Podcasts about Turtle Island

Kristin and Kate get the inside scoop on all things marketing and publicity as they speak to the 'dream team' who worked on Kristin's recent book Turtle Island. Brianne Sperber and Felix Cruz — associate director of marketing for Clarkson Potter and Ten Speed Press and publicist for the same— discuss their specific roles and approaches to cookbook promotion. They touch on the differences between marketing and publicity, the role events have in promoting a book and share a peek behind the curtain at the decisions, meetings, timeline and teams that go into a project. They share invaluable insights into their thought process, what authors can contribute to a campaign and how they hope to work with them throughout the long game and moment to moment demands of a media blitz. They speak about tailoring messaging to an audience, the cheerleading role they often play and how they approach a collaborative relationship with all the moving parts involved in a book's life span.Hosts: Kate Leahy + Molly Stevens + Kristin Donnelly + Andrea NguyenEditor: Abby Cerquitella MentionsSean Sherman on Daily ShowEpisode 36: Celebrating Colombia with Mariana VelásquezLink in Bio substack Visit the Everything Cookbooks Bookshop to purchase a copy of the books mentioned in the showTurtle Island, by Sean Sherman. Kate Nelson & Kristin DonnellyThe SalviSoul Cookbook by Karla Tatiana Vasquez Praisesong for the Kitchen Ghosts by Crystal Wilkinson Bread of Angels by Patti SmithStation Eleven by Emily St. John MandelRevel by Mariana Velásquez

Dr Alex Iantaffi interviews Eun Bee Yes, the fabulous founder, show director, and producer for Transcendence Cabaret, a trans, genderqueer, two-spirit, and gender expansive drag troupe that centers BI&POC artists in the Twin Cities.  They discuss the importance of representation and mentorship in the drag scene, the evolving nature of drag as a form of artistic expression, and safety concerns in the current socio-political climate. Listen for an uplifting conversation on the nourishing aspects of trans community, queer art, and the transformative power of drag in the face of oppression.Transcendence Cabaret is an amazing troupe with some of the best well-known and up and coming artists in the Twin Cities. They are transgender, genderqueer, gender non-conforming, two spirit and truly all along the spectrum of gender and sexuality. Transcendence Cabaret's artists are primarily BI&POC and they are one of a handful of transgender troupes who center artists of color on Turtle Island, in the so-called United States. They offer an up and close personal experience and a spotlight on often overlooked talent within the unique drag, music, and art community. Their aim is not only to entertain their audiences, but to push themselves as artists, in a rare opportunity to challenge the perceptions of our communities, and to make art from their heart and soul. You haven't seen anything yet until you've spent an evening with them! Transcendence Cabaret invites you to join them each month in a constantly evolving show. Ready to go above and beyond the binary? Allow them to be your guide! All shows are hybrid and can be enjoyed from anywhere in the world, if you're not a local. Find out more about Transcendence Cabaret, including upcoming shows, at the following links: www.transcendencecabaret.com Facebook- Transcendence Cabaret Instagram- Transcendence Cabaret Instagram: GenderStoriesHosted by Alex IantaffiMusic by Maxwell von RavenGender Stories logo by Lior Effinger-Weintraub

Just before Christmas, the federal Justice Department secured indictments against four alleged radical-left domestic terrorists alleged to be affiliated with the “Turtle Island Liberation Front.” Our colleague Robert Stilson is deeply familiar with the notion of “turtle island,” a name for the North American continent derived from a Native American myth that radical leftists increasingly […]

Just before Christmas, the federal Justice Department secured indictments against four alleged radical-left domestic terrorists alleged to be affiliated with the “Turtle Island Liberation Front.” Our colleague Robert Stilson is deeply familiar with the notion of “turtle island,” a name for the North American continent derived from a Native American myth that radical leftists increasingly use to show they deny the legitimacy of the American and Canadian governments. He joins us today to discuss the radical left's increasing rejection of America's existence and how the mainstream center-left appeases the radicals with “land acknowledgments.”https://www.justice.gov/usao-cdca/pr/grand-jury-charges-four-members-anti-government-group-terrorism-felonies-stemming-newhttps://capitalresearch.org/article/turtle-island-and-the-legitimacy-of-america/https://capitalresearch.org/article/the-ideological-fuel-of-a-new-left-part-1/https://capitalresearch.org/article/the-marguerite-casey-foundation-part-3/statics.teams.cdn.office.net/evergreen-assets/safelinks/2/atp-safelinks.html

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's Host Miko Lee speaks with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy and resilience but in two very different ways. First up she chats with Chanel Miller. Many folx might know of Chanel's best selling first book Know My Name which expands on the powerful victim impact letter she wrote to Brock Turner who brutally sexually assaulted her on the Stanford Campus. We talk about her latest work – two delightful books for young people. Then Miko talks with Kazu Haga who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change.  In his books, Fierce Vulnerability and Healing Resistance he shares with us his personal journey and offers some insightful visions for our current tumultuous world.  Links to the Author's work: Kazu Haga  Fierce Vulnerability Kinship Lab,  Chanel Miller Chanel Miller The Moon Without Stars Purchase Chanel's books at East Wind Books and Kazu's books at Parallax Press  SHOW TRANSCRIPT APEX Opening: Apex Express. Asian Pacific Expression. Community and cultural coverage. Music and calendar. New visions and voices. Coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express. Miko Lee: Good evening. Welcome to apex express. This is your host, Miko Lee. Join us as you hop along the apex express. Tonight I speak with authors who have used their personal lives to tell their stories. They both talk and write about trauma, joy, and resilience, but in two very different and distinct ways. First up, I chat with Chanel Miller. Many folks might know of Chanel's bestselling first book Know My Name, which expands on the powerful victim impact letter she wrote to Brock Turner, who brutally sexually assaulted her on the Stanford campus. But tonight we talk about her latest work, two delightful books for young people. And then I talk with Kazu Haga, who weaves his spiritual practice and trauma healing with a deep lineage of nonviolent social change. In his books Fierce vulnerability and Healing Resistance, he shares with us his personal journey and offers some insightful visions for our current tumultuous world. First off, listen to my conversation with Chanel Miller. Welcome, author Chanel Miller to Apex Express. Chanel Miller: Thank you so much for having me. It's a delight to be here with you. Miko Lee: I'm really excited to talk to you, and I wanna start with my first question, which I ask all of my guests, which is, who are your people and what legacy do you carry with you? Chanel Miller: Oh, I have so many people. Today, you're my people who continue to help guide me forward. I grew up in the Bay Area and I feel like honestly all of my books are attempts at saying thank you to the people who raised me, the English teachers in my public schools. For helping me stay aligned with myself and never letting me drift too far. And so even though I tell very different stories for different demographics, I think if you look at the root of everything that I write, it's gratitude because they are the people who protected my voice in the first place. Miko Lee: Thank you so much. So we're talking about your third book. Your first book was amazing. Know my name, which is really powerful memoir about surviving sexual assault at Stanford, and this incredible public reclamation of your voice. And then you move from that very personal, internal, very adult work to your second book, which was so lovely and sweet. Magnolia Woo unfolds it all, which was an illustrated book set New York about a little girl and her friend who reunite people with their lost socks. From this all the way to this young person's book and your latest book, the Moon Without Stars, your second, YA novel is based in middle school. So talk to me a little bit about this journey from personal memoir to elementary school to middle school books. Chanel Miller: Yeah, so like you said, the first book was so internal and gutting to write. I knew I needed. Something that would help me breathe a little easier and get in touch with playfulness again. I wrote Magnolia Woo Unfolds it all. It's perfect for kids ages seven to 12. My goal was just to enjoy the process of writing and story making. And it was confusing because I thought if I'm not, you know, during the memoir, I would be like crying while I was writing and it was just taking everything out of me. And I was like, if I'm not actively upset. Is the writing even good? Like, like, you know, does it count? And it turns out, yes, you can still create successful stories and have a good time. So I did that book for myself really. And the kid in me who always wanted to, who was always, writing stories unprompted. Like you said, it was a book about a sock detective and pursuing socks makes no sense. It's almost impossible to return a missing sock in New York City. But I loved the idea of these. This little girl in pursuit of something, even if she doesn't know what the outcome will be. Right. It's just trying even if you're not promised a reward, I love this. And for me it's like I keep attempting to love my reality, right? Attempting to go out into the world with an exploratory lens rather than a fearful one. And so that was very healing for me. After I finished that book, I spent the next year writing this new book, the Moon Without Stars. It's for slightly older kids, like you said in middle school. So my protagonist Luna, is 12 years old and she's biracial like me, goes to middle school in Northern California like I did in Palo Alto. I was just reflecting on my. Upbringing, I would say, and really sitting back and letting memories come to the surface. Trying to see how much, was just unexplored. And then sitting down to, to figure out what it all meant that I remembered all of these things. Miko Lee: So how much of Luna is inspired by Chanel? Chanel Miller: A fair amount, I'd say. And it's not always an intentional, I think fiction deals a lot with the subconscious and you end up writing about yourself on accent luna in the book. She is the campus book doctor, is what I call it. Because when kids are going through something, they'll come to her and she'll prescribe them a book that'll help them for whatever phase of life they're going through. And I know for me from a very young age, I loved reading, writing, and drawing. It's all that I ever wanted to do and I was so mad in school that we had six different subjects and you know, the Bay Area was very tech. Centered, STEM centered. And so I felt all this pressure even through high school to take AP Science classes. In retrospect, I thought, why was I trying so hard to be good at it? Everything. This is impossible. And so for Luna, I own her gifts early. And understand that they were gifts at all. The fact that she loves to read and then she shares her gifts and she takes pride in the things that she's passionate about. She's not ashamed that she's not so hot about math. Miko Lee: So the hating math part is a little Chanel inspired also. Chanel Miller: The hating math part is fully me. I'm sorry to say. Miko Lee: No worries. I think that stereotype about Asians and math is so highly overrated. I'm wondering if there was a Scott for you, a bestie that was also an outcast, if there was someone like that for you when you were growing up. Chanel Miller: Yeah, so in the book, Luna is best friends with Scott. They've been friends since childhood, and as Luna starts to get more attention, their relationship is threatened and it begins to dissolve. I was really interested in how, Luna obviously loves Scott as a friend and she would never. Mean to hurt him, right? It's not inflicting intentional emotional pain, but Scott gets very hurt. I think about how sometimes when we're growing up, we get drawn to certain crowds or paid a kind of attention and we have this longing to be desired to fit in. we sometimes make choices that we're not very proud of, but this is a part of it, right? And so I wanted Luna to reckon with maybe some of the emotional harm she's causing and not run away from it. But also think about like, why am I making these choices and what is important to me? We're all kind of constantly reevaluating our value systems, trying to keep our relationships alive, like this is, starts at a very young age and I wanted her to learn some of the self gifts that maybe I didn't give myself when I was that age. Miko Lee: So in a way, she's a little bit of a remedy for your young self or a gift to your young self. Do you think? Chanel Miller: Oh, that's a nice way of putting it. Yeah, I would definitely say so. I think all writing is, is remedy in some form, at least for me, but I like the, it being a gift to little Chanel. Miko Lee: It's been compared to the classic. Are you there god, it's me, Margaret? What is it like for you to hear that? Chanel Miller: It's an honor, obviously. I think what's most stunning is a lot of the themes that were contested in that book. You know, talking about bodily changes, menstruation like. A lot of that is still kind of hush hush, and I'm surprised by the things that haven't changed , or how our society hasn't completely evolved. I really wanted middle school so hard physically, emotionally, and. It can feel so humiliating that you're trying to solve a lot of your issues in private, and I wanted to take the shame out of it as quickly as possible and just say, this is a universal experience. Everyone goes through these things. It's totally okay to talk about it, even if books get banned. Find a way, find your people. Find a way to have these conversations. Miko Lee: For me, it's so much better than, are you there? God, it's me, Margaret, because it's set in a contemporary. There's a young biracial Asian American girl who's a outcast and really it's about belonging and getting your first period and all the things you have to go through in middle school. That seems really. Relatable for a young woman in our society. I appreciate that. Thank you so much. I read it really quick one night, easily read 'cause it's so lovely. I'm wondering about your process because you illustrated, your last book and then also the cover of this book. And on the cover it's sweet because it has all these cute little zines that she writes about are encapsulated on the cover of the book, which you only realize after you read it. I'm wondering for you as an artist, what comes first in the story, the image or the words? Chanel Miller: That's a great question. Yeah. I like to illustrate my books. Sometimes I'll think of a, something I do wanna draw and then think, how can I build a story around that, or like a visually rich scene. Then I come up with writing to allow myself to draw the thing. Other times I will just write, but I, I will say that when I'm writing, I never have a plot. I'm not an outliner. I am very much an explorer. I'm okay with not knowing for long periods of time where the book is gonna go, what it's about , and how it's gonna end. I don't know any of these things. And luckily I have a very gracious, agent and editor and my editor. I had two editors, Jill and Juan, and they let me just submit chunks of writing for six months. Scenes that didn't go together, that were completely out of order , to show them I'm attempting to build this world and this school full of kids, but I don't know how it's all gonna play out yet. And then after six months, we had enough material to, to begin to identify like who the primary characters were gonna be, what the essential conflict was gonna be. I'm saying this because I want people to know that you don't have to know much before you sit down to write. And the knowing comes with the practice of doing every day, and then slowly things start to reveal themselves. Miko Lee: Oh, I appreciate that. So you don't have a linear timeframe. You kind of just let things come to you. Sometimes they're in images, sometimes they're in words. Chanel Miller: Yes. And then your job is to capture them and be curious about them and then make more until you have enough. Then you can edit, but you edit too early, you're gonna , kill the spirit of the thing. Miko Lee: When do you know you have enough? Chanel Miller: When you fulfill the word count in your contract? No, no, I think it's, it's like you can. Sort of start to feel things click into place or a voice is emerging that's very strong. Even Scott know, Luna's best friend, I didn't have him at the very beginning, I don't think originally. Originally, I think Luna had a sister. It was gonna be a sister book, and then it became a friend. You're just open to it evolving, and then suddenly you're like, oh, I can, I can see this relationship. Can see them existing within the structure. It feels more real to you and at that point you can just go in and start revising Miko Lee: Did you create images for know my name? Chanel Miller: I actually tried to, at the very end, I made a bunch of drawings and I said, can we put these at the start of each chapter? And my editor, who's incredible, she said, you know, when I look at your drawings, they have a different voice than your writing voice. And I was like, that is true. Like, that's a great critique. So instead I went to New York, they were like about to send the book to print and I was like, okay, but I need like one drawing. They said, okay, if you can do it at lunch, like have it done by the end of lunch, we'll put it in the acknowledgement. So I dedicated the book to my family and. I sat at the desk and just did this little, these four little creatures that represented my immediate family and cut it outta my notebook. They scanned it in and sent it off to print with a book. So I did get, I did get it. Miko Lee: And how is the illustrator's voice different from the author's voice? Chanel Miller: The illustrator's voice can be very loose, whimsical, playful, whereas the writing, you know, was so measured and heavy and intentional, and so. I liked that edit, and I also, my editor was confident that I would have more opportunities in the future to write and draw, whereas I felt so vulnerable. It's my first book, it's my only chance to say or do anything, but that's not true. Now I understand like I have time to make all kinds of things. You don't have to shove it all into one project. Miko Lee: And are these, more youth-focused books? Do you feel like that's more a combination of your illustrator and your author voice? Chanel Miller: Totally. The medium like allows you to do both. It kind of asks for images also. Who knows, maybe, I still wanna write, contemporary fiction for adults and maybe I'll adults like visuals too. Absolutely. Miko Lee: Absolutely. Yeah. I'm wondering what you want young readers to walk away with after reading the, your latest book. Chanel Miller: Things smooth out in really unexpected ways. And that you can never truly mess up. Like I messed up so many times growing up or would get a really bad grade. I really would think like, this is the end. Like my future just disappeared. I just can't recover from this, and I always would, and I'm here now, like there, there are so many times I guess, that I thought my life was totally and completely over and, it was never the case. Sure, life could be sour for a bit, or you could be really stressed out, but it's not the end. Different things will change. People will be introduced to help you. Like you just keep showing up in whatever way you can. You won't be stuck in that place. It's been a nice thing to learn, as you get older. I just remember when I felt young, it felt so impossible sometimes, and I promise it's not, Miko Lee: I imagine that with Know my name. Many people came up with you, survivors came up and shared their stories with you, and I'm wondering if that was the same with your second book, if people came up and just told stories about, being a kid detective or what their, if it brought things up for them in a totally different realm. Chanel Miller: Oh yeah, absolutely. In the book, Magnolia's parents are Chinese and, , they're working at a laundromat and a customer comes in and there's, microaggressions happen and, I think with microaggressions you can always. Justify them in your head and say, it's not as bad as explicit violence or something, where it's not a truly a crime. And so you kind of push them to the side, push them to the side, but over time, like they do really stick with you and they're so hurtful and they accumulate and they're not okay to begin with. And I wanted my little character, Magnolia to. Just feel that anger that I often suppress and be like, it's not okay for people to talk to you like that. Like we are allowed to say something about it. It's dehumanizing and it's unacceptable. I wanted to give her the opportunity to confront that emotion and really express what, how it made her feel. Miko Lee: You're just starting your book tour right now. Is that right? For the Moon Without Stars. Chanel Miller: My book comes out January 13th. I'll go on a two week book tour. I'll have two stops in the Bay area. One at, book passage in Cord Madera. One in Los Altos at a church. It's sponsored by Linden Tree Books. We're just doing the event offsite, so if you're in the bay and wanna come say hello, please do that. Miko Lee: Yay. Excited to hear about that. I'm curious, I'm really curious what kind of stories people will tell you about their kind of middle school bully experience or their standing up to bullies and wanting to be in the popular crowd and what's that like? It's such a common middle school experience. Chanel Miller: I'm just really happy that people like have the opportunity to remember, 'cause it's not what we talk about every day. I just love that things are coming up for people and you're like, wow, I never would've thought about that or. I, I, that's why writing is so fun. You get to remember. Miko Lee: It's definitely not what we talk about every day, but definitely that middle school time really, helps shape who we are as adults. That's a really tough time because there's so many hormones going crazy in your body. So many changes that I think a lot of people have big feelings about middle school. Tell us what's next for you. Chanel Miller: I still love writing middle grade like this age is so sweet. It's so rich, emotionally rich. I would like to do something that's, you know, this one was more contemporary realism and I would love to do something that, not pure fantasy, but like breaks the rules of reality a little bit. Just really see where my imagination can go. A little magical realism perhaps. Yeah, absolutely. Miko Lee: I would just encourage you, I really love the Scott and Luna characters and seeing them patch their relationship up in high school as friends and how they can grow. Oh, I think would be a really sweet story also, and how they could explore maybe through magical realism. Some of the, book Doctors Zine World would be fun. Yeah. Yeah. I like those characters, is what I'm saying. I think there's more to come outta those characters and their friendship. Chanel Miller: Oh, that's really sweet. You don't wanna say goodbye to them yet. Miko Lee: Yeah, that's right. Well, it has been a delight chatting with you. Thank you so much for sharing your stories and your work and it's very powerful. Appreciate chatting with you. Chanel Miller: I really appreciate the platform you provide and how you're making room for these genuine conversations. So thank you so much. Jalena Keane-Lee: Next up, listen to blues scholars ode to Yuri Kochiyama. That was Blue Scholars, Ode to Yuri Kochiyama. Miko Lee: Yuri Koyama said, we are all part of one another, and that relates so well to my conversation with author, organizer and teacher Kazu Haga. Welcome, Kazu Haga to Apex Express. I'm so glad to have you with us. Kazu Haga: Yeah, thanks so much for having me. Miko Lee: I'm gonna start with a question that I ask all of my guests because I'm a curious person, and my question is, who are your people and what legacy do you carry with you? Kazu Haga: Oh, wow. Well, when you ask the second question, the immediate response is that I am Japanese. There's a lot of important legacies that come with that. Of course there's so much of my Japanese ancestry that I'm proud of and want to continue to deepen in and understand better. But I'm also aware that, you know, being Japanese, I come from colonizer people, right? And I'm so aware of the. Harm that my ancestors caused to so many people, whether dating back all the way to indigenous. I knew people in Japan, or a lot of the violence that my ancestors committed during the war to Zan Korean communities and Chinese communities and Filipino communities. I feel like in addition to all the beauty and the amazing things that I love about Japanese culture, that's a legacy that I carry with me and a lot of my work has to do with trying to understand what it means to carry that legacy and what it means to try to heal from that legacy and how I take that approach into my own personal life as well as into my activist work. Miko Lee: Thank you so much for recognizing that history and sharing a little bit about your path. I can see so much of how that turns up in your work. So I've had the pleasure of reading your two latest two books. I'm sure there'll be many more to come, I hope. Can you speak a little bit about what inspired you to create healing resistance? Kazu Haga: Yeah, so healing resistance is my interpretation of a set of teachings called kingian non-violence, and it's a philosophy that was based on the teachings of Dr. Martin Luther King. And I have the great privilege to have been mentored by a lot of elders who work very closely with Dr. King and were some of the most instrumental leaders in the civil Rights movement. I started my kind of activist career back in 1999 or something like that when I was 18, 19 years old. And for the longest time, the word non-violence didn't have a lot of meaning to me. But when I was 28 years old, I think I took this two-day workshop on this philosophy called King Non-Violence, and that two-day workshop just completely changed my life forever. I thought after 10 years of doing nothing but social justice movement building work, that I had some idea of what the word non-violence meant and some idea of who Dr. King was. But that two day workshop taught me that I knew nothing about what the word non-violence meant. Since I took that workshop, I feel like I've been on this never ending journey to better understand what it means to practice non-violence and incorporate that as a value into my life. And so healing resistance is, yeah, just my spin on the teachings of Dr. King told through the stories of my life experiences. Miko Lee: I really appreciated how you wove together your personal journey with your, understanding of movement building and how you incorporated that in. I'm wondering, I think it was in this book, but I read both of your books close to back to back, so I might be mixing them up, but I wonder if you could talk a little bit about the salt protestors that happened in India and the two years of training that it took them to be able to stand up and for our listeners, just like really back up and explain what that protest was about, and then the kind of training that it took to get there. Kazu Haga: It was actually more than two years. So, you know, everyone, or a lot of people know about the Salt March. It's the thing that I think a lot of people look to as the thing that really sparked the Indian Independence Movement, similar to the Montgomery Bus boycott in the US Civil Rights Movement. It's when a group of people marched across India all the way to the ocean. Engaged in an act of civil disobedience was, which was to go into the water and make their own salt. Salt is something that had been heavily controlled and taxed by the British Empire, and so the people who lived even on the coast of the ocean were not allowed to make their own salt. And so it was an act of civil disobedience to break a British colonial law saying that we are reclaiming this ancestral cottage industry for ourselves. And one of the reasons why it was so powerful and drew so many millions of people out into the street was because when Gandhi envisioned it. He didn't just put out an open call and said, anyone who wants to join the March can join. Ultimately, that's where they landed. But when the March started, he selected, I think it was about 76 of his followers, and he chose these 76 people and said, you all are gonna start the Salt March. And he chose those 76 people because they had lived in Astrom. And did spiritual practice and engaged in creative nonviolent direct action together for 16 years before they embarked on the salt march. So it was 16 years of kinda like dedicated residential spiritual training , and nonviolent direct action training that allowed these people to become the type of leaders that could draw out millions and millions of people into the street. And so it's one of the things that I really learned about the legacy of nonviolence is the importance of training and understanding that preparing ourselves spiritually to lead a movement that can transform nations is a lifetime of work. And to not underestimate the importance of that training and that rigor. Miko Lee: Thank you so much for correcting me. Not two but 16 years and a really a lifetime to, that's right. To develop the skills. I wonder if you've been following the Buddhist monks that are walking across the US right now. Kazu Haga: Yeah. And the dog, right? Miko Lee: Yeah. Whose dog and that dog. And I wonder what your thoughts are on that. Kazu Haga: I've really come to this place where I understand injustice and state violence, not as a political issue, but as a manifestation of our collective trauma. Like all the forms of state violence and injustice that we see, they happen because collectively as nation states and as communities and as a species, we have unresolved trauma that we haven't been able to heal from. And I think if we can see injustice less as a political issue and more as a manifestation of collective trauma, then perhaps we can build movements that have the sensitivity to understand that we can't just shut down injustice that when you're responding to a trauma response, what you need to do is to try to open things up. Things like spiritual practice and spiritual worldviews, like what, however that word spiritual lands on people. I think that there's a broad understanding of spirituality that doesn't have to include any sort of religious stigma. But when we ground ourselves in spiritual practice, when we ground ourselves in this larger reality that we belong to something so much larger than ourselves as individuals, then a lot more is possible and we're able to open things up and we're able to slow things down in response to the urgency of this moment, which I think is so necessary. When I look at these Buddhist monks spending however months it's gonna take for them to reach Washington dc the patience. The rigor and the slowness. How every step is a prayer for them. And so all of those steps, all of that effort is I think adding to something that has the possibility to open something up in a way that a one day protest cannot. So I'm really inspired by that work. Miko Lee: And it's amazing to see how many people are turning out to walk with them or to watch them. And then on the same hand, or the other hand, is seeing some folks that are protesting against them saying, that this is not the right religion, which is just. Kind of shocking to me. Grew up in a seminary environment. My dad was a professor of social ethics and we were really taught that Jesus is a son of God and Kuan is a daughter of God. And Muhammad, all these different people are sons and daughters of God and we're all under the same sky. So it seems strange that to me, that so many folks are using religion as a tool for. Pain and suffering and injustice and using it as a justification. Kazu Haga: Yeah. It's sad to hear people say that this is the wrong religion to try to create change in the world because I think it's that worldview that is at the heart of what is destroying this planet. Right. It's, it's not this way. It has to be that way and this binary right. Wrong way of thinking. Miko Lee: Yeah. Kazu Haga: But yeah. The first spiritual book I ever read when I was 16 years old was a book by Thích Nhất Hanh called Living Buddha, living Christ. Yes. And in that book he was saying that the teachings of the Buddha and the teachings of Jesus Christ, if you really look at the essence of it, is the same thing. Miko Lee: That's right. Yeah. This brings us to your book, fierce Vulnerability, healing from Trauma Emerging Through Collapse. And we are living in that time right now. We're living in a time of utter collapse where every day it seems like there's a new calamity. We are seeing our government try to take over Venezuela right now and put police forces into Minnesota. It's just crazy what's going on. I wonder if you can just talk a little bit about this book. Clearly it's the Times that has influenced your title and [00:34:00] in influenced you to write this book can be, share a little bit more about what you're aiming to do. Kazu Haga: Yeah, and you know, it's also Greenland and Cuba and Colombia and Panama, and it's also the climate crisis and it's also all of these other authoritarian regimes that are rising to power around the co, around the world. And it's also pandemics and the next pandemics. And we are living in a time of the poly crisis. A time that our recent ancestor, Joanna Macy calls the great turning or the great unraveling so we can get to the great turning where all of these systems are in a state of collapse and the things that we have come to, to be able to rely on are all unraveling. And I think if we are not grounded in. Again, I use this word spirituality very broadly speaking, but if we are not grounded in a sense that we are connected to something so much larger than ourselves as individuals, I think it's so easy to just collapse and get into this trauma response state in response to all of the crises that we are facing, and so fierce vulnerability. It's at the intersection of spiritual practice, trauma healing, and nonviolent action, and understanding that in response to all of these crises that we are facing, we need powerful forms of action. To harness the power necessary to create the transformations that we need to see. And at the same time, can we see even forms of nonviolent resistance as a form of, as a modality of collective trauma healing? And what are the practices that we need to be doing internally within our own movements to stay grounded enough to remember that we are interdependent with all people and with all life. What does it take for us to be so deeply grounded that even as we face a possible mass extinction event that we can remember to breathe and that we can remember that we are trying to create beauty, not just to destroy what we don't like, but we are trying to affirm life. What does that look like? And so if fierce vulnerability is an experiment, like we don't have all the answers, but if I could just put in a plug, we're about to launch this three month. Experiment called the Fierce Vulnerability Kinship Lab, where we'll be gathering across the world. Participants will be placed in small teams, that are regionally based, so you can meet with people in person, hopefully, and to really try to run a bunch of experiments of what is it gonna take to respond to state violence, to respond to these crises in a way that continues to affirm life and reminds us that we belong to each other. Miko Lee: That sounds amazingly powerful. Can you share how people can get involved in these labs? Kazu Haga: People can check it out on my website, kazu haga.com, and it'll link to the actual website, which is convene.community. It's K-I-N-V-E-N-E. It's a combination of the idea of kinship and community. It's gonna be a really cool program. We just announced it publicly and France Weller and Ma Muse and Kairo Jewel Lingo, and it's gonna be a lot of great teach. And we're trying to just give people, I know so many people are yearning for a way to respond to state violence in a way that feels deeply aligned with their most sacred beliefs and their value systems around interdependence, and peacemaking and reconciliation, but also recognizes that we need to harness power that we need to. Step out of the comfort of our meditation cushions and yoga centers and actually hit the streets. But to do so in a way that brings about healing. It's our way of creating some communities where we can experiment with that in supportive ways. Miko Lee: What is giving you hope these days? Kazu Haga: My daughter and the community that I live in. Like when I look up at the world, things are in a state of collapse. Like when I watch the news, there's a lot of things that are happening that can take away my hope. But I think if we stop looking up all the time and just start looking around, if I start looking around in, not at the vertical plane, but at the horizontal plane, what I see are so many. Amazing communities that are being birthed, land-based communities, mutual aid networks, communities, where people are living together in relationship and trying to recreate village like structures. There are so many incredible, like healing collaboratives. And even the ways that we have brought song culture and spirit back into social movement spaces more and more in the last 10, 15 years, there are so many things that are happening that are giving birth to new life sustaining systems. We're so used to thinking that because the crisis is so big, the response that we need is equally big. When we're looking for like big things, we're not seeing movements with millions of millions of people into the in, in the streets. We're not seeing a new nonprofit organizations with billions of dollars that have the capacity to transform the world because I think we keep looking for big in response to big. But I think if we look at a lot of wisdom traditions, particularly Eastern Traditions, Daoism and things like that, they'll tell us that. Perhaps the best way to respond to the bigness of the crises of our times is to stay small. And so if we look for small signs of new life, new systems, new ways of being in relationship to each other and to the earth, I think we see signs of that all over the place. You know, small spiritual communities that are starting up. And so I see so much of that in my life, and I'm really blessed to be surrounded by a lot of that. Miko Lee: I really appreciate how you walk the walk and talk, the talk in terms of teaching and living in a collective space and even how you live your life in terms of speaking engagements and things. Can you share a little bit about the gift economy that you practice and what's that about? Share with our audience what that even means. Kazu Haga: Yeah. I love this question. Thank you. So the gift economy to me is our attempts at building economic structures that learn from how natural ecosystems share and distribute its resources, right? It's an alternative model to the market system of economics where everything is transac. If you look out into nature, nothing is transactional. Right? All of the gifts that a mycelial network gives to the forest, that it's a part of the ecology that it's a part of. It's given freely, but it's also given freely because it knows that it is part of a deeply interdependent ecosystem where it will also receive everything it needs to be nourished. And so there's a lot that I can say about that. I actually working on, my next book will be on the Gift Economy. But one of the main manifestations of that is all of the work that I do, I try to offer as a gift. So I don't charge anything for the work that I do. The workshops that I organize, you know, the Convene three month program that I told you about, it's a three month long program with world renowned leaders and we are asking people to pay a $25 registration fee that'll support the platform that, that we're building, the program on. And. There's no kind of set fee for the teachers, myself, Francis Weller, mam, all these people. And people have an opportunity to give back to the ecosystem if they feel called and if they're able to try to sustain, to help sustain our work. But we really want to be able to offer this as a gift. And I think in the market economy, a three month virtual training with well-known teachers for $25 is unheard of. Of course $25 doesn't sustain me. It doesn't sustain all of the teachers that are gonna be part of this, but I have so much faith that if we give our work freely and have faith that we are doing the work that we're meant to be doing, that the universe will come together to sustain us. And so I am sustained with the generosity of a lot of [00:42:00] people, a lot of donors, a lot of people who come to my workshop and feel called to give, not out of a sense of obligation, but because they want to support me in my work. Miko Lee: Thank you for sharing and I was so impressed on your website where you break down your family's whole annual budget and everything that you spent funds on. Everybody talks about transparency, but nobody really does it. But you're actually doing it. And for reals, just showing something that's an antidote to the capitalist system to be able to say, okay, this is us. This is our family, this is how we travel, this is what we do, and. I found it really charming and impressive in our, it's hard to rebel against a system where everything has been built up so that we're supposed to act a certain way. So appreciate you. Absolutely. Yeah. Showing some alternatives and I didn't know that's gonna be your next book. So exciting. Kazu Haga: Yeah, I just started it. I'm really grateful that I have a partner that is okay with sharing all of our family's finances transparently. That helps because it is a big thing, you know? Yeah. But one of the things that I really learned. But the gift economy is that if there isn't information, if there isn't transparency about what the system's needs are, then it becomes dependent on every individual to figure out. How much they want to give to that system. And I think the gift economy is trying to break outta that the model of individualism and understand that we are interdependent and we live in this rich ecosystem of interdependence. And so if people's needs aren't transparent, then it's hard for people to figure out how they want to engage in that relationship. Miko Lee: Can you share a little bit more the example of Buddhist monks and how they have the basket and. Share that story a bit for our audience. Kazu Haga: Yeah. So historically, in a lot of, particularly south and southeastern, Asian countries, Buddhist monks, they go around, they walk their community every morning, begging, quote unquote for alms. They ask for donations, and the people in that village in that town will offer them bread or rice or whatever it is. That's kind of the food that, that monks and monastics eat. And so if a Buddhist monk is walking around with a bowl and you see that their bowl is already full, you have a sense, oh, this monastic might not need any more food, but the next monastic that comes along might. And so it's this transparent way of saying, oh, this person's needs are met, so let me hold on to the one piece of bread that I have that I can donate today and see if the next person will need it. And so in that way. If I share my finance transparently, you know, if my financial needs for the month or for the quarter are met, then maybe people who attend my workshops will feel like, oh, I don't have a lot of money to give. Maybe I don't need to give to support Kazu Haga, but maybe I can support, the facilitator for the next workshop that I attend. And so, in that way, I'm hoping that me being transparent about where my finances are will help people gauge how they want to be in relationship with me. Miko Lee: Thank you. I appreciate it. You talk a lot about in your work about ancestral technology or the wisdom, our ancestral wisdoms and how powerful that is. It made me think about the day after the election when Trump was elected. I happened to be in this gathering of progressive artists in the Bay Area and everybody was. Incredibly depressed. There was even, should we cancel that day or not? But we pulled together, it was at the Parkway Theater in Oakland and there was an aone leader and she talked about the eighth fire and how we are in the time of the eighth fire and you write about the fires in your book, and I'm wondering if you can talk about the seven fires and the prophecy belt. Kazu Haga: Yeah. So through a strange course of events, I had the incredible privilege early on in my life when I was in my early teens, 11, 12, 13, 14 years old, to spend every summer going to the Algonquin Reservation, Anishnabe Nation, way up in Northern Quebec, and spend my evenings sleeping in the basement of Chief William Commander, who was the holder of the seven Fire Prophecies Wampum Belt. This is a prophecy that told the story of the seventh fire that we are in the time of the seventh fire. And this is a moment in the history of our species where we can remember what it means to be human and to go backwards and to reclaim our spiritual path. If we are able to do that, then we can rebuild a new world, the eighth fire and build a world of lasting peace. But if we are unable to do that and continue down this material journey, that will lead to a world of destruction. And this is, prophecies like this one and similar indigenous prophecies that speak the same exact things are the things that were. Just surrounded, that I was surrounded by when I was younger, and I'm so grateful that even though I didn't really believe this kind of stuff when I was younger, it was like the, you know, crazy hippie newey stuff that my mom was into. I'm so grateful to have been surrounded by these teachings and hearing these teachings directly from the elders whose lives purpose. It was to share these teachings with us because when I look out at the world now, it really feels like we are in a choice point as a species. Like we can continue to walk down one journey, one path, and I could very easily see how it would lead to a world of destruction. But we have an opportunity to remember who we are and how we're meant to live in relationship with each other and to the earth. And I have a lot of faith that if we're able to do that, we can build such a beautiful future for our children. And so I think this is the moment that we're in. Miko Lee: Yeah. Thank you so much. Can you share a little bit about your mom? It seems like she was a rule breaker and she introduced you to so many things and you're appreciating it later as an adult, but at the time you're like, what is this? Kazu Haga: Yeah. You know, she was. She grew up in Japan. We were all born in Japan, but she spent a year overseas in the United States as ex as an exchange student in high school. And she always tells me when she went back to Japan, she was listening to the Beatles, and she shaved her legs and she was this like rebellious person in Japan. But yeah, my mom is never been a political activist in the same way that, that I've become. But she's always been deeply, deeply grounded in spiritual practice. Miko Lee: Mm-hmm. Kazu Haga: And for various reasons have always had deep relationships with indigenous elders in North America and Turtle Island. And so I'm always grateful. I feel like she sowed a lot of seeds that when I was young, I made fun of meditation and I was not into spiritual practice at all. 45 years into my life, I find myself doing all the same things that, that she was doing when I was young, and really seeing that as the foundation of the work that I do in the world today. Miko Lee: And have you, have you talked with her about this? Kazu Haga: Oh yeah. I live with her, so we regularly Oh, I Miko Lee: didn't realize Kazu Haga: that.Yeah, yeah, yeah. So she's read the book and Yeah. We have a lot of opportunities to, to yeah, just talk and, and reminisce and, and wonder at. How life has a tendency to always come back full circle. Miko Lee: Mm. The paths we lead and how they intertwine in some ways. Definitely. Mm, I love that. I let you know before we went on air is that I'm also interviewing the author Chanel Miller in this episode. You shared with me that you are familiar with her work. Can you talk about that? Kazu Haga: Yeah, so, you know, I talk quite a bit in both of my books about how one of the great privileges that I have is to do restorative justice and trauma healing work with incarcerated people, mostly through the prisons in California. And one of the programs that I've had the privilege to be a part of is with the Ahimsa Collective, where we work with a lot of men who have an experience with sexual violence specifically, both as survivors of sexual harm and as perpetrators oftentimes. And in that program we actually used the letter that she wrote and published as an example of the power of what it could mean to be a survivor speaking their truth. And we used to read this letter in the groups with incarcerated people. And I remember the first time I ever read it, I was the one that was reading it out loud. I broke down into tears reading that, that letter, and it was so powerful. And it's one of those written statements that I think has helped a lot of people, incarcerated people, and survivors, oftentimes, they're both the same people, really heal from the scars that they've experienced in life. So yeah, I have a really deep connection to specifically that statement and her work. Miko Lee: Yeah, it's really powerful. I'm wondering, given that how you use art as a tool to heal for yourself. Kazu Haga: You know, I always wished I was a better poet or a better painter or something like that, but I do really feel like there are certain deep truths that cannot be expressed in just regular linear language. It can only be spoken in song or in dance or in poetry. There's something mystical. There's something that, that is beyond the intellect capacity to understand that I think can be powerfully and beautifully expressed through art. I think art and spiritual practice and prayer and things like that are very like closely aligned. And so in that way I, I try to touch the sacred, I try to touch spirit. I try to touch mystery in the things that I can't quite articulate. Just through conversation and giving in a lecture or a PowerPoint presentation, to, yeah, to touch into something more, more important. Miko Lee: And is your spiritual practice built into your every day? Kazu Haga: To the extent possible. One of the traditions that I have really learned a lot from and love is the Plum Village tradition founded by Thich Nhat Hanh. And they're so good at really reminding us that when we wash our dishes, that can be a spiritual practice, right? I'm the father of a young child. And so it's hard to actually sit down and meditate and to find time for that. And so, how can I use. My moments with my daughter when I'm reading her a book as a spiritual practice, how can I, use the time that I'm picking up the toys that's thrown all around the house as spiritual practice. So in that way, I really try to incorporate that sort of awareness and that reminder that I belong to something larger and everything that we do. Miko Lee: After hearing Ty speak one time, I tried to practice the chewing your food 45 times. I could not do it. Like, how does he do Kazu Haga: that? Some food is easier than others. If you eat oatmeal, it's a little harder, but Miko Lee: like that is some kind of practice I cannot do. Kazu Haga: But, you know, I have, a meditation teacher that years ago taught me every time you get inside your car. The moment that you turn the keys and turn on the ignition in your car, just take that moment and see if you can notice the texture of the keys and see if you can really feel your muscles turning to turn the key. And it's in these little moments that if we bring that intention to it, we can really turn what is like a, you know, a mindless moment into something with deep, deep awareness. Hmm. Miko Lee: Thank you for that. That's an interesting one. I have not heard that one before. Kazu Haga: Nowadays I just like push a button so it's even more mind less. Miko Lee: That's right. There's just a button Now. Keys, there's not even the time anymore to do that. That's right. What is it that you'd love folks to walk away with from being familiar with your work? You, there's so many aspects. You have different books that are out, you lead workshops, you're speaking, you are everyday walking through the world, sharing different things. What is one thing you'd love people to understand? Kazu Haga: Between both of my books and all the work that I do, so much of the essence is to try to help us remember. We belong to each other. I think the fear of isolation, the fear that we do not belong, is one of the most common fears that every human being has. Right? At some point in our lives, we felt like we don't belong. And while that is such a real fear, it's also a delusion. Like in an interdependent world, there is nothing outside of belonging, right? And so we already belong. We are already whole, we are already part of the vastness of the cosmos. There is so much power in remembering that we are part of the infinite universe, and I think the delusion that we do not belong to each other is like is the seed that creates the us versus them worldview, and it's that us versus them worldview that is at the heart of what is destroying our planet. In our efforts to create social change, how can we do so in a way that reminds us that even the people that are causing harm is a deeply critical interwoven web of relationships. That we are all in this web of relationship, that there's nobody outside of that, and how can we go about trying to create change in a way that reminds us of that? Miko Lee: Thank you. And my last question is, I'm wondering if there's something that you're learning from your child these days. Kazu Haga: Yeah, the, just the, the pure presence, right? That each moment is so deeply, deeply real, and each moment is to be honored. Like I am amazed at, we were eating asparagus the other day, and she was eating a whole bowl of asparagus, and she desperately needed me to get her the one piece of asparagus that she wanted. She was so frustrated that I couldn't find the one asparagus that she wanted, and so she was crying and screaming and throwing asparagus across the room, and then the moment I was able to find the one asparagus that she wanted, everything is fine. Everything is beautiful. She's smiling, she's laughing, and so just to. Not that we should be like throwing things around if we're not getting exactly what we want, but how can we honor our emotions every moment in a way that in that moment there is nothing outside of that moment. That sort of presence, is something that I really try to embody and try to learn from her. Miko Lee: Thank you so much for sharing with me. I really appreciate reading your books and being in community with you and, we'll put links to your website so that people Awesome. Thank you. Can find out more. And also, I really appreciate that you're having your books published by a small Buddhist press as and encouraging people to buy from that. Kazu Haga: Yeah. Shout out to ax. Miko Lee: Yes, we will absolutely put those links in our show notes. And thank you so much for joining us on Apex Today. Kazu Haga: Thank you so much for having me. Miko Lee: Thank you so much for joining me on this evening conversation with two different authors, Chanel Miller and Kazu Haga, and my little pitch is just to keep reading. Reading is such a critical and important way we learn about the world. I was just reading this thing that said the average Americans read 12 to 13 books a year. And when I checked in with friends and family, they said that could not be true. That they think they know many people who don't read any books. And I am just encouraging you all to pick up a book, especially by an Asian American Pacific Islander author, hear our perspectives, hear our stories. This is how we expand and understand our knowledge around the world. Grow closer to the people in both our lives and people around the world. So yea to reading, yea to Chanel Miller and Kazu Haga. And check out a local bookstore near you. If you wanna find out more information, please check out our website, kpfa.org, black slash programs, apex Express, where I will link both of these authors and how you can purchase their books at your local independent bookstore. Thank you very much. Goodnight. Please check out our website, kpfa.org. To find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Isabel Li, Jalena Keane-Lee, Miko Lee, Nina Phillips, Preeti Mangala Shekar and Swati Rayasam Tonight's show was produced by me, your host, Miko Lee. Thank you so much for joining us. The post APEX Express – 1.15.26 – Chat with Authors appeared first on KPFA.

What happens when food becomes a blueprint for liberation? On this episode of All My Relations, we're joined by Chef Sean Sherman (Oglala Lakota) and journalist/co-author Kate Nelson (Tlingit) to talk about Turtle Island—a cookbook, a history lesson, and a future-facing manifesto for Indigenous food sovereignty. We get into what it means to remove colonial borders (and colonial ingredients), why Indigenous foodways are global and relational, and how Sean's nonprofit model is moving real resources back into Indigenous communities—from Native producers to Native jobs. Along the way: moose stew, fir tips, colonized palates, seed keepers, Buffalo Bird Woman's garden, and a clear-eyed conversation about ICE, labor, and who actually feeds this country. Food is the entry point—but sovereignty is the goal. Just change everything. Feed your people.++++ResourcesPurchase Turtle Island Today:  https://shoptidelands.com/products/books-whereas-copy?variant=47505083924728 To learn about Sean's work and North American Traditional Food Systemshttps://natifs.org/ https://seansherman.com/  Kate's Work: https://www.kateanelson.com/ Esquire Article: https://www.esquire.com/food-drink/restaurants/a36474711/chef-sean-sherman-owamni-indigenous-minneapolis-restaurant-profile/ Text us your thoughts!Support the showFollow us on Instagram @amrpodcast, or support our work on Patreon. Show notes are published on our website, Allmyrelationspodcast.com. Matika's book Project 562: Changing the Way We See Native America is available now! T'igwicid and Hyshqe for being on this journey with us.

In this episode of God Is Red, we walk through Taylor Keen's (Omaha / Cherokee) book, Rediscovering Turtle Island: Chapter 7, Cohokia!A thousand years ago, a star lit the sky and a city surged beside the Mississippi. In this conversation, Taylor and Daniel go deep into Cahokia's rapid rise, its trading web from the Great Lakes to the Gulf, and the ceremonies that surrounded the diverse languages and lineages into what can be described, perhaps, as an urban experiment. Taylor takes us through the story from Picture Cave's ninth-century rock art to the Cohokia's rites, asking how cosmology, corn, and power shaped daily life at scale.Learn more about Taylor's work HERE.Purchase Rediscovering Turtle Island HERE.Learn more about Daniel's work HERE.

Activities at Native organizations and a tribal college in Minneapolis, Minn., were canceled after a U.S. Immigration and Customs Enforcement (ICE) agent fatally shot a woman Wednesday morning in the city. The Minneapolis American Indian Center canceled its Wednesday night programs due to community safety concerns and ICE activity in the neighborhood. The Red Lake Nation College, the Red Lake Nation Embassy, and the tribe's wellness center in Minneapolis closed Wednesday, and are expected to be closed for the rest of the week due to due the incident. MIGIZI, which supports Native youth in the Twin Cities, also canceled its programming. Tribes are expressing concerns about the incident and the safety of Native community members living in the Twin Cities. The Red Lake Tribal Council is urging its citizens to be careful, and to avoid ICE and other federal agents. The council released a two-page written message Wednesday, outlining concerns, which includes asking tribal members to report any interactions with ICE to the tribe's council or embassy. The Fond du Lac Band of Lake Superior Chippewa also raised concerns in a written message to its community about the safety of tribal members living in the Twin Cities. Robert Pilot is the host of Native Roots Radio based in the Twin Cities. He says the Native community is feeling the impacts of the shooting. “The reaction I’ve seen with the Native community is been just a gasp of what’s happened. 75,000 Native Americans live in Minneapolis (Twin Cities area). In that area of the shooting, there’s a very high percentage of Native Americans that live in that community, and they feel their community is being attacked by the federal government.” Pilot says members of the Native community are standing with their allies and took part in demonstrations against ICE on Wednesday in the area of the shooting. “There was a woman Native singer group that sang and it’s all about the healing. And I think the community, especially that community really knows that the Native community is really involved and really vetted into everything that happens there, happens to them. It was only a very short blocks away from the murder of George Floyd and that community is so scarred, but we have a resilience and our Native community is there and was there and is there and will still be there … we also are a big part of the community. And we want people to be safe, but we also want to be heard and be out there and support our community too, because this is our community too and all of Turtle Island is our community.” The woman killed was identified as 37-year-old Renee Good. The Trump administration is justifying the shooting, while the city's mayor disputes that and is demanding ICE leave Minneapolis. The Sandra Day O'Connor U.S. Courthouse in Phoenix, Ariz. (Photo: Gabriel Pietrorazio / KJZZ) A three-judge panel in Phoenix, Ariz., heard arguments on Wednesday over continuing a court-ordered injunction blocking a controversial land exchange. As KJZZ's Gabriel Pietrorazio reports, the land swap would result in a copper mining operation that is estimated to create a two-mile-wide crater, devouring an Apache holy site. It's been 140 days since the Ninth Circuit Court of Appeals delayed a land swap first approved by Congress more than a decade ago. According to the 2015 law, 2,400 acres of Tonto National Forest must be turned over to Resolution Copper within 60 days of a final environmental impact statement being published, which happened in June. Plaintiffs in three different cases include the Arizona Mining Reform Coalition, San Carlos Apache Tribe, and a group of Apache women and girls. Defendants asked for the injunction to be lifted, which could lead to an immediate public land transfer. The judges did not say when their decision will be made. Get National Native News delivered to your inbox daily. Sign up for our daily newsletter today. Download our NV1 Android or iOs App for breaking news alerts. Check out the latest episode of Native America Calling Thursday, January 8, 2026 — New post office rule is among potential hurdles for Native voters

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's show features Asian Refugees United and Lavender Phoenix in conversation about art, culture, and organizing, and how artists help us imagine and build liberation. Important Links: Lavender Phoenix: Website | Instagram Asian Refugees United: Website | Instagram | QTViệt Cafe Collective Transcript: Cheryl: Hey everyone. Good evening. You tuned in to APEX Express. I'm your host, Cheryl, and tonight is an AACRE Night. AACRE, which is short for Asian Americans for Civil Rights and Equality is a network made up of 11 Asian American social justice organizations who work together to build long-term movements for justice. Across the AACRE network, our groups are organizing against deportations, confronting anti-blackness, xenophobia, advancing language justice, developing trans and queer leaders, and imagine new systems of safety and care. It's all very good, very important stuff. And all of this from the campaigns to the Organizing to Movement building raises a question that I keep coming back to, which is, where does art live In all of this, Acts of resistance do not only take place in courtrooms or city halls. It takes place wherever people are still able to imagine. It is part of how movements survive and and grow. Art is not adjacent to revolution, but rather it is one of its most enduring forms, and tonight's show sits in that very spirit, and I hope that by the end of this episode, maybe you'll see what I mean. I;d like to bring in my friends from Lavender Phoenix, a trans queer API organization, building people power in the Bay Area, who are also a part of the AACRE Network. This summer, Lavender Phoenix held a workshop that got right to the heart of this very question that we're sitting with tonight, which is what is the role of the artist in social movements? As they were planning the workshop, they were really inspired by a quote from Toni Cade Bambara, who in an interview from 1982 said, as a cultural worker who belongs to an oppressed people, my job is to make the revolution irresistible. So that raises a few questions worth slowing down for, which are, who was Toni Cade Bambara? What does it mean to be a cultural organizer and why does that matter? Especially in this political moment? Lavender Phoenix has been grappling with these questions in practice, and I think they have some powerful answers to share. So without further ado, I'd like to introduce you to angel who is a member of Lavender Phoenix. Angel: My name is Angel. I use he and she pronouns, and I'm part of the communications committee at LavNix. So, let's explore what exactly is the meaning of cultural work.  Cultural workers are the creators of narratives through various forms of artistic expression, and we literally drive the production of culture. Cultural work reflects the perspectives and attitudes of artists and therefore the people and communities that they belong to. Art does not exist in a vacuum. You may have heard the phrase before. Art is always political. It serves a purpose to tell a story, to document the times to perpetuate and give longevity to ideas. It may conform to the status quo or choose to resist it. I wanted to share a little bit about one cultural worker who's made a really big impact and paved the way for how we think about cultural work and this framework. Toni Cade Bambara was a black feminist, cultural worker, writer, and organizer whose literary work celebrated black art, culture and life, and radically supported a movement for collective liberation. She believed that it's the artist's role to serve the community they belong to, and that an artist is of no higher status than a factory worker, social worker, or teacher. Is the idea of even reframing art making as cultural work. Reclaimed the arts from the elite capitalist class and made clear that it is work, it does not have more value than or take precedence over any other type of movement work. This is a quote from an interview from 1982 when Toni Cade Bambara said, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. But in this country, we're not encouraged and equipped at any particular time to view things that way. And so the artwork or the art practice that sells that capitalist ideology is considered art. And anything that deviates from that is considered political, propagandist, polemical, or didactic, strange, weird, subversive or ugly. Cheryl: After reading that quote, angel then invited the workshop participants to think about what that means for them. What does it mean to make the revolution irresistible? After giving people a bit of time to reflect, angel then reads some of the things that were shared in the chat. Angel: I want my art to point out the inconsistencies within our society to surprised, enraged, elicit a strong enough reaction that they feel they must do something. Cheryl: Another person said, Angel: I love that art can be a way of bridging relationships. Connecting people together, building community. Cheryl: And someone else said. Angel: I want people to feel connected to my art, find themselves in it, and have it make them think and realize that they have the ability to do something themselves. Cheryl: I think what is rather striking in these responses that Angel has read aloud to what it means to make art that makes the revolution irresistible isn't just aesthetics alone, but rather its ability to help us connect and communicate and find one another to enact feelings and responses in each other. It's about the way it makes people feel implicated and connected and also capable of acting. Tony Cade Bambara when she poses that the role of cultural workers is to make the revolution irresistible is posing to us a challenge to tap into our creativity and create art that makes people unable to return comfortably to the world as is, and it makes revolution necessary, desirable not as an abstract idea, but as something people can want and move towards  now I'm going to invite Jenica, who is the cultural organizer at Lavender Phoenix to break down for us why we need cultural work in this political moment. . Speaker: Jenica: So many of us as artists have really internalized the power of art and are really eager to connect it to the movement.  This section is about answering this question of why is cultural work important.  Cultural work plays a really vital role in organizing and achieving our political goals, right? So if our goal is to advance radical solutions to everyday people, we also have to ask ourselves how are we going to reach those peoples? Ideas of revolution and liberation are majorly inaccessible to the masses, to everyday people. Families are being separated. Attacks on the working class are getting worse and worse. How are we really propping up these ideas of revolution, especially right in America, where propaganda for the state, for policing, for a corrupt government runs really high. Therefore our messaging in political organizing works to combat that propaganda. So in a sense we have to make our own propaganda. So let's look at this term together. Propaganda is art that we make that accurately reflects and makes people aware of the true nature of the conditions of their oppression and inspires them to take control of transforming this condition. We really want to make art that seeks to make the broader society aware of its implications in the daily violences, facilitated in the name of capitalism, imperialism, and shows that error of maintaining or ignoring the status quo. So it's really our goal to arm people with the tools to better struggle against their own points of views, their ways of thinking, because not everyone is already aligned with like revolution already, right? No one's born an organizer. No one's born 100% willing to be in this cause. So, we really focus on the creative and cultural processes, as artists build that revolutionary culture. Propaganda is really a means of liberation. It's an instrument to help clarify information education and a way to mobilize our people. And not only that, our cultural work can really model to others what it's like to envision a better world for ourselves, right? Our imagination can be so expansive when it comes to creating art. As organizers and activists when we create communication, zines, et cetera, we're also asking ourselves, how does this bring us one step closer to revolution? How are we challenging the status quo? So this is exactly what our role as artists is in this movement. It's to create propaganda that serves two different purposes. One, subvert the enemy and cultivate a culture that constantly challenges the status quo. And also awaken and mobilize the people. How can we, through our art, really uplift the genuine interests of the most exploited of people of the working class, of everyday people who are targets of the state and really empower those whose stories are often kept outside of this master narrative. Because when they are talked about, people in power will often misrepresent marginalized communities. An example of this, Lavender Phoenix, a couple years ago took up this campaign called Justice for Jaxon Sales. Trigger warning here, hate crime, violence against queer people and death. Um, so Jaxon Sales was a young, queer, Korean adoptee living in the Bay Area who went on a blind like dating app date and was found dead the next morning in a high-rise apartment in San Francisco. Lavender Phoenix worked really closely and is still connected really closely with Jaxon's parents, Jim and Angie Solas to really fight, and organize for justice for Jaxon and demand investigation into what happened to him and his death, and have answers for his family. I bring that up, this campaign because when his parents spoke to the chief medical examiner in San Francisco, they had told his family Jaxon died of an accidental overdose he was gay. Like gay people just these kinds of drugs. So that was the narrative that was being presented to us from the state. Like literally, their own words: he's dead because he's gay. And our narrative, as we continue to organize and support his family, was to really address the stigma surrounding drug use. Also reiterating the fact that justice was deserved for Jaxon, and that no one should ever have to go through this. We all deserve to be safe, that a better world is possible. So that's an example of combating the status quo and then uplifting the genuine interest of our people and his family. One of our key values at Lavender Phoenix is honoring our histories, because the propaganda against our own people is so intense. I just think about the everyday people, the working class, our immigrant communities and ancestors, other queer and trans people of color that really fought so hard to have their story told. So when we do this work and think about honoring our histories, let's also ask ourselves what will we do to keep those stories alive? Cheryl: We're going to take a quick music break and listen to some music by Namgar, an international ethno music collective that fuses traditional Buryat and Mongolian music with pop, jazz, funk, ambient soundscapes, and art- pop. We'll be back in just a moment with more after we listen to “part two” by Namgar.    Cheryl: Welcome back.  You are tuned in to APEX express on 94.1 KPFA and 89.3 KPFB B in Berkeley and online at kpfa.org.  That song you just heard was “part two” by Namgar, an incredible four- piece Buryat- Mongolian ensemble that is revitalizing and preserving the Buryat language and culture through music. For those just tuning in tonight's episode of APEX Express is all about the role of the artist in social movements. We're joined by members of Lavender Phoenix, often referred to as LavNix, which is a grassroots organization in the Bay Area building Trans and queer API Power. You can learn more about their work in our show notes. We talked about why cultural work is a core part of organizing. We grounded that conversation in the words of Toni Cade Bambara, who said in a 1982 interview, as a cultural worker who belongs to an oppressed people, my job is to make revolution irresistible. We unpacked what that looks like in practice and lifted up Lavender Phoenix's Justice for Jaxon Sales campaign as a powerful example of cultural organizing, which really demonstrates how art and narrative work and cultural work are essential to building power Now Jenica from Levner Phoenix is going to walk us through some powerful examples of cultural organizing that have occurred in social movements across time and across the world. Speaker: Jenica: Now we're going to look at some really specific examples of powerful cultural work in our movements. For our framework today, we'll start with an international example, then a national one, a local example, and then finally one from LavNix. As we go through them, we ask that you take notes on what makes these examples, impactful forms of cultural work. How does it subvert the status quo? How is it uplifting the genuine interest of the people? Our international example is actually from the Philippines. Every year, the Corrupt Philippines president delivers a state of the nation address to share the current conditions of the country. However, on a day that the people are meant to hear about the genuine concrete needs of the Filipino masses, they're met instead with lies and deceit that's broadcasted and also built upon like years of disinformation and really just feeds the selfish interests of the ruling class and the imperialist powers. In response to this, every year, BAYAN, which is an alliance in the Philippines with overseas chapters here in the US as well. Their purpose is to fight for the national sovereignty and genuine democracy in the Philippines, they hold a Peoples' State of the Nation Address , or PSONA, to protest and deliver the genuine concerns and demands of the masses. So part of PSONA are effigies. Effigies have been regular fixtures in protest rallies, including PSONA. So for those of you who don't know, an effigy is a sculptural representation, often life size of a hated person or group. These makeshift dummies are used for symbolic punishment in political protests, and the figures are often burned. In the case of PSONA, these effigies are set on fire by protestors criticizing government neglect, especially of the poor. Lisa Ito, who is a progressive artists explained that the effigy is constructed not only as a mockery of the person represented, but also of the larger system that his or her likeness embodies. Ito pointed out that effigies have evolved considerably as a form of popular protest art in the Philippines, used by progressive people's movements, not only to entertain, but also to agitate, mobilize and capture the sentiments of the people. This year, organizers created this effigy that they titled ‘ZomBBM,' ‘Sara-nanggal' . This is a play on words calling the corrupt president of the Philippines, Bongbong Marcos, or BBM, a zombie. And the vice president Sara Duterte a Manananggal, which is a, Filipino vampire to put it in short, brief words. Organizers burnt this effigy as a symbol of DK and preservation of the current ruling class. I love this effigy so much. You can see BBM who's depicted like his head is taken off and inside of his head is Trump because he's considered like a puppet president of the Philippines just serving US interests. Awesome. I'm gonna pass it to Angel for our national perspective. Angel: Our next piece is from the national perspective and it was in response to the AIDS crisis. The global pandemic of HIV AIDS began in 1981 and continues today. AIDS is the late stage of HIV infection, human immunodeficiency virus, and this crisis has been marked largely by government indifference, widespread stigma against gay people, and virtually no federal funding towards research or services for everyday people impacted. There was a really devastating lack of public attention about the seriousness of HIV. The Ronald Reagan administration treated the crisis as a joke because of its association with gay men, and Reagan didn't even publicly acknowledge AIDS until 19 85, 4 years into the pandemic. Thousands of HIV positive people across backgrounds and their supporters organize one of the most influential patient advocacy groups in history. They called themselves the AIDS Coalition to Unleash Power or ACT up. They ultimately organize and force the government and the scientific community to fundamentally change the way medical research is conducted. Paving the way for the discovery of a treatment that today keeps alive, an estimated half million HIV positive Americans and millions more worldwide. Sarah Schulman, a writer and former member of ACT Up, wrote a list of ACT UPS achievements, including changing the CDC C'S definition of aids to include women legalizing needle exchange in New York City and establishing housing services for HIV positive unhoused people. To highlight some cultural work within ACT Up, the AIDS activist artist Collective Grand Fury formed out of ACT Up and CR and created works for the public sphere that drew attention to the medical, moral and public issues related to the AIDS crisis. Essentially, the government was fine with the mass deaths and had a large role in the active killing off of people who are not just queer, but people who are poor working class and of color. We still see parallels in these roadblocks. Today, Trump is cutting public healthcare ongoing, and in recent memory, the COVID crisis, the political situation of LGBTQ people then and now is not divorced from this class analysis. So in response, we have the AIDS Memorial Quilt, this collective installation memorializes people who died in the US from the AIDS crisis and from government neglect. Each panel is dedicated to a life lost and created by hand by their friends, family, loved ones, and community. This artwork was originally conceived by Cleve Jones in SF for the 1985 candlelight March, and later it was expanded upon and displayed in Washington DC in 1987. Its enormity demonstrated the sheer number at which queer folk were killed in the hiv aids crisis, as well as created a space in the public for dialogue about the health disparities that harm and silence our community. Today, it's returned home to San Francisco and can be accessed through an interactive online archive. 50,000 individual panels and around a hundred thousand names make up the patchwork quilt, which is insane, and it's one of the largest pieces of grassroots community art in the world. Moving on to a more local perspective. In the Bay Area, we're talking about the Black Panther Party. So in October of 1966 in Oakland, California, Huey Newton and Bobby Seale founded the Black Panther Party for self-defense. The Panthers practiced militant self-defense of black communities against the US government and fought to establish socialism through organizing and community-based programs. The Black Panthers began by organizing arm patrols of black people to monitor the Oakland Police Department and challenge rampant rampant police brutality. At its peak, the party had offices in 68 cities and thousands of members. The party's 10 point program was a set of demands, guidelines, and values, calling for self-determination, full employment of black people, and the end of exploitation of black workers housing for all black people, and so much more. The party's money programs directly addressed their platform as they instituted a free B Breakfast for Children program to address food scarcity Founded community health clinics to address the lack of adequate, adequate healthcare for black people and treat sickle cell anemia, tuberculosis, and HIV aids and more. The cultural work created by the Black Panther Party included the Black Panther Party newspaper known as the Black Panther. It was a four page newsletter in Oakland, California in 1967. It was the main publication of the party and was soon sold in several large cities across the US as well as having an international readership. The Black Panther issue number two. The newspaper, distributed information about the party's activities and expressed through articles, the ideology of the Black Panther Party, focusing on both international revolutions as inspiration and contemporary racial struggles of African Americans across the United States. Solidarity with other resistance movements was a major draw for readers. The paper's international section reported on liberation struggles across the world. Under Editor-in-Chief, David Du Bois, the stepson of WEB Du Bois, the section deepened party support for revolutionary efforts in South Africa and Cuba. Copies of the paper traveled abroad with students and activists and were tra translated into Hebrew and Japanese. It reflected that the idea of resistance to police oppression had spread like wildfire. Judy Juanita, a former editor in Chief Ads, it shows that this pattern of oppression was systemic. End quote. Paper regularly featured fiery rhetoric called out racist organizations and was unabashed in its disdain for the existing political system. Its first cover story reported on the police killing of Denzel Doel, a 22-year-old black man in Richmond, California. In all caps, the paper stated, brothers and sisters, these racist murders are happening every day. They could happen to any one of us. And it became well known for its bold cover art, woodcut style images of protestors, armed panthers, and police depicted as bloodied pigs. Speaker: Jenica: I'm gonna go into the LavNix example of cultural work that we've done. For some context, we had mentioned that we are taking up this campaign called Care Not Cops. Just to give some brief background to LavNix, as systems have continued to fail us, lavender Phoenix's work has always been about the safety of our communities. We've trained people in deescalation crisis intervention set up counseling networks, right? Then in 2022, we had joined the Sales family to fight for justice for Jaxon Sales. And with them we demanded answers for untimely death from the sheriff's department and the medical examiner. Something we noticed during that campaign is that every year we watch as people in power vote on another city budget that funds the same institutions that hurt our people and steal money from our communities. Do people know what the budget is for the San Francisco Police Department? Every year, we see that city services and programs are gutted. Meanwhile, this year, SFPD has $849 million, and the sheriff has $345 million. So, honestly, policing in general in the city is over $1 billion. And they will not experience any cuts. Their bloated budgets will remain largely intact. We've really been watching, Mayor Lurie , his first months and like, honestly like first more than half a year, with a lot of concern. We've seen him declare the unlawful fentanyl state of emergency, which he can't really do, and continue to increase police presence downtown. Ultimately we know that mayor Lurie and our supervisors need to hear from us everyday people who demand care, not cops. So that leads me into our cultural work. In March of this year, lavender Phoenix had collaborated with youth organizations across the city, youth groups from Chinese Progressive Association, PODER, CYC, to host a bilingual care, not cops, zine making workshop for youth. Our organizers engaged with the youth with agitating statistics on the egregious SFPD budget, and facilitated a space for them to warm up their brains and hearts to imagine a world without prisons and policing. And to really further envision one that centers on care healing for our people, all through art. What I really learned is that working class San Francisco youth are the ones who really know the city's fascist conditions the most intimately. It's clear through their zine contributions that they've really internalized these intense forms of policing in the schools on the streets with the unhoused, witnessing ice raids and fearing for their families. The zine was really a collective practice with working class youth where they connected their own personal experiences to the material facts of policing in the city, the budget, and put those experiences to paper.   Cheryl: Hey everyone. Cheryl here. So we've heard about Effigies in the Philippines, the AIDS Memorial Quilt, the Black Panther Party's newspaper, the Black Panther and Lavender Phoenix's Care Cop zine. Through these examples, we've learned about cultural work and art and narrative work on different scales internationally, nationally, locally and organizationally. With lavender Phoenix. What we're seeing is across movements across time. Cultural work has always been central to organizing. We're going to take another music break, but when we return, I'll introduce you to our next speaker. Hai, from Asian Refugees United, who will walk us through, their creative practice, which is food, as a form of cultural resistance, and we'll learn about how food ways can function as acts of survival, resistance, and also decolonization. So stay with us more soon when we return.   Cheryl: And we're back!!. You're listening to APEX express on 94.1 KPFA, 89.3 KPFB in Berkeley. 88.1. KFCF in Fresno and online@kpfa.org. That was “Juniper” by Minjoona, a project led by Korean American musician, Jackson Wright.  huge thanks to Jackson and the whole crew behind that track.  I am here with Hai from Asian Refugees United, who is a member QTViet Cafe Collective. A project under Asian Refugees United. QTViet Viet Cafe is a creative cultural hub that is dedicated to queer and trans viet Liberation through ancestral practices, the arts and intergenerational connection. This is a clip from what was a much longer conversation. This episode is all about the role of the artist in social movements and I think Hai brings a very interesting take to the conversation. Hai (ARU): I think that what is helping me is one, just building the muscle. So when we're so true to our vision and heart meets mind and body. So much of what QTViet Cafe is, and by extension Asian refugees and like, we're really using our cultural arts and in many ways, whether that's movement or poetry or written word or song or dance. And in many ways I've had a lot of experience in our food ways, and reclaiming those food ways. That's a very embodied experience. We're really trying to restore wholeness and health and healing in our communities, in our bodies and our minds and our families and our communities that have been displaced because of colonization, imperialism, capitalism. And so how do we restore, how do we have a different relationship and how do we restore? I think that from moving from hurt to healing is life and art. And so we need to take risk and trying to define life through art and whatever means that we can to make meaning and purpose and intention. I feel like so much of what art is, is trying to make meaning of the hurt in order to bring in more healing in our lives. For so long, I think I've been wanting a different relationship to food. For example, because I grew up section eight, food stamps, food bank. My mom and my parents doing the best they could, but also, yeah, grew up with Viet food, grew up with ingredients for my parents making food, mostly my mom that weren't necessarily all the best. And I think compared to Vietnam, where it's easier access. And there's a different kind of system around, needs around food and just easier access, more people are involved around the food system in Vietnam I think growing up in Turtle Island and seeing my parents struggle not just with food, but just with money and jobs it's just all connected. And I think that impacted my journey and. My own imbalance around health and I became a byproduct of diabetes and high cholesterol and noticed that in my family. So when I noticed, when I had type two diabetes when I was 18, made the conscious choice to, I knew I needed to have some type of, uh, I need to have a different relationship to my life and food included and just like cut soda, started kind of what I knew at the time, exercising as ways to take care of my body. And then it's honestly been now a 20 year journey of having a different relationship to not just food, but health and connection to mind, body, spirit. For me, choosing to have a different relationship in my life, like that is a risk. Choosing to eat something different like that is both a risk and an opportunity. For me that's like part of movement building like you have to. Be so in tune with my body to notice and the changes that are needed in order to live again. When I noticed, you know, , hearing other Viet folks experiencing diet related stuff and I think knowing what I know also, like politically around what's happening around our food system, both for the vie community here and also in Vietnam, how do we, how can this regular act of nourishing ourselves both be not just in art, something that should actually just honestly be an everyday need and an everyday symbol of caregiving and caretaking and care that can just be part of our everyday lives. I want a world where, it's not just one night where we're tasting the best and eating the best and being nourished, just in one Saturday night, but that it's just happening all the time because we're in right relationship with ourselves and each other and the earth that everything is beauty and we don't have to take so many risks because things are already in its natural divine. I think it takes being very conscious of our circumstances and our surroundings and our relationships with each other for that to happen. I remember reading in my early twenties, reading the role of, bring Coke basically to Vietnam during the war. I was always fascinated like, why are, why is Coke like on Viet altars all the time? And I always see them in different places. Whenever I would go back to Vietnam, I remember when I was seven and 12. Going to a family party and the classic shiny vinyl plastic, floral like sheet on a round table and the stools, and then these beautiful platters of food. But I'm always like, why are we drinking soda or coke and whatever else? My dad and the men and then my family, like drinking beer. And I was like, why? I've had periods in my life when I've gotten sick, physically and mentally sick. Those moments open up doors to take the risk and then also the opportunity to try different truth or different path. When I was 23 and I had just like crazy eczema and psoriasis and went back home to my parents for a while and I just started to learn about nourishing traditions, movement. I was Very critical of the us traditional nutrition ideas of what good nutrition is and very adamantly like opposing the food pyramid. And then in that kind of research, I was one thinking well, they're talking about the science of broths and like soups and talking about hard boiling and straining the broth and getting the gunk on the top. And I'm like, wait, my mom did that. And I was starting to connect what has my mom known culturally that now like science is catching up, you know? And then I started just reading, you know, like I think that my mom didn't know the sign mom. I was like, asked my mom like, did you know about this? And she's like, I mean, I just, this is, is like what ba ngoai said, you know? And so I'm like, okay, so culturally this, this is happening scientifically. This is what's being shared. And then I started reading about the politics of US-centric upheaval of monocultural agriculture essentially. When the US started to do the industrial Revolution and started to basically grow wheat and soy and just basically make sugar to feed lots of cows and create sugar to be put in products like Coke was one of them. And, and then, yeah, that was basically a way for the US government to make money from Vietnam to bring that over, to Vietnam. And that was introduced to our culture. It's just another wave of imperialism and colonization. And sadly, we know what, overprocessed, like refined sugars can do to our health. And sadly, I can't help but make the connections with what happened. In many ways, food and sugar are introduced through these systems of colonization and imperialism are so far removed from what we ate pre colonization. And so, so much of my journey around food has been, you know, it's not even art, it's just like trying to understand, how do we survive and we thrive even before so many. And you know, in some ways it is art. 'cause I making 40 pounds of cha ga for event, , the fish cake, like, that's something that, that our people have been doing for a long time and hand making all that. And people love the dish and I'm really glad that people enjoyed it and mm, it's like, oh yeah, it's art. But it's what people have been doing to survive and thrive for long, for so long, you know? , We have the right to be able to practice our traditional food ways and we have the right for food sovereignty and food justice. And we have the right to, by extension, like have clean waters and hospitable places to live and for our animal kin to live and for our plant kin to be able to thrive. bun cha ga, I think like it's an artful hopeful symbol of what is seasonal and relevant and culturally symbolic of our time. I think that, yes, the imminent, violent, traumatic war that are happening between people, in Vietnam and Palestine and Sudan. Honestly, like here in America. That is important. And I think we need to show, honestly, not just to a direct violence, but also very indirect violence on our bodies through the food that we're eating. Our land and waters are living through indirect violence with just like everyday pollutants and top soil being removed and industrialization. And so I think I'm just very cognizant of the kind of everyday art ways, life ways, ways of being that I think that are important to be aware of and both practice as resistance against the forces that are trying to strip away our livelihood every day. Cheryl: We just heard from Hai of Asian refugees United who shared about how food ways function as an embodied form of cultural work that is rooted in memory and also survival and healing. Hai talked about food as a practice and art that is lived in the body and is also shaped by displacement and colonization and capitalism and imperialism. I shared that through their journey with QTV at Cafe and Asian Refugees United. High was able to reflect on reclaiming traditional food ways as a way to restore health and wholeness and relationship to our bodies and to our families, to our communities, and to the earth. High. Also, traced out illness and imbalance as deeply connected to political systems that have disrupted ancestral knowledge and instead introduced extractive food systems and normalized everyday forms of soft violence through what we consume and the impact it has on our land. And I think the most important thing I got from our conversation was that high reminded us that nourishing ourselves can be both an act of care, an art form, and an act of resistance. And what we call art is often what people have always done to survive and thrive Food. For them is a practice of memory, and it's also a refusal of erasure and also a very radical vision of food sovereignty and healing and collective life outside of colonial violence and harm. As we close out tonight's episode, I want to return to the question that has guided us from the beginning, which is, what is the role of the artist in social movements? What we've heard tonight from Tony Cade Bambara call to make revolution irresistible to lavender Phoenix's cultural organizing here, internationally to Hai, reflections on food ways, and nourishing ourselves as resistance. It is Really clear to me. Art is not separate from struggle. It is how people make sense of systems of violence and carry memory and also practice healing and reimagining new worlds in the middle of ongoing violence. Cultural work helps our movements. Endure and gives us language when words fail, or ritual when grief is heavy, and practices that connect us, that reconnect us to our bodies and our histories and to each other. So whether that's through zines, or songs or murals, newspapers, or shared meals, art is a way of liberation again and again. I wanna thank all of our speakers today, Jenica, Angel. From Lavender Phoenix. Hi, from QTV Cafe, Asian Refugees United, And I also wanna thank you, our listeners for staying with us. You've been listening to Apex Express on KPFA. Take care of yourselves, take care of each other, and keep imagining the world that we're trying to build. That's important stuff. Cheryl Truong (she/they): Apex express is produced by Miko Lee, Paige Chung, Jalena Keane-Lee, Preeti Mangala Shekar. Shekar, Anuj Vaidya, Kiki Rivera, Swati Rayasam, Nate Tan, Hien Nguyen, Nikki Chan, and Cheryl Truong  Cheryl Truong: Tonight's show was produced by me, cheryl. Thanks to the team at KPFA for all of their support. And thank you for listening!  The post APEX Express – January 1, 2026 – The Role of the Artist in Social Movements appeared first on KPFA.

Kristin, Molly, Andrea and Kate look back at the cookbook media landscape of 2025 and discuss the Anthropic settlement, their thoughts about AI in the food media sphere and share their inclinations about its usage. Each of the hosts share some wins they had this year with Kristin speaking about working on the Turtle Island book and Andrea joining in to share her thoughts on finding balance in collaboration projects. With a dash of astrology and numerology each host reveals what keeps them following this creative path and what they've let go of over the years along with the role persistence and perseverance plays in this journey. Finally they end the episode by sharing some of the books, people and ideas they are excited to follow into 2026. Hosts: Kate Leahy + Molly Stevens + Kristin Donnelly + Andrea NguyenEditor: Abby Cerquitella MentionsJoin The Local Palate Cookbook ClubAnthropic SettlementAI Duped My Cookbook and Made a Mess, by Adam EraceKristin Donnelly on Co-Writing One of the Year's Biggest Books from Cookbookery Collective Visit the Everything Cookbooks Bookshop to purchase a copy of the books mentioned in the showTurtle Island, by Sean Sherman. Kate Nelson & Kristin DonnellyHeart Shaped Tin, by Bee WilsonFeast on Your Life, by Tamar AdlerOn Eating, by Alicia KennedyThe Last Sweet Bite by Michael Shaikh 

In March, Gavin Newsom told the late Charlie Kirk that male athletes competing against females is “deeply unfair.” This week, on Ezra Klein's podcast, he told a very different story. Will and David discuss the great movies and misguided politics of the late Rob Reiner, and the role of Greg Bahnsen in David's life. The FBI arrests four members of the Turtle Island Liberation Front who hoped to bomb multiple Los Angeles targets on New Year's Eve. Music by Metalachi.Email Us:dbahnsen@thebahnsengroup.comwill@calpolicycenter.orgFollow Us:@DavidBahnsen@WillSwaim@TheRadioFreeCAShow Notes:The moment my life changed forever, December 12, 2025Rob Reiner was more than a Hollywood liberal. He was a sophisticated political operator.What did California's novel approach to funding early-childhood programs achieve?Cigarette Taxes and Cigarette Smuggling by State, 2023Newsom taps former CDC leaders critical of Trump-era health policies for new initiativeStates Plan to Continue Regulating AI, Despite Trump's OrderWells Fargo cuts 100+ Sacramento-area jobs as CEO says AI prompts ‘efficiency'Has Gavin Newsom really signed the most pro-trans bills of any governor?California orders Tahoe-Truckee schools to join CIF sports over gender lawsFBI Arrests Four Alleged Members of Pro-Palestinian Terror Cell, Foiling New Year's Eve AttackWhat is Turtle Island? FBI foils Pro-Palestinian group terror attack planned for NYE in California Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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I'm very grateful to Kim for having me on her show and thought this was one of the best discussions I've had about the far left lately.Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit karlyn.substack.com/subscribe

In this explosive episode of The Alan Sanders Show, we break down today's top headlines: Criticism mounts over police response to the deadly Bondi Beach terror attack in Australia; Brown University faces scrutiny for quietly scrubbing a pro-Palestine student from their website amid an ongoing manhunt for the campus shooter; The chilling Turtle Island Liberation Front terror plot foiled by the FBI, with arrests tied to a far-left anti-government group's alleged New Year's Eve bombing plans; President Trump's bold naval blockade on sanctioned Venezuelan oil tankers amid escalating tensions; and, Trump's upcoming prime-time address to the nation tonight. Join Alan Sanders for hard-hitting conservative commentary on these critical stories threatening global security and American interests. Please take a moment to rate and review the show and then share the episode on social media. You can find me on Facebook, X, Instagram, GETTR,  TRUTH Social and YouTube by searching for The Alan Sanders Show. And, consider becoming a sponsor of the show by visiting my Patreon page!

Steve Gruber discusses news and headlines 

In this episode, I break down a thwarted New Year's Eve bombing plot in Los Angeles and expose how the political right, the DOJ, the FBI, and conservative media immediately misidentified the threat. Once again, the narrative collapsed into lazy clickbait framing rather than ideological analysis.The group involved, the Turtle Island Liberation Front, was universally described by conservative outlets as a “pro-Palestinian extremist organization.” That framing is wrong. Worse, it misses the actual threat entirely.This episode explains what Turtle Island actually means, why the group openly self-identifies as Antifa, and how land-back ideology, anti-capitalism, and revolutionary communism form the real core of the movement.What the Right Got WrongThe right fixated on Palestine because it fits a pre-approved outrage narrative. Influencers, media figures, and even federal officials ignored the group's own statements, branding, and ideology in favor of tying the plot to Muslims, Israel, and foreign terrorism.That framing is inaccurate and dangerous.Turtle Island is not Palestine. It is a decolonized name for North America used in indigenous and far-left revolutionary circles. The group's messaging is explicit. They describe themselves as Antifa. They call for the overthrow of the United States. They promote anti-capitalism, land-back politics, and revolutionary dismantling of American governance.This was not subtle. The group posted it publicly.What Turtle Island Liberation Front Actually IsThis episode walks through the group's own social media, statements, and videos, which openly call for:* Death to America as a political system* Abolition of capitalism and private property* Revolutionary decolonization of North America* Replacement of the U.S. government with tribal or collective control* Alignment with Antifa and communist revolutionary movementsPalestine appears in their messaging for one reason only. It serves as a symbolic example of settler colonialism under capitalism. The same framework is applied to the United States.Palestine is a talking point. America is the target.Why This Keeps HappeningThe right does not fail to understand the far left because of lack of information. It fails because it has no incentive to understand it.Accurate analysis does not go viral. Clickbait does.So instead of confronting an openly self-declared Antifa group calling for violent revolutionary change, conservative media reframed the story into anti-Muslim hysteria, Israel discourse, and foreign terror narratives that distract from the domestic ideological reality.The result is a national security blind spot that repeats every time.The Bottom LineThis was an Antifa communist revolutionary group plotting domestic terror. They said so themselves. They documented it. They branded it.And once again, the right ignored the giant flashing sign directly in front of them.If you do not understand your enemy, you cannot defeat them. This episode shows, in real time, that the right has chosen narratives over reality, and clicks over competence.Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit karlyn.substack.com/subscribe

The Turtle Island Liberation Front - the Antifa group the FBI caught trying to bomb major cities - has a manifesto calling for DEATH TO AMERICA on their IG.This is part 1 of a series where I'll read ‘and break down their insane propaganda.Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit karlyn.substack.com/subscribe

(12.8.2025-12.15.2025) Kast system. Tune in.#applepodcasts⁠ ⁠#spotifypodcasts⁠ ⁠#youtube #amazon⁠ ⁠#patreon⁠patreon.com/isaiahnews

Retired New York City police officer Matthew McCauley

The Turtle Island Liberation Front - the group the FBI found plotting to bomb major cities - is NOT a “pro-Palestine” group.They are an Antifa group.Turtle Island refers to North America, the name the land had before it was colonized.The right does not understand the enemy.Decode The Left with Karlyn Borysenko is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit karlyn.substack.com/subscribe

In this episode, we talk about LANDBACK in the Black Hills. The battle for the Black Hills is the longest legal battle over land in the American judicial system. In 1980, the Supreme Court ruled that the stealing of the Black Hills was one of the most gross violations of the Constitution in US history. Nick is joined by revered Lakota elders and spiritual leaders Richard Moves Camp and Robert Two Crow, as well as NDN Collective President Wizipan Little Elk Garriott and HeSapa LANDBACK organizer Anissa Martin to reflect and discuss He Sapa LANDBACK efforts. EPISODE HIGHLIGHTS: Reflections on the spiritual significance of the He Sapa Political history of the Black Hills The Black HIlls Restoration Act strategy LEARN MORE:  Support the He Sapa Restoration Action and return the Black Hills to the Oceti Sakowin: https://ndnco.cc/bhrestoration   SUPPORT OUR WORK: Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. https://ndnco.cc/ftpcdonate  NDN COLLECTIVE'S IMPACT: To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports    EPISODE CREDITS:  Guests: Richard Moves Camp, Robert Two Crow, Wizipan Little Elk Garriott, Anissa Martin Host: Nick Tilsen  Executive Producer: Willi White  Music: Mato Wayuhi  Editor: Willi White Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org  FOLLOW PODCAST: https://www.instagram.com/landbackforthepeople  https://www.tiktok.com/@landbackforthepeople   FOLLOW NDN COLLECTIVE: https://ndncollective.org   https://www.instagram.com/ndncollective  https://www.linkedin.com/company/ndncollective/  https://www.facebook.com/ndncol   https://www.threads.net/@ndncollective  https://bsky.app/profile/ndncollective.bsky.social  https://www.tiktok.com/@ndncollective   https://x.com/ndncollective  

Turtle Island. Before there were countries—before anyone called this land the United States, or Canada, or Mexico—this was Turtle Island. A continent of nations, overlapping territories, trade routes stretching farther than modern highways, and relationships thousands of years old. Today, that history is being carried forward by contemporary Indigenous leaders at Fort Mason—San Francisco's skyline in the backdrop, summit banners hanging over a conversation that reaches far beyond the city around it. This is the First Nations Economic Compact.  You're in a conference room that usually sounds like quarterly forecasts, and suddenly Chief Redman is talking about an economic conversation older than all of that—older than the 1763 Royal Proclamation, older than colonial regulatory systems, older than the borders that now cut through nations whose trade routes once ran uninterrupted across the continent. Long before GDP, First Nations had their own economic indicators: ecological balance, kinship networks, sustainable yields, inter-nation reciprocity. Systems the Doctrine of Discovery tried to erase. Systems that survived genocide, forced relocations, and treaties—signed, coerced, or never signed at all. And yet: the nations remain. The economies remain. The knowledge remains. Here, leaders are talking about restoring ancient trade corridors, sharing resources through ancestral law, and building a bio-economy centered on stewardship and community resilience. While modern governments argue over tariffs and trade wars, First Nations are putting forward something older and more future-ready: a sovereign economic compact drawn from traditional trade logic and built for today's global market. "If someone doesn't want to deal with Canada or the United States… they can deal directly with First Nations," Chief Redman says. It isn't a request. It's a reminder. Suddenly, this summit doesn't sound like policy talk—it sounds like nations dusting themselves off and reintroducing themselves. Not as stakeholders. Not as interest groups. But as governments. This is what reconnection sounds like. What continuity sounds like. What a continent remembering itself sounds like. Tate Chamberlin is with Chief Redman. Stay with us. Music by Supaman

In this episode of the Thinking Christian podcast, Dr. James Spencer is joined by Dr. Daniel (Danny) Zacharias and Dr. Christopher Hoklotubbe, co-authors of Reading the Bible on Turtle Island: An Invitation to North American Indigenous Interpretation. Together they explore how Indigenous perspectives can help Christians read Scripture more faithfully on this land we often call North America—but which many Indigenous peoples know as “Turtle Island.” Danny and Chris explain the story of Turtle Island and why naming the land this way matters for Christian theology, discipleship, and biblical interpretation. They introduce “Turtle Island hermeneutics,” a way of reading the Bible that takes land, place, people, and history seriously—built on asset-based theology and the conviction that God was already present and active among Indigenous peoples long before European missionaries arrived. The conversation dives into: What “Turtle Island hermeneutics” is and how the medicine wheel shapes their approach Why it’s theologically flawed to act as if God was absent from North America before colonization How Indigenous creation stories and traditions can sit alongside Scripture without replacing it Reading Naboth’s vineyard as a lens on land theft, treaties, and the Doctrine of Discovery Parallels between the Trail of Tears, Babylonian exile, and Psalm 137 Babylon and boarding schools: how forced assimilation tried to erase Indigenous identity and memory How songs, stories, and ceremony preserve hope, faith, and cultural resilience Why discipleship must focus not only on doctrine, but on practices, place, and how we actually live This episode is for pastors, Bible teachers, seminary students, and everyday Christians who want to understand Indigenous theology, Native North American perspectives, and contextual Bible interpretation without abandoning a high view of Scripture. Reading the Bible on Turtle Island is published by IVP; check the show notes for a discount link and more information about NAITS, Acadia Divinity College, and the work Danny and Chris are doing to serve the church on Turtle Island. You can purchase Reading the Bible on Turtle Island at ivpress.com (use code IVPPOD20 for a 20% discount) Subscribe to our YouTube channel

When Nick was 13-years-old he wrote Leonard Peltier a letter. In that letter he said he would fight for his freedom until the day he is free. In this profoundly personal episode, Nick sits down with Leonard to talk about his journey, his struggle, and what he means to the people.  LEARN MORE:  Support Leonard by buying his artwork: https://www.lphawkmanii.org/   Read about NDN Collective's effort to bring Leonard Peltier home: https://ndnco.cc/LpHome   Watch the short film GIIWE about bring Leonard home: https://ndnco.cc/giiwe   Follow the Free Leonard Peltier film: https://freeleonardfilm.com/   SUPPORT OUR WORK Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. https://ndnco.cc/ftpcdonate  NDN COLLECTIVE'S IMPACT: To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports    EPISODE CREDITS:  Guest: Leonard Peltier Host: Nick Tilsen  Executive Producer: Willi White  Music: Mato Wayuhi  Editor: Willi White Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org  FOLLOW PODCAST: https://www.instagram.com/landbackforthepeople  https://www.tiktok.com/@landbackforthepeople   FOLLOW NDN COLLECTIVE: https://ndncollective.org   https://www.instagram.com/ndncollective  https://www.linkedin.com/company/ndncollective/  https://www.facebook.com/ndncol   https://www.threads.net/@ndncollective  https://bsky.app/profile/ndncollective.bsky.social  https://www.tiktok.com/@ndncollective   https://x.com/ndncollective  

I'm re-releasing this timely and important conversation about the Thanksgiving mythology that so many of us have been taught in school, which ignores the horrors of white settler colonialism that has exerted such violence and exploitation of the Native American communities. Instead, as Dr. Andrea Sullivan-Clarke reminds us, it is time for Americans to educate themselves about Native American history and indigenous philosophies, which have been whitewashed from so many American textbooks.To learn more about Andrea's scholarship and writing, please head to her website: https://asullivanclarke.com/You can find her book "Ways of Being in the World: An Introduction to Indigenous Philosophies of Turtle Island" here:⁠https://broadviewpress.com/product/ways-of-being-in-the-world/#tab-descriptionRemember to use the promo code ivorytower for 20% off your Broadview Press order!Follow ITBR on IG, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and TikTok, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@ivorytowerboilerroom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Tanya Talaga is an award-winning author and journalist and a powerful voice for Indigenous rights and education in Canada.She's also a constituent, which is how we happened to connect again recently when she was hosted by the House Speaker together with other finalists for the Shaugnessy Cohen Prize in political writing.Talaga joined me a number of years ago at the Fox Theatre to talk about her 2017 award-winning book Seven Fallen Feathers.This conversation focuses on her recent book, The Knowing. It is a deeply personal story in which she traces her own family's history, and it is a story of Indigenous people in Canada, injustice, reclamation, and outlasting.With her own background one of both Anishinaabe and Polish descent, Talaga writes: “From the legacies of these dual branches of genocide, one on Turtle Island and one far off in eastern Europe - comes my knowing.”I recommend reading the book and you can also watch her docuseries at CBC Gem. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.uncommons.ca

Cultural Survival welcomes the newest member of our Board of Directors, Dr. Lyla June Johnston. Lyla June is an Indigenous musician, author, and community organizer of Diné (Navajo), Tsétsêhéstâhese (Cheyenne), and European lineages. Her multi-genre presentation style has engaged audiences around the globe towards personal, collective, and ecological healing. She blends her academic work in Human Ecology and Indigenous Pedagogy with the traditional worldview she grew up with to inform her music, perspectives, and solutions. Her doctoral research focused on the ways in which pre-colonial Indigenous Nations shaped large regions of Turtle Island to produce abundant food systems for both humans and non-humans. Indigenous Rights Radio Coordinator Shaldon Ferris (Khoi/San) recently spoke with Lyla June about her work and passions. Music "Anania2" by The Baba Project, used with permission. "Burn your village to the ground", by The Haluci Nation, used with permission.

Over the past decade, the world has become increasingly chaotic and uncertain – and so, too, has our cultural vision for the future. While the events we face now may feel unprecedented, they are rooted in much deeper patterns, which humanity has been playing out for millennia. If we take the time to understand past trends, we can also employ practices and philosophies that might counteract them –  such as focusing on kinship, intimacy, and resilience – to help pave the way for a better future. How might we nurture the foundations of a different kind of society, even while the end of our current civilization plays out around us?  In this episode, Nate is joined by guide and author Samantha Sweetwater to explore how separation is at the root of the metacrisis and how nurturing interconnection, relationships, and ecological maturity act as foundational components for systems change. Samantha delves into the distinction between power of life and power over life, emphasizing the need for personal transformation that aligns with collective evolution. She also describes how we could shift our cultural focus from the hero's journey to a kinship journey through the practices of remembering, reconnection, and tending to collective emergence. How might we reimagine humanity's ecological role as that of stewards, rather than domination? Could focusing on reconnection, rather than separation, help us bridge the polarizing divides that currently prevent many of us from working together? And how might this work of remembering, which begins with ourselves, ripple out into stronger connections with our loved ones, communities, and ultimately to humanity and life as a whole?  (Conversation recorded on October 1st, 2025)    About Samantha Sweetwater: Samantha Sweetwater is a wisdom guide, author, and founder of One Life Circle—a ministry of remembering. She works at the fertile nexus where unraveling systems make way for emerging forms of kinship, leadership, and value. For over three decades, she has facilitated individuals and organizations across five continents through journeys of personal, cultural, ecological, and spiritual emergence. She mentors leaders in business, technology, and finance, helping them to navigate awakening, develop systemic wisdom, and align impact with regenerative futures. Founder of Dancing Freedom and Peacebody Japan, she sparked a global movement of embodied awakening and has trained hundreds of facilitators. She has also been a seed farmer—a practice that taught her the rigors of tending the real. She holds an MA in Wisdom Studies, a BA in Social Theory and Dance, and has been initiated into indigenous lineages of Africa, Latin America, and Turtle Island.   Show Notes and More Watch this video episode on YouTube   Want to learn the broad overview of The Great Simplification in 30 minutes? Watch our Animated Movie.   ---   Support The Institute for the Study of Energy and Our Future   Join our Substack newsletter   Join our Hylo channel and connect with other listeners  

11/23/25 David borrows from the new book Reading the Bible on Turtle Island by Sanctuary member Chris Hoklotubbe. David looks at how the book invites an openness to the gifts and spiritual practices of indigenous traditions because many reflect the Bible's portrayal of spiritual experiences. For example, in the Transfiguration story, Jesus experiences the presence of his ancestors (Moses and Elijah) at a crossroads moment in his ministry.

Over the past decade, the world has become increasingly chaotic and uncertain – and so, too, has our cultural vision for the future. While the events we face now may feel unprecedented, they are rooted in much deeper patterns, which humanity has been playing out for millennia. If we take the time to understand past trends, we can also employ practices and philosophies that might counteract them –  such as focusing on kinship, intimacy, and resilience – to help pave the way for a better future. How might we nurture the foundations of a different kind of society, even while the end of our current civilization plays out around us?  In this episode, Nate is joined by guide and author Samantha Sweetwater to explore how separation is at the root of the metacrisis and how nurturing interconnection, relationships, and ecological maturity act as foundational components for systems change. Samantha delves into the distinction between power of life and power over life, emphasizing the need for personal transformation that aligns with collective evolution. She also describes how we could shift our cultural focus from the hero's journey to a kinship journey through the practices of remembering, reconnection, and tending to collective emergence. How might we reimagine humanity's ecological role as that of stewards, rather than domination? Could focusing on reconnection, rather than separation, help us bridge the polarizing divides that currently prevent many of us from working together? And how might this work of remembering, which begins with ourselves, ripple out into stronger connections with our loved ones, communities, and ultimately to humanity and life as a whole?  (Conversation recorded on October 1st, 2025)    About Samantha Sweetwater: Samantha Sweetwater is a wisdom guide, author, and founder of One Life Circle—a ministry of remembering. She works at the fertile nexus where unraveling systems make way for emerging forms of kinship, leadership, and value. For over three decades, she has facilitated individuals and organizations across five continents through journeys of personal, cultural, ecological, and spiritual emergence. She mentors leaders in business, technology, and finance, helping them to navigate awakening, develop systemic wisdom, and align impact with regenerative futures. Founder of Dancing Freedom and Peacebody Japan, she sparked a global movement of embodied awakening and has trained hundreds of facilitators. She has also been a seed farmer—a practice that taught her the rigors of tending the real. She holds an MA in Wisdom Studies, a BA in Social Theory and Dance, and has been initiated into indigenous lineages of Africa, Latin America, and Turtle Island.   Show Notes and More Watch this video episode on YouTube   Want to learn the broad overview of The Great Simplification in 30 minutes? Watch our Animated Movie.   ---   Support The Institute for the Study of Energy and Our Future   Join our Substack newsletter    Join our Hylo channel and connect with other listeners

Storytelling is the backbone of our movement. In this episode, Nick Tilsen sits down with writer and comedian Joey Clift to talk about how important it is to use narrative and storytelling as a mechanism to catalyse the LANDBACK movement, the power of modern-day representation, and Joey's upcoming short animation film, "Pow!."   LEARN MORE:  Pow! premieres 11/24 on FNX, watch here: https://www.youtube.com/watch?v=dOTuVqdwu8Y  Pow! is an animated short film about Jake, a young Native American kid scrambling to charge his dying video game console at a bustling Coastal Salish intertribal powwow, where he learns that loving video games and loving your culture aren't mutually exclusive. Written and Directed by Joey Clift (Cowlitz), made by a largely Indigenous team and with an all-Native voice cast. Pow! is a comedic love letter to the communities that raised us. Joey Clift is a Los Angeles-based comedian, Emmy and Peabody-nominated writer, and an enrolled member of the Cowlitz Indian Tribe. Growing up, Joey aspired to become a local TV weatherperson because he didn't see Native American comedians on screen and thought a career in comedy was off-limits to him. He has since proven otherwise, writing for acclaimed series like Spirit Rangers (Netflix), Molly of Denali (PBS), and Paw Patrol (Nickelodeon). Joey is the creator of Gone Native, a Comedy Central Digital series about microaggressions Native folks often experience, and his comedy has been featured everywhere from Dropout to The Smithsonian Museum. Follow Joey on Instagram: @joeycliiiiiift https://joeyclift.com/  https://gonenative.tv/   SUPPORT OUR WORK Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. https://ndnco.cc/ftpcdonate   NDN COLLECTIVE'S IMPACT: To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports    EPISODE CREDITS:  Guest: Joey Clift Host: Nick Tilsen  Executive Producer: Willi White  Music: Mato Wayuhi  Editor: Willi White Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org  FOLLOW THE PODCAST: https://www.instagram.com/landbackforthepeople  https://www.tiktok.com/@landbackforthepeople   FOLLOW NDN COLLECTIVE: https://ndncollective.org   https://www.instagram.com/ndncollective  https://www.linkedin.com/company/ndncollective/  https://www.facebook.com/ndncol   https://www.threads.net/@ndncollective  https://bsky.app/profile/ndncollective.bsky.social  https://www.tiktok.com/@ndncollective   https://x.com/ndncollective  

In this episode of God Is Red, we walk through Chapter 6 of Taylor's book, Rediscovering Turtle Island. Taylor (Omaha / Cherokee) traces the thread from language migrations and the “overkill hypothesis” to Omaha corn medicine and the Calumet peace rite, asking how ceremony restores balance between sacred feminine and sacred masculine.Learn more about Taylor's work HERE.Purchase Rediscovering Turtle Island HERE.Learn more about Daniel's work HERE.

In this episode Nick Tilsen is joined by Dr. Lilias Jarding, Executive Director of Black Hills Clean Water Alliance, and Taylor Gunhammer, Lead Organizer for the Protect the He Sapa campaign at NDN Collective, to talk about past and current efforts to protect the land and water in the Black Hills of South Dakota, updates on the Protect the He Sapa campaign, and how important intergenerational organizing is to building bridges among people. PRODUCTION DISCLAIMER:  This episode contains a 7 minute audio disruption at the 44 minute and 27 second mark. Basically, the audio recorder stopped recording. But we have the scratch audio! What was shared in this 7 minutes is important, so we made sure to keep it in.  GUESTS: Dr. Lilias Jarding Taylor Gunhammer LEARN MORE:  Visit https://bhcleanwateralliance.org/ and donate to their work. Donate to the Protect the He Sapa campaign by visiting https://ndncollective.org/ Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. ndnco.cc/ftpcdonate NDN COLLECTIVE'S IMPACT: To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports   EPISODE CREDITS:  Host: Nick Tilsen  Executive Producer: Willi White  Music: Mato Wayuhi  Editor: Willi White Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org  FOLLOW PODCAST: https://www.instagram.com/landbackforthepeople https://www.tiktok.com/@landbackforthepeople  FOLLOW NDN COLLECTIVE: https://ndncollective.org  https://www.instagram.com/ndncollective https://www.linkedin.com/company/ndncollective/ https://www.facebook.com/ndncol  https://www.threads.net/@ndncollective https://bsky.app/profile/ndncollective.bsky.social https://www.tiktok.com/@ndncollective  https://x.com/ndncollective 

Meet Jennifer Folayan, a proud Cherokee, Pueblo, and Aztec artist, as she shares her inspiring journey and commitment to Indigenous rights. We discuss:1️⃣How to make land acknowledgements personal 2️⃣ How to help synchronicities aka miracles find you3️⃣How to accomplish a big scary goal.Jennifer also tells the Turtle Island origin story, a version of which is held by many Native groups in North America as an example of someone small fulfilling a huge task.On the board of the Baltimore American Indian Center, Jennifer discusses the significance of Indigenous People's Day and her successful work to make it a holiday in Baltimore.With lots of laughter, Jennifer reflects on her heritage, the importance of recognizing land, and the challenges of Native American erasure. Jennifer also opens up about her personal battles, including growing up in foster care and overcoming childhood abuse. You will be amazed by her stories of resilience, synchronicity, and a mission to honor Indigenous arts and stories globally. This heartfelt conversation navigates from local Baltimore initiatives to her role as an ambassador from Turtle Island to South Africa, amplifying Indigenous voices and promoting healing and connection.You can find out more about Jennifer Folayan by going to her youtube channel:https://www.youtube.com/channel/UC5qI7-wD8DgO6xQYXYbozQQ or following her on Facebook.In the Mother Tree Community we are giving ourselves safe space to feel and accept grief.-Winter is the earth's time to grieve, to let go of ancestral pain.  Join us!Get my free weekly newsletter:https://www.dramandakemp.com/newsletter-sign-upWe have lots of free resources on dramandkemp.com/FREE. Support the showMother tree Network Podcast--Where Earth Wisdom Meets Racial Justice and Women's Leadership. Want to become your unlimited self and evolve the planet?Go here to get the Mother Tree podcast + Show Notes sent to your inbox https://www.dramandakemp.com/podcast

On Tuesday's "Drivetime with DeRusha".... 3pm - Jason's frustrated by the lack of progress with carjackings in Minneapolis. Plus, army veteran Josh Vrtacnik discusses his service and an amazing gift from DAV of MN. 4pm - Will a new bill passed as part of the shutdown agreement kill the THC business in MN? Jason talks with attorney Carol Moss. Then on DeRusha Eats: Owamni's Sean Sherman has a native-inspired cookbook called "Turtle Island" 5pm - On "The DeRush-Hour" what will Surly Brewing do if the THC business goes away? Jason talks with Omar Ansari. Then - how early is too early for businesses to play Christmas music?

Tuesday 4pm Hour: Jason talks with attorney Carol Moss about a provision in the Senate bill to end the shutdown that she thinks will shut down the burgeoning THC industry in Minnesota. Then on DeRusha Eats, Jason talks with Sean Sherman from Owamni who has a native-inspired cookbook called "Turtle Island" out today! (Photo by Terry Wyatt/Getty Images for Big Machine Label Group)

Jason is joined by Sean Sherman from Owamni about his new native-inspired cookbook "Turtle Island" and the big upcoming move to his new Guthrie space!

In this episode, I talk with Dr. Chris Hoklotubbe and Dr. Danny Zacharias about their book Reading the Bible on Turtle Island and how Indigenous wisdom invites us to see Scripture through a different lens. We explore how the Bible, written by tribal people deeply connected to land and kinship, calls us back into right relationship with Creator, creation, and one another. Chris and Danny share stories that connect the Trail of Tears to the exile in Babylon, the teachings of Jesus to the call of Jubilee, and how truth-telling and reconciliation are part of our ongoing discipleship. This conversation challenges the transactional faith that has shaped so much of Western Christianity and reclaims a relational vision of faith grounded in love, harmony, and gratitude. It's a reminder that reading the Bible through Indigenous eyes doesn't just reveal something new about the text, it helps us remember who we are and how to walk the bright path of Jesus together.H. Daniel Zacharias (PhD, Highland Theological College/Aberdeen) is a Cree-Anishinaabe/Métis and Austrian man originally from Winnipeg, Manitoba (Treaty One territory), with ancestors also residing in Treaty Two, Treaty Three, and Treaty Five territories. He lives in Mi'kma'ki (Nova Scotia) with his wife, Maria, and four children in Wolfville, NS. He is associate dean and professor of New Testament studies at Acadia Divinity College, where he has worked since 2007. He also serves as an adjunct faculty for NAIITS: An Indigenous Learning Community.T. Christopher Hoklotubbe (ThD, Harvard) is a proud member of the Choctaw Nation of Oklahoma. He is the director of graduate studies of NAIITS: An Indigenous Learning Community, the first accredited Indigenous designed, developed, delivered, and governed theological institute. He is also assistant professor of classics at Cornell College (Mount Vernon, Iowa). He is the author of Civilized Piety: The Rhetoric of Pietas in the Pastoral Epistles and the Roman Empire, which was awarded the Manfred Lautenschläger Award for Theological Promise. He and his wife, Stephanie, have two daughters and live near Cedar Rapids, Iowa.Chris & Danny's Book:Reading the Bible on Turtle IslandConnect with Joshua: jjohnson@shiftingculturepodcast.comGo to www.shiftingculturepodcast.com to interact and donate. Every donation helps to produce more podcasts for you to enjoy.Follow on Facebook, Instagram, Twitter, Threads, Bluesky or YouTubeConsider Giving to the podcast and to the ministry that my wife and I do around the world. Just click on the support the show link below Contact me to advertise: jjohnson@shiftingculturepodcast.com Support the show

In this episode Nick Tilsen is joined by Foster Cournoyer Hogan, NDN Collective Bison Coordinator, and Wizipan Little Elk Garriott, NDN Collective President, to announce the launch of a critical mutual aid campaign in response to the SNAP benefits crisis, discuss how this moment calls us into action, and to share about the upcoming work for the Bison Homelands Initiative at NDN Collective.  GUESTS: Foster Cournoyer Hogan Wizipan Little Elk Garriott LEARN MORE: https://ndnco.cc/feedthepeople NDN Collective is launching the "Feed The People" campaign in response to the SNAP benefits crisis. The U.S. Government shutdown is disrupting SNAP, deepening food insecurity in many Native and rural communities.  The crisis is not just about hunger — it reflects the erosion of systems that once ensured community health and sovereignty of food sources.  The "Feed the People" campaign is a call to action for funding mutual aid support in response to the disruption of SNAP in the Oceti Sakowin. While responding to the urgent needs of our community, we are also strengthening traditional food systems and collaborating with Indigenous-led projects focused on food sovereignty. NDN is seeking immediate funding to purchase and distribute bison meat boxes from Sacred Storm Buffalo to families affected in Rapid City and the surrounding communities.  ➡️If you live in Rapid City and are looking for food assistance, we will have our first distribution on November 21. Stay tuned for updates on location and time.  ℹ️Learn more about the campaign: https://ndnco.cc/feedthepeople 

Host Shayla Oulette Stonechild hosts Chyana Marie Sage on the Matriarch Movement Podcast, discussing her new book ‘Soft as Bones,' which has become a national bestseller. Chyana shares her journey from a tumultuous childhood marked by abuse and intergenerational trauma to becoming a renowned storyteller. She emphasizes the importance of cultural roots, storytelling, and healing through writing and ceremony. Chyana also discusses her foundation's mission to create spaces for Indigenous storytelling and her ongoing projects, including a novel adaptation and a short film. The conversation highlights the power of Indigenous storytelling in healing and community building. More about Chyana Marie Sage: Chyana Marie Sage is a Cree, Métis, and Salish writer from Edmonton, Alberta. She has an MFA in creative nonfiction from Columbia University and lives in New York City. Chyana loves to travel and be with nature. She shares the pain of growing up with her father, a crack dealer who went to prison for molesting her older sister. In revisiting her family's history, Chyana examines the legacy of generational abuse, which began with her father's father, who was forcibly removed from his family by the residential schools and Sixties Scoop programs. Yet hers is also a story of hope, as it was the traditions of her people that saved her life, healing one small piece in the mosaic that makes up the dark past of colonialism shared by Indigenous people throughout Turtle Island. https://www.instagram.com/softasbones/ https://storestock.massybooks.com/item/temoIPlhFAidq8S_8vUqOw/⁠ https://chyanamariesage.com/ Thanks for checking out this episode of the Matriarch Movement podcast! If you enjoyed the conversation, please leave a comment and thumbs-up on YouTube, or leave a five star review on your favourite podcast app! Find Shayla Oulette Stonechild on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/shayla0h/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Find more about Matriarch Movement at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://matriarchmovement.ca/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ This podcast is produced by Women in Media Network ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.womeninmedia.network/show/matriarch-movement/ Learn more about your ad choices. Visit megaphone.fm/adchoices

അമേരിക്കയിലെ നന്റക്കറ്റ് ദ്വീപിൽ നിന്നും യാത്ര തിരിച്ച ഒയിനോ എന്ന തിമിംഗിലവേട്ടക്കപ്പൽ 1825 ഏപ്രിൽ മാസത്തിൽ പസിഫിക്കിലെ ഫിജി ദ്വീപുകളിൽപെടുന്ന ബട്ടോവ എന്ന ചെറുദ്വീപിനടുത്തുള്ള പവിഴപ്പുറ്റിൽ തട്ടി തകരുകയും നാവികർ ദ്വീപിലേക്കിറങ്ങി രക്ഷപെടുകയും ചെയ്തു. ആ ദ്വീപ്നിവാസികൾ നല്ലവരായിരുന്നുവെങ്കിലും അടുത്തുള്ള ഓനോ എന്ന ദ്വീപിൽ നിന്നെത്തിയ ആളുകൾ നാവികരെയെല്ലാം ക്രൂരമായി വധിച്ചുകളഞ്ഞു. എന്നാൽ അപകടം മുൻകൂട്ടി കണ്ട വില്യം ക്യാരി (William S. Cary) എന്ന നാവികൻ ഒരു ഗുഹയിൽ കയറി ഒളിച്ചിരുന്നു കൂട്ടക്കൊലപാതകത്തിൽ നിന്നും രക്ഷപെട്ടു. ശേഷം ആ ദ്വീപിലെതന്നെ ഒരാൾ ക്യാരിയെ മകനായി ദത്തെടുത്തതിനാൽ ആ നാവികനെ പിന്നീടാരും ഉപദ്രവിച്ചില്ല. രക്ഷപ്പെട്ടെങ്കിലും തിരിച്ചു  നന്റക്കറ്റിൽ എത്തിച്ചേരുക എന്നത് വില്ല്യം ക്യാരിക്ക് ഒരു വിദൂരസ്വപ്നം മാത്രമായിരുന്നു. എങ്കിലും തന്നെപ്പോലെ തന്നെ ഇവിടെ അകപ്പെട്ട് പോയെങ്കിലും ഈ ദ്വീപുകളിൽ അവിടുത്തെ ചീഫുമാരുടെ പ്രീതി സമ്പാദിച്ച് മാന്യമായ നിലയിൽ കഴിഞ്ഞുകൂടുന്ന ഡേവിഡ് വിപ്പിയെന്ന മറ്റൊരു അമേരിക്കക്കാരനെ കൂടി കണ്ടതോടെ വില്ല്യം ക്യാരിക്ക് കുറച്ചൊക്കെ ആശ്വാസമായി. ഇതിനിടെ ക്യാപ്റ്റൻ വാൻഡഫോർഡിൻ്റെ ക്ലേ എന്ന കപ്പൽ അവിടെ വന്നുവെങ്കിലും ചരക്കുകളുമായി അത് മനില ക്ക് പോകുന്നതിനാൽ ക്യാരി ഇപ്രാവശ്യം അതിൽ കയറിയില്ല. 

In Season 3, Episode 6 Nick Tilsen is joined by Brittany Koteles, Executive Director of Land Justice Futures. This organization helps religious land owners pursue land justice – shifting the narrative of land as a commodity to one of repair, restoration, and reciprocity. Land Justice Futures works closely with Christian communities and Catholic sisters to move toward repair.  According to Land Justice Future, the Catholic Church is the world's largest private landowner, with land on every continent, in every country across the globe. In this conversation, Nick and Brittany talk about what LANDBACK means to the Catholic church, what organizing nuns is like, and the very first Catholic land return in history. The Franciscan Sisters of Perpetual Adoration will return two acres of lakefront property to the Lac du Flambeau Band of Lake Superior Chippewa on October 31, 2025. Listen to the episode to hear just how this work is being done and how sisters of the Catholic Church are digging in and riding for LANDBACK.  GUESTS: Brittany Koteles, Executive Director of Land Justice Futures LEARN MORE: https://www.landjusticefutures.org To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. ndnco.cc/ftpcdonate For more ways to support, read our For the People Campaign blog: ndnco.cc/25ftpcbb1  EPISODE CREDITS: Host: Nick Tilsen Executive Producer: Willi White Music: Mato Wayuhi Editor: Willi White Copywriter: Jordynn Paz Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org  FOLLOW NDN COLLECTIVE:https://ndncollective.org https://www.instagram.com/ndncollective https://www.linkedin.com/company/ndncollective/ https://www.facebook.com/ndncol https://www.threads.net/@ndncollective https://bsky.app/profile/ndncollective.bsky.social https://www.tiktok.com/@ndncollective https://x.com/ndncollective

അമേരിക്കയിലെ നന്റക്കറ്റ് ദ്വീപിൽ നിന്നും യാത്ര തിരിച്ച ഒയിനോ എന്ന തിമിംഗിലവേട്ടക്കപ്പൽ 1825 ഏപ്രിൽ മാസത്തിൽ പസിഫിക്കിലെ ഫിജി ദ്വീപുകളിൽപെടുന്ന ബട്ടോവ എന്ന ചെറുദ്വീപിനടുത്തുള്ള പവിഴപ്പുറ്റിൽ തട്ടി തകരുകയും നാവികർ ദ്വീപിലേക്കിറങ്ങി രക്ഷപെടുകയും ചെയ്തു. ആ ദ്വീപ്നിവാസികൾ നല്ലവരായിരുന്നുവെങ്കിലും അടുത്തുള്ള ഓനോ എന്ന ദ്വീപിൽ നിന്നെത്തിയ ആളുകൾ നാവികരെയെല്ലാം ക്രൂരമായി വധിച്ചുകളഞ്ഞു. എന്നാൽ അപകടം മുൻകൂട്ടി കണ്ട വില്യം ക്യാരി (William S. Cary) എന്ന നാവികൻ ഒരു ഗുഹയിൽ കയറി ഒളിച്ചിരുന്നു കൂട്ടക്കൊലപാതകത്തിൽ നിന്നും രക്ഷപെട്ടു. ശേഷം ആ ദ്വീപിലെതന്നെ ഒരാൾ ക്യാരിയെ മകനായി ദത്തെടുത്തതിനാൽ ആ നാവികനെ പിന്നീടാരും ഉപദ്രവിച്ചില്ല. രക്ഷപ്പെട്ടെങ്കിലും തിരിച്ചു  നന്റക്കറ്റിൽ എത്തിച്ചേരുക എന്നത് വില്ല്യം ക്യാരിക്ക് ഒരു വിദൂരസ്വപ്നം മാത്രമായിരുന്നു. 

The Tragic Wreck of the Whaleship Oeno (1825) – Stranded and Surviving among Pacific Islanders. In 1825, the American whaleship Oeno, under Captain Samuel Riddell, wrecked on a remote Pacific coral reef between Tonga and Fiji. What began as a routine whaling voyage from Nantucket turned into a desperate struggle for survival on a small island—where only sailor William S. Cary lived to tell the harrowing tale of shipwreck, massacre, and unexpected mercy.Bounty Mutinyhttps://youtu.be/k4mrZdNWgGs?si=OnUquZ01jbENFCGEStory of La Perousehttps://youtu.be/8xwaLzcPryg?si=QnFl6b_twMZvDEzZ——MY BOOKS1 സ്വർണ്ണനഗരം തേടി: ആമസോണ്‍ കണ്ടെത്തിയ കഥ (Mathrubhumi Books)Hard Copy | https://amzn.to/3T5lTioEbook | https://amzn.to/44eYMqW2 മഡഗാസ്കർ (Regal Publishers)Hard Copy | https://amzn.to/3ZN8sr73 സിംഹത്തിന്റെ ശത്രു!: അറ്റ്ലസ് സിംഹങ്ങളുടെ കഥ!Ebook | https://amzn.to/3G8ZdLj——————————Contact meMessage : https://juliusmanuel.com/chatMail : mail@juliusmanuel.com---------------Instagramhttps://instagram.com/juliusmanuel_-------Websitehttps://juliusmanuel.com/ChannelsInstagramhttps://www.instagram.com/channel/AbbAIzWxF6R6qz7O/Whatsuphttps://whatsapp.com/channel/0029Va4U8tZInlqO0BLvpg2V

Sean Sherman is an award-winning chef, educator, author, and activist. A member of the Oglala Lakota Sioux tribe, he is dedicated to reviving Indigenous food traditions through his Minneapolis restaurant Owamni, the nonprofit NATIFS, and cookbooks like the fantastic new book Turtle Island. Today on the show, we talk about the years of research that resulted in Turtle Island, decolonizing Indigenous food traditions, and much more. Also on the show Matt has a great conversation with Natalia Rudin, author of the new cookbook, Cooking Fast and Slow.  Learn more about your ad choices. Visit megaphone.fm/adchoices

‘All our relations' is a saying often heard in the Indigenous community. Many from Turtle Island feel a responsibility to care for relations across the globe. As violence and uncertainty continue in Gaza, Rosanna speaks with Indigenous artists, activists and health care workers about the connection they feel with Palestinians, and how they're driven to speak out, take action and make space for grief and healing.

On this episode of CounterPunch Radio, we are excited to present a panel discussion featuring Ramzy Baroud and Janene Yazzie, which took place last July at Socialism 2025 in Chicago. Ramzy and Janene discuss the connections between Indigenous struggles worldwide and how the fight for a free Palestine is a fight for justice on all More The post From Turtle Island to Palestine w/ Ramzy Baroud and Janene Yazzie appeared first on CounterPunch.org.

In this episode, Nick sits down with three amazing leaders of the National Native American Boarding School Healing Coalition (NABS). NABS is conducting an oral history project documenting the stories of boarding school survivors for the Library of Congress. The work of NABS includes development and implementation of a national strategy to increase public awareness and cultivate healing for the traumas experienced by those who attended these schools, their families and communities. At the heart of this work is healing. Join us as we dive into the cross-intersections of LANDBACK, truth, reconciliation, healing and boarding schools. GUESTS: Charlee Brissette, Sault St. Marie Tribe of Ojibwe Lacey Kinnart, Sault St. Marie Tribe of Ojibwe Jason Packineau, MHA Nation/Jemez/Laguna Pueblo LEARN MORE: boardingschoolhealing.org To learn about our big wins and hear stories from our grantees and loan relative across Turtle Island, read our 2024 Impact Report on our website at: https://ndncollective.org/impact-reports Support the For the People Campaign today! Your donation to NDN Collective directly supports Indigenous organizers, Nations, Tribes, and communities leading the fight for justice and liberation. Donate now to fund the frontlines, fuel the movement, and rematriate wealth. ndnco.cc/ftpcdonate For more ways to support, read our For the People Campaign blog: ndnco.cc/25ftpcbb1   EPISODE CREDITS: Host: Nick Tilsen Producer: Willi White Music: Mato Wayuhi Editor: Willi White Copywriter: Jordynn Paz Digital Engagement: Angie Solloa Production Support: Layne L. LeBeaux PRESS & MEDIA: press@ndncollective.org

In this discussion we talk with Professor Corinna Mullin who is a member of the Anti-Imperialist Scholars Collective.  Corinna Mullin is an anti-imperialist academic who teaches political science and economics. Her research examines the historical legacies of colonialism and the role of capitalist expansion and imperialist imbrications in producing peripheral state “security dependency,” with a focus on unequal exchange, super-exploitation, resource extraction, and other forms of surplus value drain/transfer as well as resistance. Corinna has also researched and published academic works on border imperialism, struggles around the colonial-capitalist university, fascism, multipolarity, and national liberation, with a focus on the Maghreb, West Asia, and Turtle Island. Corinna was a member of the Steering Committee for the International Peoples' Tribunal on U.S. Imperialism and organizes with CUNY for Palestine and Labor for Palestine. She serves on the Steering Committee of the Professional Staff Congress (PSC)-CUNY's International Committee and is a member of the Delegate Assembly. Full bio from AISC. In this discussion we primarily discuss her piece, Zionism, Imperialism, and the Struggle Against Global Fascism: Palestine as the ‘Hornet's Nest' of US Empire from the Anti-Imperialist Scholars Collective blog The Pen Is My Machete  And a little bit on her piece The ‘War on Terror' as Primitive Accumulation in Tunisia: US-Led Imperialism and the Post-2010-2011 Revolt/Security Conjuncture from Middle East Critique  Also I say more about this in the episode, but Dr. Mullin was fired from CUNY as a result of her stance and organizing with respect to Palestine. We will include a statement from AISC on this and a Statement in Solidarity with CUNY Faculty and Students Facing McCarthyite Retaliation for Palestine Solidarity which we have signed.  There are also a number of other calls to action for faculty and students at CUNY that we will include in the show description. Corinna talks about those at the end of the episode and we strongly encourage folks to support those calls to action it only takes a minute of your time. In this discussion Dr. Mullin talks a little bit about Dr. Ali Kadri's The Accumulation of Waste: A Political Economy of Systemic Destruction and it just so happens that we have a study group on that exact book starting on October 1st, it's available to everyone who supports the show, whether through patreon, BuyMeACoffee or as a YouTube member of the show. Details on that study group and how to join it are linked in the show description. But just to note that there are only about 40 spots left in the group as we publish this, so if you want to join us, make sure you do so ASAP to reserve your space. Calls to Action:  "Hadeeqa Arzoo Malik is being made an example of for the sake of setting the tone across the nation at public universities, as they seek further control over the student movement for Palestine. City College President Vincent Boudreau has already denied her appeal for a drop to the charges, without even an acknowledgement to the 2,000+ calls and emails from the community that demanded her reinstatement. Now, it is time to escalate both our tactics against CUNY and whom we pressure— Take it to the Board of Trustees. Your rage is needed to make it loud and clear that CUNY's repression will not go uninterrupted.  CALL CUNY STUDENT AFFAIRS: 646-664-8800 EMAIL THE BOT: https://tinyurl.com/Defendhadeeqaarzoo" Free Tarek Bazrouk! Tarek is a 20-year-old Palestinian from NYC, unjustly convicted of federal charges stemming from his participation in protests against the genocide in Gaza. "Demand Immediate Reinstatement of Terminated Adjunct Faculty and Defend Academic Freedom Send a letter to Brooklyn College President Michelle Anderson, CUNY Chancellor Félix Matos Rodríguez, and CUNY Board Chairperson William Thompson urging them to reinstate the fired adjunct faculty and protect the rights of CUNY students and workers who stand in solidarity with Palestine. The targeting of these individuals is part of a broader assault on higher education and academic freedom. Their fight is our fight—silencing them is an attack on us all. Send your letter here ➔" Sanctuary & Popular University Network (SPUN statement & instagram) Related conversations: War is the Basis of Accumulation with Ali Kadri Charisse Burden-Stelly on Black Scare/Red Scare  Link to the latest issue of Middle East Critique & the conversation with Matteo Capasso   “Attica Is an Ongoing Structure of Revolt” - Orisanmi Burton on Tip of the Spear, Black Radicalism, Prison Rebellion, and the Long Attica Revolt  Heading Towards Invasion? The US Empire's Campaign Against Venezuela with José Luis Granados Ceja  Palestine's Great Flood with Max Ajl