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An Indigenous Exploration of Northwestern Ontario Anishinawbe and Muskego Or Ininiw Sacred Stories and Teachings in a Contemporary Novel

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An Indigenous Exploration of Northwestern Ontario Anishinawbe and Muskego Or Ininiw Sacred Stories and Teachings in a Contemporary Novel Lakehead University Knowledge Commons,http://knowledgecommons.lakeheadu.ca Electronic Theses and Dissertations Electronic Theses and Dissertations from 2009 2014-12-11 Memengwaawid, to be a butterfly: an Indigenous exploration of Northwestern Ontario Anishinawbe and Muskego or Ininiw sacred stories and teachings in a contemporary novel Farrell-Morneau, Amy Lynn http://knowledgecommons.lakeheadu.ca/handle/2453/569 Downloaded from Lakehead University, KnowledgeCommons i Memengwaawid, To Be A Butterfly: An Indigenous Exploration of Northwestern Ontario Anishinawbe and Muskego or Ininiw Sacred Stories and Teachings in a Contemporary Novel by Amy Lynn Farrell-Morneau Lakehead University, Thunder Bay, Ontario July, 2014 A dissertation submitted in partial fulfillment of the requirements of the degree of PhD in Educational Studies (Socio/Cultural/Political Field) © Amy Farrell-Morneau 2014 ii Abstract Among their capacities to entertain, to pass down cultural traditions, ceremonies, dances, songs, and to correct undesired behaviours, sacred stories explain how something in nature came to be and how our interactions with those creatures and other life forms around us lead into actions of established ceremonies of respect for the land and ourselves. Thus, from ceremonies and traditions, to codes of conduct and behaviour, to cultural spirituality and beliefs, sacred stories contain the history of Indigenous peoples. With this recorded history in mind, I ask: How are Anishinawbe and Cree sacred story lessons and lessons learned in one’s own life journey connected through themes and issues, characters, and Seven Grandfather Teachings morals? With the intention to provide a method of understanding the Seven Grandfather Teachings, I blend the writing of morals into a personally influenced fictional story. I also draw upon theories of Indigenous ways of knowing to bring an understanding of relationships and connections to animals and land into the dissertation story. Concepts of Elders and roles of storytelling, and the oral tradition with connections to self and life are also discussed. I interweave all of these concepts in my theoretical framework into an Indigenous storytelling methodology through the use of an Indigenous story method. To elaborate, I refer to established Indigenous researchers including Jo-Ann Archibald (2008) and Margaret Kovach (2009) to describe how Indigenous storytelling informs and is a research methodology. I also discuss how structures and types of sacred story (Ellis, 1995) can create the foundation of an Indigenous story method. To inform my interpretation of sacred story characters as they appear in the dissertation story, including the characters of Weesquachak and Windigo, I combine the iii readings from literature in related fields (Indigenous education, Indigenous ways of knowing, Indigenous knowledge) as well as personal understandings gained from in-depth analyses of the sacred story characters. The analysis of sacred story characters includes discussion of character traits, any physical description drawn from sacred story, and actions and behaviours that inform the interpretation of the character and how they appear in the dissertation. This dissertation story is about a 16-year-old girl named Butterfly who, through a series of adventures with selected characters borrowed from sacred story, copes with many different life experiences during a fall semester in high school and learns some of the lessons often found in sacred story and the Seven Grandfather Teachings. A part of my own learning throughout my life and my time during the process of writing this dissertation is built into the dissertation novel: my growing sense of personal and cultural pride, and my strength as an Ojibwe woman. iv Dedication For my parents Patrick and Ruby: You are the best storytellers I have ever known. You support me always and I can always turn to you both for sharing your knowledge and invaluable advice. Mom, my role model and personal expert in Anishinawbe sacred stories and cultural traditions, words cannot express my gratitude for all you have shown me—you are my Wonder Woman. Dad, your strength is infectious and I have learned from you that when you put your mind to it, try your best, and persevere, anything becomes possible. For my sisters Rosanna and Lindsay: You are two of the strongest women that I will ever know. For my husband Michel: You are my best friend, and you accept me wholly for who I am and just as I am. I cannot thank you enough. I love you so very much, my sweets. Here’s to our future together. For my step-children, Brady and Abigail: You reminded me to keep the youngster Ishkode playful and who, when this happened to you both, inspired me to give Ish the lisp when his front baby teeth fell out. For my Cocom, Daisy: Every time I pick up a bead, I think of you. For the Elders and Senators who inspire and share their wisdom about their culture. v Acknowledgements To my supervisor Dr. Judy Iseke: My world fell into place when you said ‘yes’ to my writing my dissertation as a novel. For your support, your patience, and your thoughtful and brilliant advice throughout my PhD, miigwech, miigwech, miigwech, miigwech. To my committee members, Dr. Renee Bedard, Dr. Judith Leggatt, and Dr. Sandra Wolf: Thank you so much for being open to my novel. My deepest and most sincere thanks for your wonderful suggestions that made the world of Butterfly so much more enriched and whole and aligned. vi Table of Contents Abstract ii Dedication iv Acknowledgements v Table of Contents vi List of Figures x Part One: Prologue 1 Introduction 1 Situating Myself 1 Research Focus 6 Structure of Dissertation 6 Indigenous Storytelling Method and Methodology: Preparing for the 6 Dissertation Novel Indigenous Storytelling as Methodology 8 Indigenous Story as Method 15 Informing the Method 28 Literature Review 29 Elders and Teachers as Storytellers: Their Roles in Education and 29 in Life The Importance of Oral Traditions and Sacred Stories to the Self 37 and in Life Concerning Sacred Stories and the Seven Grandfather Teachings: 41 Morals, Codes of Conduct and Accepted Cultural Behaviours The Importance of the Heroic in Sacred Stories and Seven 43 Grandfather Teachings Education Rationale for the Approach 51 Part Two: Memengwaawid, To Be A Butterfly 56 vii Part Two: Memengwaawid, To Be A Butterfly 56 Chapter 1: Dreams, Bawaajige 58 Chapter 2: Secret Crush and Mean Girl, Giimooj dush Manadis a 69 Kwense Chapter 3: Confusion and Clarity, Giiwashkweyendam dush 74 Wahsayabe Chapter 4: Loss, Nibo 83 Chapter 5: Close Friends, Beshwaji’ 95 Chapter 6: Tiny People in the Forest, Apa’chininiichug 109 Chapter 7: Tricky, Tricky and the Knife, Banaadendam 112 Chapter 8: Blue Butterfly, Ozhaawashkwaa-Memengwaa 121 Chapter 9: Snowflakes Coming Down, Mamaangadepo 141 Chapter 10: Waking from the Cold, Amadaji 148 Chapter 11: Hopeful, Ahpanemo 156 Chapter 12: Searching the Hollow, Aanji-Bimaadizi 166 Chapter 13: Saying Goodbye, But Never Gone, Giga-waabamin 171 Menawaa Part Three: Epilogue 176 Immersing Myself in Context, Themes and Characters 176 Immersing Myself in My Personal Stories 176 Immersing Myself in Texts and Making Choices 178 Immersing Myself in Sacred Story Characters 181 Specific Themes Within the Novel as Method 181 Analyses of Dissertation Story and its Characters 189 Animals in Indigenous Stories 190 Connections to Land 193 Incorporating the Seven Grandfather Teachings 196 Wisdom 196 Love 197 Respect 205 Bravery 207 Honesty 208 viii Wisdom 196 Love 197 Respect 205 Bravery 207 Honesty 208 Humility 210 Truth 212 Immersing Myself in Sacred Story Characters 214 Sacred Story Characters 214 Weesquachak 216 Windigo 232 Chakabesh 238 Seven Grandfather Teachings and Chakabesh 244 Chakabesh’s Older Sister 246 Apa’chininiichug 247 The Two Sisters 249 Rolling Head 251 Iyas and Fox 252 Beautiful Woman 253 Characters and Dreaming 254 Ethics and Behavioural Codes of Conduct 256 Non-Interference 257 Anger 258 Time 260 Sharing 261 Excellence 262 Protocol 262 ix Teaching and Learning 264 Conservation or Withdrawal 267 Democracy 268 Discussion of the Dissertation Novel 269 Limitations of the Novel 269 Related to Education 272 Classrooms and Teachings 280 Concluding Remarks 283 References 287 Appendix A: Glossary 296 x List of Figures Figure Description Page 1 Ojibwe Good Life Teachings and Implications 14 for Education 2 Traditional Discourse 19 3 Popular Discourse 19 4 Watercolour. “Butterfly” by Amy Farrell- 57 Morneau Farrell-Morneau “Butterfly and Teachings” 1 Part One: Prologue Introduction In order to develop and understand the purpose and roles of Anishinawbe1 sacred stories and oral traditions within education, I feel it is important to speak of: a) the capacity of oral traditions and sacred stories to the self and in life; b) their abilities to teach about Anishinawbe culture by the teachings contained within those stories; and c) their purpose and use within a Seven Grandfather Teachings education which can be applicable in both traditional and mainstream education systems. I will also discuss briefly some main characters appearing in Ojibwe, Cree and Oji-Cree sacred stories, their potential impact within Seven Grandfather Teachings Education and how they figure within the sacred stories themselves. Situating Myself in the Research I write from the perspective of an Anishinawbe1 woman and teacher. As a high school teacher I saw the need for more Anishinawbe programs that teachers could implement within the classroom that help students and teachers learn about various aspects of the culture. I saw the need for the inclusion of a greater number of Anishinawbe texts within the curriculum and curriculum profiles which many, often newer, teachers may use. As a teacher of post secondary students within a teacher education program, I see the need for tools these future teachers could 1 For Ojibwe people—more specifically those from Whitewater Lake where my family lives and has historic and land-based connections and with Eabametoong First Nation of which I am a member—Anishinawbe is the term which we use to identify ourselves.
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