing magazine explains how the publishing industry has also been disrupted by supply chain problems; Poet, writer, and dancer Abena Beloved Green tells us about her contribution to this year's virtual edition of Kingston Writers Fest; Our Queen's Park reporter Mike Crawley updates us on Premier Ford's appearance at a news conference yesterday - the first in more than two months. And he discusses how the outcome of the federal election could influence the outcome of the provincial election next year; It took them 20 years but mother and daughter Mary and Kristine Verbeek have finally completed the last leg of the Bruce Trail. They tell us about their two decades of hiking together; Artist Houssam Alloum brought 200 paintings with him to Gananoque in 2018 when he arrived as a refugee. He'll be sharing his story in a virtual speaker series at the Pump House Steam Museum tonight in Kingston; Family doctor Peter Lin talks about booster shots for those already vaccinated for COVID-19; Olivier Bourbeau of Restaurants Canada updates us on the continuing labour shortage in restaurants across the country; Mno Bimaadiziwin means "A Good Life" in Anishinaabemowin. It's the title of of the latest production at Theatre by the Bay in Orillia. We'll hear about the unique origin story from the show's creator, Ziigwen Mixemong.

Marie: This is Minnesota Native News, I'm Marie Rock. Coming up…Dr. Gwen Nell Westerman has been appointed the new MN Poet Laureate. And...A celebration is being held soon for the publication of five Ojibwe language books. And also…Dr Antony Stately, CEO of the Native American COmmunity Clinic, shares wise words on the radio.Here's Leah Lemm with these stories...STORY #1: GWEN NELL WESTERMAN APPOINTED AS NEW MN POET LAUREATEDr Gwen Nell Westerman is a citizen of the Sisseton Wahpeton Oyate.She has won two Minnesota Book awards, and the focus of her writing is on Dakota history and language. And now has been appointed the new MN Poet Laureate.Dr. Westerman's poetry book “Follow the Blackbirds” is written in the English and Dakota languages. Her poems and essays have been published in journals and anthologies, including… New Poets of Native Nations, Norton Anthology of Native Nations Poetry, and more.Dr Westerman is currently a Professor in the English Department at Minnesota State University, Mankato.STORY #2: PUBLICATION CELEBRATION FOR AANJIBIMAADIZINGNext, William Premo Jr. reads AUDIOFive Ojibwe language books are published in cooperation with the Mille Lacs Band of Ojibwe's Aanjibimaadizing Project and the MN Historical Society.Sixteen first speakers teamed up with linguists, teachers, and Ojibwe language experts to create new literature. The books are entirely in Anishinaabemowin. William Premo Jr. reads AUDIOWilliam Premo Jr reads one of his stories from the book, “Akawe Niwii-tibaajim.”  The story ‘Chi-Giniizhe,' is about… the complexities of the food chain among an acorn, a NOrthern Pike, and a squirrel. William Premo Jr. reads AUDIOThe celebration will be held October 6th at the Mille Lacs Indian Museum and Trading Post. The event is free and open to the public.STORY #3: COVID-19 COMMUNITY CONVERSATIONS - PIVOTING TO LESS PREDICTABILITYAnd finally, the Covid-19 Community Conversations radio program features community voices and hosts Leah Lemm, that's me, and Dr Antony Stately. We talk about Indian Country in Minnesota's response to the pandemic.The latest episode explores the often difficult process of living with less and less predictability. Here's a segment of our conversation where Dr Antony Stately shares helpful insight for those times.Dr Antony Stately: You think about how as Indigenous people, that's one of the things that we really are good at, which is, you know, we don't always have to have all of the answers. We don't have to know what's going to happen tomorrow or the next day or next week or next year. There's a certain amount of sort of like faith. I think that we have and the knowing that the seasons are going to continue the earth is going to renew herself. There's these things that we know that we can kind of count on. And I'll, maybe I'll I have to focus on is like right here, but sort of like right in front of me. And so that helps us to stand in that space of not knowing, I think a little bit easier.And so sometimes it's about trying to remind people like, you know, we're resilient people. We've had a lot of these kinds of things we've had where we've actually faced pandemics, right. And survive those things as Indigenous people. So we do have a certain amount of knowing that helps us in that space and place and trying to remind each other of that and support one another and be loving and compassionate.Find more about Covid 19 Community Conversation and listen to the program at MN Native News DOT ORG.For Minnesota Native News, I'm Leah Lemm. 

It's expected that 50 to 90 per cent of the world's 7,000 languages will be lost by the end of the century, with research suggesting a loss of languages is linked to a loss of biodiversity. Plant medicine educator Joe Pitawanakwat has made teaching about medicine plants — and preserving their Anishinaabemowin names — his life work. He talks to Duncan McCue, who explores what Pitawanakwat's work could mean for the planet. Back to the Land is a four-part series about people who are (re)connecting with nature and the outdoors.

This episode explores the importance of language, how it's vital to a culture and the understanding of it's people. Lynn explains the different indigenous greetings and the ones she uses in every episode. She also shares results from cultural questions she asked her mixed race followers. Lynn's cultural language is the Ojibway or Anishinaabe Language which is also known as Anishinaabemowin. Did you know that over 70 of the Indigenous languages spoken in Canada are listed as endangered or vulnerable by UNESCO? Listen to find out more and why there's no word for please or gratefulness. EP 10 - Racial Imposter Syndrome Follow Lynn on Instagram @themixedmamalife Email Lynn - themixedmamalife@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/themixedmamalife/message

“Spirit to Soar: Where We Come From” looks at the four disruptions to our way of life, and ways to move forward together. This podcast is told first in Anishinaabemowin by Elder Sam Achneepineskum and then in English by Jolene Banning.

Around the world, languages are disappearing. Kim Chakanetsa speaks to two women who are helping to keep their endangered languages alive – how has learning the words of their ancestors shaped their identities? Mshkogaabwid Kwe from Turtle Island, an indigenous name for Canada, learned her clan's language, Anishinaabemowin, as an adult. She is now raising her children in an English-free home. She has a deep gratitude to those who walked before her and kept the words alive, knowing the persecution that they faced. Tsamaxa Toroxa spoke English and Afrikaans growing up in South Africa, and often faced prejudice from other Black South Africans who expected her to speak an indigenous language. Learning the language of her ancestors, Khoe, has shaped how she sees herself and she is now helping to keep the language alive by sharing it with others through the arts. Produced by Caitlin Sneddon IMAGE DETAILS L: Mshkogaabwid Kwe (credit Mshkogaabwid Kwe) R: Tsamaxa Toroxa (credit Tsamaxa Toroxa)

Julia and Victoria, who had somehow never read The Little Prince by Antoine de Saint Exupery, are joined by ANGR Podcast host Sofia Syntaxx, who has collected upwards of ten editions of the book from all over the world, including the most recent translation into their indigenous language Anishinaabemowin. They talk about translation across languages and cultures, childhood dreams, and being haunted by the Duolingo owl.Mentioned in the Episode:ANGR podcastSofia's blog Too Sexy for Contactslink.tree/sofiasyntaxxBook Club #bookstagram episodeThere There by Tommy OrangeGambit from X-MenAnishinaabemowin language - The Seven Grandfather teachingsA Wrinkle In Time by Madeleine L'EngleWind, Sand, and Stars by Atoine de Saint ExuperyOgimaans: Ojibwe translation of The Little PrinceReading Rainbow“The Emperor's New Clothes”Lemonade (film) by BeyonceRecommendations:Illusions: Adventures of a Reluctant Messiah by Richard BachThe Hobbit by J. R. R. TolkienWaiting for Godot by Samuel BeckettThe Alchemist by Paulo CoelhoThe Velveteen Rabbit by Margery WilliamsCurrently Obsessed:This Way Up season 2 on HuluHalsey's new album/film If I Can't Have Love I Want PowerBlack Widow filmCamp Creep podcastYou're Wrong About podcastMaintenance Phase podcastYou Are Good podcast

What does it mean to be a good person according to a member of the First Nations? We ask Melanie Goodchild, Moose Clan, to share her opinion on being good according to Indigenous teachings.Melanie is Anishinaabe (Ojibway or Chippewa) from Biigtigong Nishnaabeg and Ketegaunseebee First Nations in northern Ontario, Canada. She is a senior indigenous research fellow and associate at the University of Waterloo in Ontario, Canada. Currently studying for her PhD in social and ecological sustainability, Melanie is also the founder of the Turtle Island Institute, an Indigenous social innovation think & do tank - a teaching lodge – that is working to enable transformative change.In her work, Melanie weaves together her unique perspectives of Anishinaabe gikendaasowin (knowledge) with systems thinking/complexity theory and social innovation to address society's most intractable problems. She believes in the teaching methods of her ancestors, in “coming to know” on the land, and so she supports initiatives that seek to connect people to ceremony, story, art, language and the land.Melanie is an incredible person with such a wealth of knowledge, coupled with a real depth of kindness and compassion. She starts this interview by introducing herself in Anishinaabemowin – the language of her ancestors – so you can hear more about where she's from in her own words.If, after listening, you'd like to learn more about Melanie Goodchild, please visit Turtle Island Institute and you can also read her recent paper on Relational Systems Thinking.

After Margaret Noodin recited her poem, “Gimaazinibii'amoon” / “A Message to You,” for this week's Poetry Unbound episode, she spoke with host, Pádraig Ó Tuama, about the story behind that poem as well as the Anishinaabemowin language, translation, and the importance of language preservation.Margaret Noodin is a poet and the author of Bawaajimo: A Dialect of Dreams in Anishinaabe Language and Literature, Weweni: Poems in Anishinaabemowin and English, and What the Chickadee Knows. She teaches American Indian Literature, Celtic Literature, Indigenous Language Revitalization and Anishinaabemowin language at University of Wisconsin Milwaukee. Margaret is the editor of ojibwe.net and the Papers of the Algonquian Conference.Find the transcript for this show at onbeing.org.

A special bilingual poem in Anishinaabemowin and English by Margaret Noodin, a linguist who writes primarily in Anishinaabemowin. This poem of eight lines is filled with location —  the sweet sea, the curved shoreline — and gathers melancholy into its song. And it is a song — sung in both languages for us by Margaret Noodin herself.Margaret Noodin is a poet and the author of Bawaajimo: A Dialect of Dreams in Anishinaabe Language and Literature, Weweni: Poems in Anishinaabemowin and English, and What the Chickadee Knows. She teaches American Indian Literature, Celtic Literature, Indigenous Language Revitalization and Anishinaabemowin language at University of Wisconsin Milwaukee. Margaret is the editor of ojibwe.net and the Papers of the Algonquian Conference.Find the transcript for this show at onbeing.org.

In this final episode of Season 1, of “Enweying - Our Sound” we reflect on our families' journey since creating the podcast the feedback we have received since creating it and the emotions brought on with this podcast moving across Turtle Island through this “big spiders web.” We share some moments we are grateful for as we created this podcast and how it has helped us for the better moving forward as a family in our Anishinaabemowin Immersion household journey.In saying this, by episode 6 we feel we finally have the audio down pat BUT in doing so LISTEN AT YOUR OWN WILL because Mshkogaabwid Kwe's LAUGH will blow your eardrums out/may break speakers. We caution you at: 5:45, 12:30, 18:40, 21:38, 37:40, 50:40 minute marks.PSA: If you do not wish to listen to us speak Anishinaabemowin, skip to 6 minutes.Follow us on Instagram @oursound.enweyinglinktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

How can science fiction, a genre that imagines a future of infinite possibilities, be seemingly unable to imagine a future where people of colour have any relevance – or even exist? In this episode host Sofia Syntaxx talks about indigenous futurism: what is it and why it's important in Indian Country and mainstream pop culture. From 2001 when scholar Grace Dillion coined the term to the Black Panther movie to amazing anthologies showcasing the work of BIPOC creators, we'll explore the origins and development of this revolutionary new way of thinking. Learn about the link to Afrofuturism and hear Sofia's recommendations for her favorite indigenous futurism books, movies, music, and fashion. Digressions include the Afrofuturist Project, Janelle Monae, and a story about how the oil and gas industry freaked out over the indigenously-created “Thunder Bird Strike” video game. Learn the meaning of the Anishinaabemowin word “agindan.” Support the show (paypal.me/SofiaSyntaxx)! Join us on Patreon! Do you want to participate? Message us @ANGRPodcast on Twitter and Instagram. Email us at ANGRpodcast@SofiaSyntaxx.com Visit linktr.ee/ANGRpodcast for more information. New episode released on the 23rdof every month. The ANGR Podcast Theme Song is written and performed by MarcusWorx. Mi'iwi [that's all]

This week I feature some tracks that have lyrics in French, German, Spanish and Anishinaabemowin. Enjoy! Link to score Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Voodoo Glow Skulls. “El Mas Chingon.” Symbolic. Epitaph Records, 2000. CD. LP. Ferrat, Jean. “La Môme.” J'♥ la Chanson Française. Wagram Music, 2016. 5xCD. Faith No More. “Das Schutzenfest.” Songs To Make Love To. Slash Records, 1993. EP. CD. Sinsemilla. “Défenseurs de la Paix?” Resistances. Double T Music. CD. LP. Poulenc, Françis. Le Petit Garçon Malade. Perf. Accentus. Cond. Laurence Equilbey. Disques Pierre Verany, 1994. CD. LP. Propagandhi. “Things I Like.” Failed States. Epitaph Records, 2012. Vinyl. LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

This episode we opened up a bit more about our past and our family dynamics. We discuss what it was that drove us to have this life, how our families felt about it, barriers we face connecting with Anishinaabemowin First Speakers, and being noticed within community while speaking. We cover sharing our journeys with our families, how we maintain immersion in an English world, tips and stories, and who has impacted us along the way. A lot of laughs and cries in this episode. Grab a tissue if you're passionate!PSA: If you do not wish to listen to us speak Anishinaabemowin, skip to 7 minutes 50 sec.Follow us on Instagram @oursound.enweyinglinktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

Is veganism colonialism? In this episode host Sofia Syntaxx talks plant-based activism, the problems with white veganism, and what we're all getting wrong when we talk about food. Hear Sofia's reaction to a certain viral TikTok video with allegations of vegan oppression. Digressions include the conviction of George Floyd's murderer, protecting the rights of migrant farm workers in the United States, working conditions of farmers from the global south, and how Jair Bolsonaro is harming more than just Brazil with his genocidal environmental practices. Sofia also recommends several indigenous cookbooks to help you decolonize your diet. Learn the meaning of the Anishinaabemowin word “wiisinidaa.” Support the show (paypal.me/SofiaSyntaxx)! Join us on Patreon! Do you want to participate? Message us @ANGRPodcast on Twitter and Instagram. Email us at ANGRpodcast@SofiaSyntaxx.com Visit linktr.ee/ANGRpodcast for more information. New episode released on the 23rdof every month. The ANGR Podcast Theme Song written and performed by MarcusWorx. Mi'iwi [that's all]

In this episode, we talk about why children should learn grammar...kind of. We give our reasons in how and why children and adults need to learn the grammatical aspects of the language. We also discuss why adults need to know the more technical aspects of Anishinaabemowin and how we share our knowledge of 'grammar patterns' with our children. We talk about the importance of us as learners, reading to our children. We debunk an aspect of the language learning myth that 'children and adults learn (or acquire) language the same way'!PSA: If you don't want to listen to the Anishinaabemowin dialogue of the podcast, skip to 5 min 10 sec.Follow us on Instagram @oursound.enweying linktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

During this episode we touch on times we have struggled trying to stay motivated and encouraged while parenting in an Anishinaabemowin Immersion household. We also speak on times of things that we found were obstacles to get over in our own personal learning journeys as we learned Anishinaabemowin as adults.PSA: If you do not wish to listen to our Anishinaabemowin dialogue skip to 6min 25 sec.Follow us on Instagram @oursound.enweyinglinktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

In this episode we touch on times that we have laughed while learning, times we have learned a lot and why, and times we felt rewarded in the home teaching our children the language.  PSA: If you do not wish to listen to us speaking Anishinaabemowin skip to 13 minFollow us on Instagram @oursound.enweyinglinktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

Boozhoo! Hello!An introduction to our family. Ozaawaa Giizhigo Ginew & Mshkogaabwid Kwe speak in Anishinaabemowin (Ojibway) and English to explain our families journey as we raise our children in Anishinaabemowin as Second Language Learners. Get to know us as we share times we have spent learning the language we which found enjoyable and fun in this episode! Join us on our journey as we discuss resources, tips, advice, stories, triumphs, dissapointments, realities, laughs and guests as we walk on this road to Anishinaabemowin fluency. Chi-Miigwech! Thank you so much!Follow us on Instagram @oursound.enweyingWhat is Anishinaabemowin? The 'Ojibway' language, known as Anishinaabemowin (ah-nish-in-nah-bay-mo-win) is the language of the Anishinaabeg. The original peoples of Turtle Island (otherwise known as North America) The language is currently at risk of being lost due to colonization but with the efforts of elders/speakers, ancestors, spirit and community we hope to revitalize it and give it back to our children. This is our families dedication and story of how we will try and manifest this in our lifetime. linktr.ee/enweying.oursoundMany people have reached out to ask where they can donate or support revitalization efforts. This link leads to our Link Tree which has a Patreon as well as "Buy me a Coffee" where you can donate to our families cause and initiatives we do to support learning in the home and across our communities. Miigwech

Do you love dreamcatchers? That's great! Do you know which First Nations people they originate from? Because it's not an “Indian” thing; it's an Ojibwe thing. In this episode, Anishinaabe (Ojibwe/Chippewa) host Sofia Syntaxx dishes about dreamcatchers, what they mean, and what the appropriate way for non-Native people to use them is. (HINT: Definitely don't buy a mass produced one!) Hear the shocking reason why this podcast was almost never made when Sofia shares a dramatic reading of racist rants she's been on the receiving end of. Digressions include our new theme song written and performed by Marcusworx, slacktivism, the importance of dreams, and Franchesca Ramsey. Sofia also calls us in to examine instances of cultural appropriation outside of indigenous cultures, including how natural black hair at work became a civil rights issue. Learn the meaning of the Anishinaabemowin word “asabikeshiinh.” Support the show (paypal.me/SofiaSyntaxx)! Join us on Patreon! Do you want to participate? Message us @ANGRPodcast on Twitter and Instagram. Email us at ANGRpodcast@SofiaSyntaxx.com Visit linktr.ee/ANGRpodcast for more information. New episode released on the 23rdof every month. Mi'iwi [that's all]

Nibi is a love song for the water. Nibi translates to water in Anishinaabemowin. Maddie Resmer, a camper at O:se Kenhionhata:tie Landback Camp, speaks about water which is such a huge burden in Indigenous Communities to some degree; having to constantly fight for clean water. To protect water and to be able to use water which is part of traditional lands in traditional ways; to fish in the water, collect water from natural springs and streams to use.   When singing Nibi, as much as it is singing praise and love for the water that is around us, it is also a call for hope to a lot of the communities that don't have that access to clean water and are still fighting for protection of their waters.When we say water is life we really mean that in the literal sense. - Maddie Resmer Photo by Erik O'Neill Cover Art by Tania Willems Support: https://www.landbackcamp.com/get_involved

Brittany Tainter is a 29 year old creative living in Eau Claire, WI and she's the founder of Giizhig Design Company. She's a member of the Lac Courte Oreilles Tribe of Ojibwe. She started her career solely as a Graphic Designer, but now her work crosses many disciplines and the list continues to grow. Within the last several years, she's begun to connect deeper with her Indigenous roots in various ways such as beadwork and learning Anishinaabemowin (the traditional Ojibwe language). How Covid-19 is impacting her business: "As a graphic designer/creative agency, I've definitely see a drop in clients. I'm not really receiving quote requests and some of my current clients are putting their projects on hold for now. I completely understand the situation. Most of my clients are small business owners, so their income has dropped dramatically. As a beader, my business has also been impacted. With the approach of Spring and Summer, a lot of events like conferences, artist markets, and pow wows were coming up. I typically make the best sales in these scenarios, so I'm taking a hit there. I am grateful because I can sell my beadwork online, but I think the experience is definitely much better in person." Facebook Instagram

At first glance, the YouTube video simply shows a young girl playing with Legos at her home. But if you listen closely, it’s something more. Six-year-old Wren Gotts is describing her Lego creations, by color, in Anishinaabemowin, the traditional Ojibwe language. Wren patiently holds up each piece, explaining it in the language. Actually, “Wren” is just one of her names, she said. “Well, there’s two sorts [of names],” she said. “White Crane Girl is my [native] name.” Although she lives in Michigan, Wren is an enrolled member of the Sokaogon Chippewa Community of Mole Lake in Forest County. The world can see her videos, in part, thanks to her mom, Rebecca. “I told all of our kids, during this COVID thing, what do you have that you can share to make people cheer up or to do something good for the world?” said Rebecca Gotts. Wren can offer her language. For example, in a different video, she teaches viewers to make a traditional drum. In more than 160 sovereign tribal nations in the Great

Neegann’s name in Anishinaabemowin means “A Leader to Lean On”. We have a wonderfully honest and open conversation with Neegann who gives us an intimate look at her life now. We hear more about her company, ways she wants to grow for her new family, and how the spirit of her late son carries them forward. --- Send in a voice message: https://anchor.fm/evelisa/message

Episode 48: Meaningful Swag for your Business with James HodgsonIn this episode I sit down with my brother, James Hodgson, who owns the company Nish Tees in Peterborough, Ontario. He is an incredible graphic designer, silk screener and an expert on branded swag. James has 20 years in this industry under his belt, so he is an expert at all things swag. We outline the 3 biggest mistakes that he sees companies make when choosing swag for their business, and how they can be avoided. DelegatingMany business owners have the idea that there isn't enough time to decide what the swag is for, so it's delegated to someone else in the business, where it loses its creative input. Business's should be thinking about the end result they would like to achieve before deciding on swag for their business. Understand the VisionCreating swag that is clear and concise is important, as is being clear about what the end result is going to look like. Taking the time to ensure that the end product matches the vision will save time, frustration and money for both you and your supplier. Expecting Champagne on a Beer BudgetYou get what you pay for. What's important when purchasing swag for your raving fans is that you have considered all the options before making a final decision. Whatever you hand them, whether it be a giveaway, a bonus or simply a gift of appreciation tells them how you show up in your business. In the end, we want to be careful to hand out items that will be appreciated, used and valued. Spending time with your vendor to consider your options within your budget is key. Links mentioned in this episode:James HodgsonNish Teeshttps://www.nishtees.caOrange Shirt DayCommunities coming together in a spirit of reconciliation and hope because every child matters.http://www.orangeshirtday.orgAlderville First Nation Women's ShelterTheir name is Anishinaabe (Ojibwe) Kwewag (Women's) Gamig (buildinghttps://akgshelter.caClick Here to learn more about the Ojibwe Culturehttps://en.wikipedia.org/wiki/OjibweClick here to learn more about Anishinaabemowin languagehttps://www.thecanadianencyclopedia.ca/en/article/anishinaabemowin-ojibwe-languageClick here to learn more about Anishinaabehttps://en.wikipedia.org/wiki/AnishinaabeMamas & Co.Your online community of smart, passionate mama entrepreneurshttps://www.mamasandco.ca/Candice Tulsieram360 Eventshttps://360events.ca/Boat House Row (clothing stores)https://boathousestores.com Instagramhttps://www.instagram.com

This episode is the first part of a three-part series on “Homelands and histories.” In this episode, Dr. Dylan Miner—an artist, scholar and activist who teaches at Michigan State University—discusses his work in relation to land use, cultural heritage, and indigenous activism. Miner identifies as Wiisaakodewinini, or Métis, a person of mixed ancestry with ties to indigenous communities in the U.S. and Canada. Transcript:   Jolie Sheffer:                          Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Scheffer, an associate professor of English and American culture studies and the director of ICS. This is the first episode of a three-part series entitled Homelands and Histories, in which we talked to people making big impacts on local communities through their work on land use and cultural heritage. Jolie Sheffer:                          The word homeland can evoke comfortable feelings of patriotism or cultural identity, but it is also used to justify expulsion or even genocide. Similarly, the word histories is meant to call attention to the many points of conflict, debate, erasure of violence, and silencing that accompany efforts to describe and interpret the past. Today, we are joined by Dr. Dillon A. T. Miner, an artist, scholar, and activist, who identifies as Wiisaakodewinini or Metis, a native person of mixed ancestry with ties to indigenous communities in the US and Canada. Jolie Sheffer:                          Dylan is an adjunct curator of indigenous art at the Michigan State University Museum as well as the founder of the Justseeds artists collective and a board member of the Michigan Indian Education Council. He recently commenced the Bootaagaani-minis Drummond Island Land Reclamation Project, a de-colonial initiative to acquire land and establish a cultural center for Metis, whose ancestors were forced to leave the island during the War of 1812. Dylan is also the director of American Indian and indigenous studies at Michigan State University and an associate professor of transcultural studies in the Residential College in the Arts and Humanities at Michigan State. Jolie Sheffer:                          He's the author of the book Creating Aztlan: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island, in which he shows that Chicano art needs to be understood in the context of indigenous history, anti-colonial struggle, and Native-American studies. I'm very pleased to welcome him to BGSU as a part of ICS's 2018 Spring Speaker Series. Thanks so much for being here. Dr. Dylan Miner:                 Thanks for having me. Jolie Sheffer:                          One of the things that we're interested in at ICS is discussing the relationship between different kinds of knowledge and different modes of activism, so scholarship, art, grassroots organizing. Can you start us out by telling us a bit about your particular path of negotiating those three? What set you out into trying to do all three? Dr. Dylan Miner:                 Sure. So I kind of come into the work I do. I grew up in punk rock circles and kind of crusty anarchist, Zeen-making circles. Much of the work I do kind of emerges from that space. I also, as you said, I'm a Wiisaakodewinini or a Metis person, and one of the Cree words for Metis is [foreign language 00:02:57]. That's a Cree word which means the people who own themselves are the people without bosses. Dr. Dylan Miner:                 So much of the work I do thinks about the ways of dismantling hierarchies in all of its forms. So I don't see a distinction necessarily between the scholarly work I do, the community-based work, the arts practice, or even kind of the familial and community work I do outside of or in spite of the institution or university. The more I get involved in various projects, the more I see all of them intermingling and intertwined into a holistic whole. So kind of what I'm doing, say with the Bootaagaani-minis Land Reclamation Project is not that much different as with what I'm doing say in the pedagogical practices in the classroom, working with the urban indigenous youth and the Native Kids Ride Bike Project, Anishnaabensag Biimskowebshkigewag. To me, they're all intertwined and all part of the same holistic way of thinking about building a better and more socially-just world. Jolie Sheffer:                          So how do you then decide kind of what the praxis is that goes with the project, right? Because your audience are going to differ depending on which mode you're working in. So when you're taking on a new project, how do you decide which path or paths to follow? Dr. Dylan Miner:                 Sure. Part of the reason I went to graduate school in art history was because I wanted to think about the ways... I had gone to art school for a year. I had gone to the College for Creative Studies in Detroit for a year and dropped out, partially because I felt that art school wasn't giving me some of the larger social or cultural worldviews to understand more engaged making of work. So I kind of went to graduate school in studying the history of art, particularly focusing on arts of the Americas, kind of indigenous, and Mestizo, or Metis practices throughout this hemisphere as a way to inform my own practice. Dr. Dylan Miner:                 The further I get away from needing to write academic and scholarly texts, the less I do. I felt there's a very colonial way of framing arguments that exist within academic writing. Part of the reason I've been writing more creative nonfiction, more poetically is because I think that engages with the themes I'm engaging within a much more nuanced and way that actually matches the work itself. Dr. Dylan Miner:                 So when I write now, much of what I try to write, I like to think about ways that the form of the writing can actually reproduce the ideas within it. I think that when I'm engaged in creative practices, whether it's something like The Elders Say We Don't Visit Anymore, which emerged in conversations with retired Ojibwe auto workers. So I started to employ that, what I started to call the methodology of visiting based on what they'd shared, in all aspects of what I do and what I've been doing. So I started thinking about, "What would it mean to slow down, to actually engage more intimately and more critically in all moments, in all practices that I'm engaged in?" Jolie Sheffer:                          You've worked with a wide variety of media in your art. You've done silk screening to building a decorating bicycles. You've talked about the pennant as a form. Can you talk about some of those examples, and how you selected that particular form, and how that helped convey the thematics that you were interested in? Dr. Dylan Miner:                 Sure. So I came up. I used to identify as a printmaker. I would make prints, and that's what I would do oftentimes relief prints, woodblock, and linoleum block prints. More recently, maybe the last decade or so, I've identified it as an artist who engages in projects. I think that in some ways, it comes from those conversations with elders where I'm at a place and I think that there's something liberatory about arts and creative practice. There was an interview or a small essay I read, I think it was in e-flux a number of years ago by the Mexican curator, Cuauhtemoc where he said that contemporary galleries were one of the last places for radical politics left. While I don't fully believe or agree with Medina on that point, I have some commitment to understanding and thinking about art as significant and important. Dr. Dylan Miner:                 So when I engage in projects now, I just have ideas and begin to call them artistic projects, call that a project. So for instance, my grandfather's grandmother was an herbalist. She was known for particular forms of herbal medicines. That's knowledge that didn't get to my generation, or my father's generation, or my grandfathers, or grandparents generation. So what I'm interested in doing is, "Okay, how can we frame that as a particular form of project and move forward with it in that way?" So many of the projects that come to begin there, "What is a knowledge form or practice I'd like to learn, and how can I, as an artist, as a Wiisaakodewinini person, how can I engage in that?" Dr. Dylan Miner:                 So sometimes it takes the form of print. Sometimes it takes the form of community collaborations. There's been lots of conversations in the last number of years about what people call social practice. There's lots of critiques of social practice. How does this all intertwine together? Sometimes it's particular forms. Sometimes it's conceptual. Jolie Sheffer:                          You talked about sort of the elders, but you've also done a lot of work with children and youth. Could you talk to us about some of those projects and why you think that's a particularly important audience to engage with? Dr. Dylan Miner:                 Sure. I do a lot of workshops with youth, primarily with indigenous youth, but also lots of urban youth, and rural youth, Latino youth, Chicano youth in the U.S., Canada, [Bit-Wasame 00:08:27] communities in Northern Scandinavia, [inaudible 00:08:29] indigenous communities in Australia, and to some extent in Latin America as well. As somebody who's interested in weird stuff, who's interested in certain kinds of punk, and hip hop, and certain artistic practices, and the creation of alternative social institutions, many of the collaborations with youth come from that space. So Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes comes from wanting to interact with youth and have them interact with fluent speaking Ojibwe elders. Dr. Dylan Miner:                 So in Lansing, Michigan, we have some of the largest numbers of fluent Anishinaabeg speakers in the state of Michigan, but on the U.S. side of the border. But there was a disconnect between them and youth. So building bikes became an intentional time to gather people together around a particular thing of doing a doing and making. If in the end, people only learned how to make a bike, great. But it hopefully became something more than that. Jolie Sheffer:                          You're talking about the sort of colonial forms that so much of knowledge production in its institutionalized ways operates. So it's really interesting to hear you talk about these projects that are designed to sort of function outside of those frameworks. How do you in your own workshops and practice work to get outside of that habit of the kind of colonialist resource extraction of you go in or you're brought in, and it's like, "Now, you're going to be our native informant"? Then, everyone goes back to doing things the way they always did them. Dr. Dylan Miner:                 So my partner is Estrella Torrez who runs a project in Lansing called the Indigenous Youth Empowerment Program, IYEP, which is a native youth program. She co-directs with some friends of hers. She also coordinates a project with Latino youth called Nuestros Cuentos, which is Writes Stories with Youth. But one of those things is that she develops is this idea of kind of reverse resource extraction. What does it mean to be inside institutions within the university? In what ways can we extrapolate and build upon the resources and relationships we have in institutions to benefit communities, particularly communities we're a part of, but also communities we might not be a part of? How can we make those benefit communities, particularly communities of color, indigenous communities, and other communities, immigrant communities, et cetera? Dr. Dylan Miner:                 So I do a lot of work against resource extraction, anti-mining stuff, anti-pipeline stuff. So one question I've been asking in thinking through is, "What is the opposite of extraction? What would that look like? What is the opposite of actually mining and/or having pipelines for fossil fuels? What would that look like?" Just as a rhetorical question, "What would that look like for those of us in places who have access to particular resources? How can we kind of reverse those pipelines?" Jolie Sheffer:                          Your book is on Chicano art and movements, and you also work on indigenous Metis art. So can you provide an overview of some of those histories and convergences? Dr. Dylan Miner:                 Yeah. I'm really interested in the detribalized to histories that happen at both the intersections of both settler-colonial nation-state borders, whether it's the U.S.-Canada border or the U.S.-Mexico border. I grew up as a white-coated, indigenous person in the state of Michigan in a community that had a migrant farmworker community, a Chicano, and Mexican-American, and Mexican farmworker community and from an early age was seeing the linkages between the Metis histories of the Great Lakes, and the plains, and prairies of the U.S.-Canada border lands and some of the Chicano or Mexican-American forms of indigeneity that you see in Texas in New Mexico. Dr. Dylan Miner:                 My partner, her family, comes from Genizaro communities. Genizaros are folks in New Mexico and Texas that were basically taken detribalized indigenous folks that were then kind of put into servitude for Spanish settlers. So thinking about the ways that both colonial projects happen, whether it's the U.S. colonial project, the Canadian colonial project, the Mexican colonial project, and what they do to indigenous folks and to detribalized a non-recognized indigenous folks. So in that book, in particular, I look at Chicano or Mexican-American artistic practices after 1968 in relationship to a concept called Aztlan. Aztlan is the [Chica 00:12:54] or Nahua origin story that before the so-called Aztecs founded Tenochtitlan, or what is now Mexico City, they came from this cave on an Island. That place was called Aztlan. During the 1960s, during the Chicano power era, activists began to talk about the U.S. Southwest as that location. Dr. Dylan Miner:                 So one of the things I articulate in that book is thinking about Chicanos or Mexican-American folks as an indigenous nation and as a nation of movement, and what does it mean to slowly move across land? So using the metaphor of lowriding, whether it's lowriding in cars or lowriding in bikes that is, we all know lowriders. Some say they started in Espanola, New Mexico, some say they started in East Los Angeles. Either way, whatever the origin story is, it's an anti-capitalist form of movement. We think of muscle cars, we think of the automobile. I grew up in Michigan, kind of the birthplace of the automobile. That's about getting places quickly. Dr. Dylan Miner:                 But when you lowride through place, you intimately know the territory, begin to talk to the land, relate to the land, and it's a big F-you to capitalism where time is money, you're intentionally inverting that system. So for me, making these linkages are important as we both resist violent state practices. We're in a moment in time where the U.S. government is moving in certain ways. I've been advocating kind of for DACA and understanding of the linkages between U.S. immigration policies and what they do as a component of the same settler-colonial forms of appropriation, and appropriation, and violence that happened kind of as Anglo America pushed westward with manifest destiny. Jolie Sheffer:                          Well, and that sort of speaks to our theme of homelands and histories and the ways we think very differently about our own moment if we lengthen the window of time in which we're operating and to think about... I'm very interested. My own scholarship is on the history of immigration. So much of the rhetoric that circulates now is on legality and illegality. When, in the longer window of history, the laws changed around people. It's not that people are illegal or not. So what do the terms like a homeland and history connote to you? Dr. Dylan Miner:                 When I think of homeland, I think we all live in an era where we think of homeland security. I link it to certain kind of state practices, certain moves by the state towards a certain form of patriotism, a fascistic form of patriotism, that in its very creation creates borders that are solidified in certain ways. To link this back to the last question. One of the things I've been thinking about, and I think many, many scholars and activists, indigenous and Chicana activists have been thinking about this are the ways that communities, and indigenous sovereignties, and indigenous forms of governance and territoriality exist in relationship inside and outside of the forms of territoriality that Western nation-states have. That means that the U.S., Canada, Mexico have to have solidified borders. Those borders cannot be shared. A territory has to be one or the other. Dr. Dylan Miner:                 But when you look at longer-term histories of land use and land practice in Western spaces, but particularly in indigenous communities, there's always been conflicted spaces but also shared spaces. That the notion of territoriality that we see in this particular moment that arises from a form of polity that that happens and emerges in Western Europe at a particular moment of time is only one form of governmentality and territoriality that exists or that has to exist. If there's anything that I'd like my work to engage with as an activist, as a scholar, or as an artist is thinking about thinking otherwise, imagining other possibilities. The Zapatistas in the '90s, shared with us that, "[foreign language 00:16:50]. Another world as possible." When they think about, "What other worlds are possible, and do we have to be so constricted by the particularities of the worlds that we've been given?" Jolie Sheffer:                          I think that's something that the older I get, the more you realize that even in our own lifespan, that there were other ways of being. I remember what it was like not to have a cell phone, not to have social media. Or, thinking on the issue of borderlands, growing up in Michigan, you would just cross over into Canada. I was thinking about this very recently. I have a young son and I was like, "Oh, this summer, maybe we'll go to Canada." I realized, "I can't do that. I have to get him a passport." The way the state intrudes on those things. We take for granted that like, "Oh post-9/11 for many of our students, that's the only way of being they've experienced." Again, taking that longer view reminds you there have been other ways of being, and there could be yet again. Dr. Dylan Miner:                 I teach an undergraduate senior seminar, and one of the questions we ask is, "Is another world possible? Can we imagine a world beyond, or outside, or after, or in spite of capitalism?" Each time I've taught it, when we get to the end, it becomes nearly impossible for anyone in that class to think beyond, or outside, or in spite of capitalism, that as an economic and way of organizing social relationships, it has such a power on all of us that imagining something outside of it has been nearly impossible. Jolie Sheffer:                          We'd love to hear some of your questions. You ready? Alexis:                                        I just want to say, first, thank you for coming and I appreciate this dialogue that we get to have with you. My name's Alexis [Ribertino 00:18:33]. We're apart of a class, all of us here. It is a studio seminar in the arts school, and we read the beginning of Creating Aztlan and other things regarding Native Kids Ride Bikes, specifically. That's kind of where our collaborative questions come from, just to give you a background on where we're coming from. Alexis:                                        So you say in your book, Creating Aztlan, "Once you know the story, it is your collective responsibility to tell it." In thinking about this, I've noticed a trend in socially-engaged art to rely on the audience or participators in order to be the ones that enact with the change or artists put their trust in the participators in order to be provoked and then to think enough in order to pursue the change. This tactic then replaces the artist's direct involvement in policymaking or direct change. My question is, is this tactic enough or the best way of enacting social change and engagement? Or, is this possibility of inspiring in numbers more enticing than using more time and less minds to pull out the direct work? Dr. Dylan Miner:                 That's a good question and one that I'm not certain I have a full answer to. I will say that I'm of the perspective that unfortunately we live in a time when artists are brought in to fill in voids and other social services. So why is it that artists are engaging in certain kinds of projects when there's been a reduction in funding of social services that should do that exact same thing? I think that at a policy level and at an institutional level, I think that's a problem. Dr. Dylan Miner:                 Do I think that art is the best way to enact, or to initiate, or to be the change itself? As I said earlier, I do hold onto something that our art is liberatory in certain ways. I'm not certain what it is. I think that with the various avant-gardes you've seen throughout history, I think many of them have held onto that belief, whether rightly or wrongly, probably wrongly. But I do think there's something liberatory about it. There's a way... For instance, the majority of my work, I don't sell. I don't make work for the market. I've been criticized, and rightfully so, because I have I come from an institutional space of privilege where I teach at university and don't need to make work to pay my bills. Therefore, I can make work that's gifted or given away. I think that's significant about what I'm trying to do is make work outside or beyond the marketplace. Dr. Dylan Miner:                 So in terms of social practice or socially-engaged art, I think there's some very good examples and I think there's some very bad examples. I think that, at its best, community collaboration is just that. Like, when I engage in a project, it's that. I don't imagine that it's something beyond that. The Elders Say We Don't Visit Anymore, that's using my access to institutional spaces to create momentary spaces of visiting. Do I think it's going to fundamentally change those institutions, or indigenize them, or kind of transform them? No. I know that it's a momentary thing, and I know that the results will be fleeting. Dr. Dylan Miner:                 The same thing I'd say with Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes. That's really about building social relationships, and making connections between existing community members, and one another. If it goes beyond that, that's wonderful. But I don't think it always will or always has. But I do think there's moments in time where we live in a moment when so many different institutions for public good have been dismantled, and so now we're turning to artists to do the work that something else should do. I think that's a fundamental larger problem. Nick:                                           My name's Nick. Thank you for coming. For my question, in your interview with America Meredith that we read, you provide a quote from Ryan Red Corn stating, "We're Indian. We're political by default." I was struck by the idea that even in a not-overtly political project, the aesthetics become politicized. Do you see this as being an issue for indigenous artists or a distracting element if their work tends to be viewed through a specific lens? Do you find that your work strives to have a singular identity, or do you feel like is split serving two different purposes regarding an indigenous and a outside audience? Dr. Dylan Miner:                 Good question again. So the quote by what Ryan Red Corn, and Ryan Red Corn's a graphic designer and Osage guy. He's also in the comedy troupe 1491, so he was just visiting East Lansing and I had dinner with him a few weeks ago. So it's good to see you brought that quote up from the interview with America Meredith, who's a Cherokee painter, who is also the editor for First American Art Magazine. So if you're not familiar, put a plugin for that to really exciting and interesting article or magazine that she publishes. Dr. Dylan Miner:                 So I think this is a problematic both for contemporary indigenous artists, but for artists of color, for queer artists, for many other artists, who there's a certain kind of reading that when work becomes biographical, people only read it in that way. I think that happens to certain artists and not to all artists. Why is that? That said, my work is always political even when not politically. It's intentionally political, and I have some that is overly agitprop. It's fine to be read one-dimensional. Dr. Dylan Miner:                 In the class I was just meeting with, I showed them a Line 5 pipeline Risograph poster that I recently produced. My own politics, I'm vehemently against that pipeline, Line 5. Enbridge line 5, of course, was created in 1953. It's a approximately 700-mile pipeline that brings tar sands from Western Canada through Wisconsin and Michigan to be processed and refined in Sarnia, Ontario. Of course, Sarnia is right by a First Nations, an Anishinaabek First Nations community that has some of the largest cancer rates of any community because of the processing of so many chemicals and particularly oil refineries there. Dr. Dylan Miner:                 But with this image, it is a unidimensional reading of it. A poster kind of demarking, or discussing, or showing the 20 plus... I don't remember the exact number, the nearly 30 oil spills that have happened since that pipeline opened in 1953 and spilling 1.1 million gallons of oil. There's not a lot of readings that can be read into that poster. It's intentionally one advocating for the dismantling and shutting down of that pipeline. So I'm okay with a one-dimensional reading of that. Dr. Dylan Miner:                 Other works, particularly in museums and galleries, kind of text I write, they need to be more nuanced and understanding of them. I think that with indigenous, with artists of color, oftentimes the work becomes read as biographical. I think that's a hard dynamic, and hard dialectic, or hard tension that people who aren't part of that community have when engaging with that art. There's been scholars and critics who've looked at the ways that, particularly with indigenous art, when you come to it, you have to both understand the particularities of the knowledge system the artist is working with as well as the understanding of the discourses and structures of contemporary art. Dr. Dylan Miner:                 That's high expectations. It's a lot to expect of audiences, whether indigenous or not, whether a member of that individual artist's community or another indigenous nation. There's a lot of expectations there. So with that, I think there'll probably be a lot of misinterpretations. When you make something and put it in the world, you have to be open to understand and think through its possible multiple readings, whether they're ones you want or not. Jolie Sheffer:                          That seems like the focus of your work that is very process-oriented seems partly designed to break down that singular reading because you have to kind of engage with the work and help create it. That seems in itself kind of an anti-capitalist way of being that you can't just sort of, "Okay, now I'm going to absorb the art and the artist, and then get out." Dr. Dylan Miner:                 I think time, non-capitalist, nonlinear time is very significant in my work. If you come to my talk tonight, and I've said it a number of other times, but I'll talk a bit about this term [foreign language 00:26:59], which is a Anishinaabemowin term meaning one's ancestors but also one's descendant. So it's referencing in particularly one's great-grandparent or one's great-grandchild, but it's the same word for both. But it breaks down linear notions of history that past is behind us, kind of the future's in front of us, and actually creates a relationship with one's ancestors and one's descendants that is very intimate and very real. To do that, you have to engage in a long-term, nonlinear notions of time. Dr. Dylan Miner:                 So much of my work, whether studio or otherwise, I think I'm trying to evoke and employ this particular notion of temporality that isn't linear, that doesn't somehow put past behind us, future in front of us, and somehow we can get to this attainable future of some sort. Dr. Dylan Miner:                 When you were talking a moment ago, I was thinking of a project I do called Michif–Michin, The People The Medicine, which is a collaboration with plants where I actually have conversations, learn from and with medicinal plants, and then harvest them, and then make prints from them. I print them in inks I harvest. Inks I make from berries I harvest and then give them away. They're not sold. So there's a long-term relationship between me and the plant, but also between me and the people who share knowledge about the plant and then who receive these prints. So lots of ways of thinking through and around these questions. Maria:                                        Hi, my name's Maria. I also wanted to say thanks for coming and spending time talking to us. My question is that you mentioned that one of the long-term outcomes of your lowriding project was both the inclusion of native tradition, culture, and history, but also a commentary on sustainability within transportation. How do you envision the lowriding project impacting within the relationship that exists between native and colonialist values? What type of conversations do you think that this will spark between the two groups, and do you foresee an impact or a change being made on colonialist viewpoints of sustainability and conversation from projects similar to this? Dr. Dylan Miner:                 Another good question. For me, it's hard to say, or hard to predict, or hard to judge kind of what impacts or relationships they have. As someone whose practices fundamentally about building relationships and engaging with other people, I think that I want to put that in play. I want that to happen. If you'd have asked me this two years ago, I think various conversations were happening about sustainability, and about climate change, and resistance to climate change, and understanding potential transformations that needed to happen at a dominant structural level. At this point in time, I'm a little less... I don't think those are happening at the upper echelons of state and capitalist institutions. So because of that, I'm concerned. Dr. Dylan Miner:                 This is a slight aside, but I think that what we see is that there's very powerful systems of violence and oppression, whether it's violence to the land, whether it's oppression of other individuals, whether it's the creation of patriarchal systems. Those are all intertwined. If you look at the scholarly text and the creative text as well, part of what I'd like to put in place is how all of these are intertwined together. You probably haven't heard it as much on U.S. news, but I've been kind of attentive to it is that in Western Canada, just last Friday, there was a court case that came through. This was a young Korean man who was in his 20s, Colton Boushie, who was shot three times in the head by a Saskatchewan farmer a number of months ago. That ruling came down on Friday. Stanley, the individual who shot him three times in the head, was acquitted for murder and or manslaughter. Dr. Dylan Miner:                 This is to say that there's institutional forms of violence and oppression that become reproduced within structures and systems, that whether or not we control them. So when I make things and when I'm engaged in practices, I put them out there in the world. How they operate within these existing systems, to some extent, is outside my control. Tyler:                                          My name's Tyler. So my question is, as artists, we want to avoid cliche and heavy-handed work crafted without intention. Sometimes this want can lead to work made with intent by the artist, but that isn't understood by anyone who isn't familiar with the piece. So for socially-engaged art, how blatant do you find that art needs to be in order to actually be an effective piece of social engagement? How much of the artist needs to be present, and how much of the activist? In your own practice, how do you balance these two sides? Dr. Dylan Miner:                 Good. Julie and I were talking earlier about balance and the fact that balance doesn't exist. It's a process. But at any moment, we're going to fall off as we're trying to balance anything. I have no intention to balance. I come to my work as someone with particular political motivations. Some of the work, particularly the print-based work that exists in poster and print form, is freely downloadable off the internet. That has an agitprop positionality. That is intended to agitate and provoke, to make people think about particular issues, oftentimes indigenous issues, oftentimes environmental issues, oftentimes immigration issues, and how all of these are linked together. Dr. Dylan Miner:                 The other work, what could be called the socially-engaged work or the work I'm doing oftentimes in galleries or in museums, you're right, is less heavy-handed. Yet, the ways that those are read, I think, are going to differ greatly based on the baggage, and the knowledge, and the information people bring to them. The more I do things, the more I understand that and I'm open to that. With Anishnaabensag Biimskowebshkigewag, Native Kids Ride Bikes, I've done that a number of times with communities that I know and a number of times with communities I don't know. Some of them have been very successful, and some of them have been very awful based on existing relationships between me and people in those communities and people in those communities and the institution that brought me in. Dr. Dylan Miner:                 So I think a lot of times, it's not even necessarily on the actual social engagement but rather the relationships, the networks, the interactions that exist outside, and beyond, and around those particular engagements. As an artist, as much as I'd like to say I'm against hierarchies in all forms, which I am, as an artist, sometimes we bring our own ideas into things. I think that the more engagements I do, the less I have to have particular ideas of what I'd like them to be. So building bikes, those emerge out of collective conversations. Clearly, we're there to build a bike, but what will that be? Jolie Sheffer:                          Following up on that question. So you're an artist, you present your work in these different venues, but you're also a curator, right? So how do you think about your role in positioning? What are the kinds of decisions and conversations you have with yourself and with artists whose work your career curating in the museum context? Dr. Dylan Miner:                 Sure. So I have this adjunct curator title and position, and I don't do a lot of curatorial work in that museum. But I am curating a show at a university gallery in March, which is on land and water, thinking about what those topics, concepts mean. Again, sometimes it's bringing in activist projects into the museum context. I think Nato Thompson, the curator who was with Creative Time for some time, is probably most well-known for that kind of integrating activist projects into the art world and kind of reciprocally bringing art world projects into activists' world. Dr. Dylan Miner:                 So one of the works that's going to be in the show is some of the ephemera from Lee Spragge, who is a Anishinaabeg activist, and he's kind of most well-known for his knowledge on wild rice. He's a wild ricer. He's a former chief of one of the First Nation communities in Michigan. He was leading one of the canoe brigades at Standing Rock, and his canoes were stolen by the state and destroyed. But what we're going to have in the show is some of his ephemera paddles, and life jackets, and things like that. Clearly, he was, kind of some time ago, living in Berkeley and doing performance art and kind of identified as an artist in that point in time. But this is clearly taking some of that more ephemera from activists' projects, placing it in the context of an art gallery and museum. I think that you can create various interesting conversations and projects around that. Jolie Sheffer:                          What's next? What are you working on now, or what are some upcoming projects? Dr. Dylan Miner:                 So I'm working on a number of things, trying to do less and less academic writing. I have a number of shows coming up. One is a new project for the Grand Rapids Art Museum doing large-format cyanotypes. So the year the cyanotype was invented as a photographic process was actually the same as the last treaty was signed in the state of Michigan, the Treaty of La Pointe. So I'm doing a series of landscapes, and waterscapes, and skyscapes using this process to think about the relationship between the materiality and the form itself. I think this goes back to some of your earlier questions. I'm really interested in the relationship between materiality, and the form, and how those all are intertwined. Dr. Dylan Miner:                 I have another solo project building bikes. I might be doing lowrider canoes for a gallery at Western University in Ontario, and then I'm just trying to do some more writing, and do some more working, and just be a human being, and build a better world that in this moment in time, it seems that it's really hard to be a good human being. So if I can try to be a better human being, I'll go that route. Jolie Sheffer:                          Thank you all very much. Dr. Dylan Miner:                 [foreign language 00:37:02]. Thanks for having me on. It's been fun to listen and engage in conversation. Jolie Sheffer:                          Thank you all again so much. So today, our producer is Chris Cavera. Research assistance is by Lauren O'Connor and Elizabeth [Brownlow 00:37:16]. With special thanks to our co-sponsors, the School of Cultural and Critical Studies, the School of Art, and the department of English at BGSU. Thank you all. Dr. Dylan Miner:                 [foreign language 00:37:24].

Ojibwe Language podcast

In this episode of Red Man Laughing we are proud to present a featured chat with Mskwaankwad "Musky" Rice. Musky is a young man from Wasauksing First Nation in Ontario, Canada and he recently uprooted his life, dropped everything he was doing and moved home to his First Nation to learn his language - Anishinaabemowin. An incredibly young person, Mskwaankwad is a Youth leader and advocate, a University graduate and his story of starting a brand new journey on his life path is an incredible story that we had to share with our podcast listeners. We talk language, culture, community and reconnecting with our sense of self through spending time with our Elders. This podcast episode is as good as it gets - enjoy! As always, thanks for listening. Make sure you subscribe to the podcast to get new episodes send directly to your RSS Reader, Email or iTunes.