Podcasts about makahs

In his debut book We Survived the Night, artist and writer Julian Brave NoiseCat takes readers on a complex journey of Indigenous experience stemming from a childhood rich with culture and contradictions. Reeling from his father — a Secwépemc and St'at'imc artist haunted by a troubled past — abandoning his family, NoiseCat and his non-Native mother found themselves embraced and invigorated by their community. Supported by the urban Native population in Oakland, California and family on the Canim Lake Indian Reserve in British Columbia, NoiseCat was able to immerse himself in Native history and culture. Doing so bridged the gaps in his knowledge of his father's past and their stories and sent him on a journey to further his understanding of his people and himself. Told in the style of a "Coyote Story" — a legend about the trickster forefather of NoiseCat's people, revered for his wit and mocked for his tendency to self-destruct — We Survived the Night brings a traditional artform nearly annihilated by colonization back to life on the page. NoiseCat explores his personal origins amidst recounting on-the-ground efforts to correct the erasure of Indigenous peoples across the continent. Over years spent researching and developing his voice as a storyteller, NoiseCat grapples with the generational trauma of North America's First Peoples and learns of the cultural, environmental, and political movements reshaping the future.  We Survived the Night dives into examples of Native endurance and modern achievements that NoiseCat studied in his journalistic endeavors — the historic ascent of the first Native cabinet secretary in the United States and the first Indigenous sovereign of Canada; the colonial origins and limits of racial ideology and Indian identity of the Lumbee Tribe of North Carolina; hauling the golden eggs of an imperiled fish out of the sea alongside the Tlingit of Sitka, Alaska. Blending history and mythology, research and personal memoir, NoiseCat seeks to reclaim a culture stripped away by years of colonization and the family ties that were severed in his youth. His voiced honesty and years of efforts link the past to the present, the community to the individual in a powerfully intimate depiction of contemporary Indigenous life. Julian Brave NoiseCat is a writer, Oscar-nominated filmmaker, champion powwow dancer, and student of Salish art and history. His writing has appeared in publications, including The New York Times, The Washington Post, and The New Yorker. NoiseCat has been recognized with numerous awards including the 2022 American Mosaic Journalism Prize and many National Native Media Awards. He was a finalist for the Livingston Award and multiple Canadian National Magazine Awards, and was named to the TIME100 Next list in 2021. His first documentary, Sugarcane, was nominated for an Academy Award for Best Documentary. Directed alongside Emily Kassie, Sugarcane premiered at the 2024 Sundance Film Festival, where NoiseCat and Kassie won the Directing Award in U.S. Documentary. NoiseCat is a proud member of the Canim Lake Band Tsq̓éscen̓ and descendant of the Líl̓wat Nation of Mount Currie. Joshua L. Reid (citizen of the Snohomish Indian Nation) is an associate professor of American Indian Studies and the John Calhoun Smith Memorial Endowed Associate Professor of History at the University of Washington, where he directs the Center for the Study of the Pacific Northwest. He is the author of The Sea Is My Country: The Maritime World of the Makahs. Buy the Book We Survived the Night Elliott Bay Book Company

A fur-trading schooner beached in 1811. A passenger liner lost in 1906. An almost-empty tanker broken on the shore in 1999. These shipwrecks, and thousands more, are why the northwest coast of North America is sometimes called the “Graveyard of the Pacific.” Drawing from his book, Wrecked, history professor and author Coll Thrush tells the stories of many vessels that met their fate along this rugged coast and how they open up conversations about colonialism, Indigenous persistence, and place-based history. Shipwrecks are commemorated in museums, historical markers, folklore, place names, and the remains of the ships themselves. They've become a rich regional archive that has inspired Indigenous and settler survivors and observers to create meaning for these events. Thrush examines the ways in which shipwreck tales highlight––and debunk––myths of settler colonialism: the disappearance of Indigenous people, the control of an endlessly abundant nature, and the idea that the past would stay past. There's no doubt that shipwrecks capture our imagination. Thrush also shows that these disasters are passageways to deeper stories. Through a cultural history of this notorious part of the Northwest, Thrush demonstrates how the tales of shipwrecks reveal the fraught and unfinished business of colonization. Coll Thrush is a professor of history at the University of British Columbia and founding co-editor of the Indigenous Confluences book series at the University of Washington Press. He is the author previously of Native Seattle: Histories from the Crossing-Over Place and Indigenous London: Native Travelers at the Heart of Empire. Joshua L. Reid (citizen of the Snohomish Indian Nation) is an associate professor of American Indian Studies and the John Calhoun Smith Memorial Endowed Associate Professor of History at the University of Washington, where he directs the Center for the Study of the Pacific Northwest. He is the author of The Sea Is My Country: The Maritime World of the Makahs. Presented by Town Hall Seattle and University of Washington Press. Buy the Book Wrecked: Unsettling Histories from the Graveyard of the Pacific (Hardcover) Elliott Bay Book Company

Czy można wyleczyć alkoholizm zastrzykiem? Technologia pędzi do przodu nieustannie nie tylko w medycynie, być może wkrótce każdy z nas usiądzie w pracy na chłodzącym nas w lecie krześle. Słów kilka także o błotnych Pompejach, dzikach penetrujących śmietniki i roślinnych hamburgerach.A jeśli uznasz, że warto wspierać ten projekt to zapraszam do serwisu Patronite, każda dobrowolna wpłata od słuchaczy pozwoli mi na rozwój i doskonalenie tego podkastu, bardzo dziękuję za każde wsparcie!Zapraszam również na Facebooka, Twittera i Instagrama, każdy lajk i udostępnienie pomoże w szerszym dotarciu do słuchaczy, a to jest teraz moim głównym celem :) Na stronie Naukowo.net znajdziesz więcej interesujących artykułów naukowych, zachęcam również do dyskusji na tematy naukowe, dzieleniu się wiedzą i nowościami z naukowego świata na naszym serwerze Discord - kliknij, aby dołączyć do społeczności.Źródła użyte przy tworzeniu odcinka:John Peyton Bohnsack, Huaibo Zhang, Gabriela M. Wandling, Donghong He, Evan J. Kyzar, Amy W. Lasek, Subhash C. Pandey, "Targeted epigenomic editing ameliorates adult anxiety and excessive drinking after adolescent alcohol exposure", https://doi.org/10.1126/sciadv.abn2748Emily Mullin, "A New Kind of Genome Editing Is Here to Fine-Tune DNA", https://www.wired.com/story/a-new-kind-of-genome-editing-is-here-to-fine-tune-dna/Gary Wessen, "Makahs, Quileutes, and the Precontact History of the Northwestern Olympic Peninsula, Washington", Journal of Northwest Anthropology, 2019, https://www.academia.edu/43510196/Makahs_Quileutes_and_the_Precontact_History_of_the_Northwestern_Olympic_Peninsula_WashingtonBrendan Sainsbury, "Ozette: The US' lost 2,000-year-old village", https://www.bbc.com/travel/article/20220605-ozette-the-us-lost-2000-year-old-villageJoyce Kim, Fred Bauman, Paul Raftery, Edward Arens, Hui Zhang, Gabe Fierro, Michael Andersen, David Culler, "Occupant comfort and behavior: High-resolution data from a 6-month field study of personal comfort systems with 37 real office workers", https://doi.org/10.1016/j.buildenv.2018.11.012Charlotte Phelps, Christian Moro, "Yes, women might ‘feel the cold' more than men. Here's why", https://theconversation.com/yes-women-might-feel-the-cold-more-than-men-heres-why-184329Kate Ritzel, Travis Gallo, "Behavior Change in Urban Mammals: A Systematic Review", https://doi.org/10.3389/fevo.2020.576665Christine Dell'amore, "Why urban bears know when it's trash day", https://www.nationalgeographic.com/magazine/article/why-urban-bears-know-when-its-trash-day-featureJack Mcgovan, "The Secret to Tastier Fake Meat? Breeding Better Beans", https://www.wired.co.uk/article/meat-substitutes-breeding-better-beansNancy Brown, "The map of food: why we need a world atlas of what we eat", https://www.weforum.org/agenda/2022/06/global-food-security-data/Photo by Sangharsh Lohakare on Unsplash

In 1999, the Makahs went out on the Pacific for their first whale hunt in over seventy years. The event drew protests from animal rights activists and local (mostly white) Washingtonians. But to the Makahs, the event was a cause for celebration. Why did the whale hunt hold such divergent meanings for different people along the Northwest Pacific Coast? Joshua Reid, Associate Professor of History at the University of Washington, attempts to answer that question in The Sea is My Country: The Maritime World of the Makahs (Yale University Press, 2015), which won the Caughey Prize from the Western History Association in 2016, along with several other awards. For centuries, the Makahs valued maritime space as a central part of their homeland. Europeans empires, and later Americans and international institutions, tried to impose their own notions of spatial control and hard borders onto the Pacific Northwest borderland, but often ran up against Native power. The Makahs have repeatedly adapted to changing political and economic circumstances, adopting what Reid calls a “moditional economy” as a means of handling newcomers who tried to commandeer their homeland and its rich seas. The Sea is My Country is a book about Indigenous adaptability and dynamism as well as changing human relationships to maritime ecologies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1999, the Makahs went out on the Pacific for their first whale hunt in over seventy years. The event drew protests from animal rights activists and local (mostly white) Washingtonians. But to the Makahs, the event was a cause for celebration. Why did the whale hunt hold such divergent meanings for different people along the Northwest Pacific Coast? Joshua Reid, Associate Professor of History at the University of Washington, attempts to answer that question in The Sea is My Country: The Maritime World of the Makahs (Yale University Press, 2015), which won the Caughey Prize from the Western History Association in 2016, along with several other awards. For centuries, the Makahs valued maritime space as a central part of their homeland. Europeans empires, and later Americans and international institutions, tried to impose their own notions of spatial control and hard borders onto the Pacific Northwest borderland, but often ran up against Native power. The Makahs have repeatedly adapted to changing political and economic circumstances, adopting what Reid calls a “moditional economy” as a means of handling newcomers who tried to commandeer their homeland and its rich seas. The Sea is My Country is a book about Indigenous adaptability and dynamism as well as changing human relationships to maritime ecologies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1999, the Makahs went out on the Pacific for their first whale hunt in over seventy years. The event drew protests from animal rights activists and local (mostly white) Washingtonians. But to the Makahs, the event was a cause for celebration. Why did the whale hunt hold such divergent meanings for different people along the Northwest Pacific Coast? Joshua Reid, Associate Professor of History at the University of Washington, attempts to answer that question in The Sea is My Country: The Maritime World of the Makahs (Yale University Press, 2015), which won the Caughey Prize from the Western History Association in 2016, along with several other awards. For centuries, the Makahs valued maritime space as a central part of their homeland. Europeans empires, and later Americans and international institutions, tried to impose their own notions of spatial control and hard borders onto the Pacific Northwest borderland, but often ran up against Native power. The Makahs have repeatedly adapted to changing political and economic circumstances, adopting what Reid calls a “moditional economy” as a means of handling newcomers who tried to commandeer their homeland and its rich seas. The Sea is My Country is a book about Indigenous adaptability and dynamism as well as changing human relationships to maritime ecologies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1999, the Makahs went out on the Pacific for their first whale hunt in over seventy years. The event drew protests from animal rights activists and local (mostly white) Washingtonians. But to the Makahs, the event was a cause for celebration. Why did the whale hunt hold such divergent meanings for different people along the Northwest Pacific Coast? Joshua Reid, Associate Professor of History at the University of Washington, attempts to answer that question in The Sea is My Country: The Maritime World of the Makahs (Yale University Press, 2015), which won the Caughey Prize from the Western History Association in 2016, along with several other awards. For centuries, the Makahs valued maritime space as a central part of their homeland. Europeans empires, and later Americans and international institutions, tried to impose their own notions of spatial control and hard borders onto the Pacific Northwest borderland, but often ran up against Native power. The Makahs have repeatedly adapted to changing political and economic circumstances, adopting what Reid calls a “moditional economy” as a means of handling newcomers who tried to commandeer their homeland and its rich seas. The Sea is My Country is a book about Indigenous adaptability and dynamism as well as changing human relationships to maritime ecologies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1999, the Makahs went out on the Pacific for their first whale hunt in over seventy years. The event drew protests from animal rights activists and local (mostly white) Washingtonians. But to the Makahs, the event was a cause for celebration. Why did the whale hunt hold such divergent meanings for different people along the Northwest Pacific Coast? Joshua Reid, Associate Professor of History at the University of Washington, attempts to answer that question in The Sea is My Country: The Maritime World of the Makahs (Yale University Press, 2015), which won the Caughey Prize from the Western History Association in 2016, along with several other awards. For centuries, the Makahs valued maritime space as a central part of their homeland. Europeans empires, and later Americans and international institutions, tried to impose their own notions of spatial control and hard borders onto the Pacific Northwest borderland, but often ran up against Native power. The Makahs have repeatedly adapted to changing political and economic circumstances, adopting what Reid calls a “moditional economy” as a means of handling newcomers who tried to commandeer their homeland and its rich seas. The Sea is My Country is a book about Indigenous adaptability and dynamism as well as changing human relationships to maritime ecologies. Learn more about your ad choices. Visit megaphone.fm/adchoices