A Report on the Case of Anna Mae Pictou Aquash
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29 WP30 Craig Proofed JR
#30 2018 ISSN 1715-0094 Craig, C. (2018). John Trudell and the Spirit of Life. Workplace, 30, 394-404. CHRISTOPHER CRAIG JOHN TRUDELL AND THE SPIRIT OF LIFE “My ride showed up.” —Posted to John Trudell’s Facebook page just after he passed. The Santee Sioux activist, political philosopher, and poet/musician John Trudell died of cancer on December 8th, 2015. I was sitting in my office when I read the news. His death had been reported erroneously four days before, so it didn’t come as a complete surprise. Nevertheless, I experienced the same kind of sadness I felt when John Lennon died, as though, somehow, I had lost someone close to me even though we had never met. Trudell’s work had inspired me. He fought fearlessly for tribal rights. He also reached across class, gender, and racial lines in order to draw public attention to the oppressive treatment of indigenous people as a symptom of a larger ruling class imperative to colonize the western world. In numerous poems, speeches, and songs, he argues that western society has lost touch with what he calls the “spirit of life.” Industrial capitalism has led to the fall of western society’s natural relationship to the earth. The value of human life no longer resides in the reality that we are made of the earth. Instead it depends on advancing the interests of the very historical forces that had perpetrated our “spiritual genocide.” This learned disrespect for the earth cuts us off from the ancestral knowledge of what it means to be a human being. -
The Seminole Tribune Interviews John Trudell
www.seminoletribe.com Volume XXVII • Number 13 September 21, 2006 What’s New Photo Exhibit ‘A Native View’ Opens Newly Crowned Inside Seminole Tribal Citizens’ Work on Display at Okalee Royalty Debut By Felix DoBosz HOLLYWOOD— On Sept. at Schemitzun 11, the new “A Native View” photo- graphic exhibit opened to the public at By Iretta Tiger the Ah-Tah-Thi-Ki Museum at Okalee NORTH STONINGTON, CT — Village. The photographic exhibit fea- For the Seminole Tribe, the Schemitzun tured approximately 60 pieces of Pow wow, the Pequot Tribe’s annual pow assorted black and white and colored wow, has become an important first step Hurricane Preparedness photo images. for the newly crowned Miss Seminole and “We have a brand new exhibit Junior Miss Seminole. Each year this is Meeting opening here today, photographs put where the two ladies make their debut at Page 3 together by myself, Mr. Oliver this nationally known pow wow. Wareham and Ms. Corinne Zepeda, so you’ll see various photographs of peo- ple, places, things, events, we have a little bit of everything,” Brian Zepeda, curator, community outreach coordina- tor and citizen of the Seminole Tribe of Florida, for the Ah-Tha-Thi-Ki Museum, said. “We even have some of the Kissimmee Slough from Big Cypress, we have pictures from Taos, New Mexico, and we also have tribal members that are in the photographs, so we have a little bit for everybody. Friend of Tribe, John “These photos were taken over the process of present day and going Abney, Honored back about five or six years. -
RUMBLE: the Indians Who Rocked the World Premieres on Independent Lens Monday, January 21, 2019 on PBS and PBS.Org
FOR IMMEDIATE RELEASE CONTACT Tanya Leverault, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom RUMBLE: The Indians Who Rocked the World Premieres on Independent Lens Monday, January 21, 2019 on PBS and PBS.org An Electrifying Look at the Native American Influence in Popular Music Despite Attempts to Ban, Censor and Erase Indian Culture (San Francisco, CA) — A musical celebration of how Native American musicians transformed blues, jazz and rock, RUMBLE: The Indians Who Rocked the World, will premiere on Independent Lens Monday, January 21, 2019, 10:00-11:30 PM ET (check local listings) on PBS, and will also be available simultaneously for online streaming at pbs.org. As the film reveals, early pioneers of the blues such as Charley Patton had Native as well as African American roots, and one of the first and most influential jazz singers, Mildred Bailey, had a voice trained on Native American songs. As the folk rock era took hold in the ‘60s and ‘70s, Native Americans such Link Wray. as Robbie Robertson and Buffy Sainte-Marie helped to define Credit: Bruce Steinberg, courtesy of its evolution, and Native guitarists and drummers like Link LinkWray.com Wray, Jimi Hendrix, Jesse Ed Davis and Randy Castillo forever changed the trajectory of rock and roll. The film is directed by Catherine Bainbridge (Reel Injun), co-directed by Alfonso Maiorana, executive produced by legendary rock guitarist Stevie Salas (Apache) and Tim Johnson (Mohawk), and produced by Christina Fon, VP and Executive Producer of Rezolution Pictures. -
The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, & Student Research, Department of History History, Department of 7-2009 Framing Red Power: The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media Jason A. Heppler Follow this and additional works at: https://digitalcommons.unl.edu/historydiss Part of the History Commons Heppler, Jason A., "Framing Red Power: The American Indian Movement, the Trail of Broken Treaties, and the Politics of Media" (2009). Dissertations, Theses, & Student Research, Department of History. 21. https://digitalcommons.unl.edu/historydiss/21 This Article is brought to you for free and open access by the History, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, & Student Research, Department of History by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. FRAMING RED POWER: THE AMERICAN INDIAN MOVEMENT, THE TRAIL OF BROKEN TREATIES, AND THE POLITICS OF MEDIA By Jason A. Heppler A Thesis Presented to the Faculty The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: History Under the Supervision of Professor John R. Wunder Lincoln, Nebraska July 2009 2 FRAMING RED POWER: THE AMERICAN INDIAN MOVEMENT, THE TRAIL OF BROKEN TREATIES, AND THE POLITICS OF MEDIA Jason A. Heppler, M.A. University of Nebraska, 2009 Adviser: John R. Wunder This study explores the relationship between the American Indian Movement (AIM), national newspaper and television media, and the Trail of Broken Treaties caravan in November 1972 and the way media framed, or interpreted, AIM's motivations and objectives. -
Guilty Until Proven Innocent: Leonard Peltier and the Sublegal System Joseph C
Boston College Law Review Volume 34 Article 6 Issue 4 Number 4 7-1-1993 Guilty Until Proven Innocent: Leonard Peltier and the Sublegal System Joseph C. Hogan III Follow this and additional works at: http://lawdigitalcommons.bc.edu/bclr Part of the Criminal Law Commons, and the Indian and Aboriginal Law Commons Recommended Citation Joseph C. Hogan III, Guilty Until Proven Innocent: Leonard Peltier and the Sublegal System, 34 B.C.L. Rev. 901 (1993), http://lawdigitalcommons.bc.edu/bclr/vol34/iss4/6 This Notes is brought to you for free and open access by the Law Journals at Digital Commons @ Boston College Law School. It has been accepted for inclusion in Boston College Law Review by an authorized editor of Digital Commons @ Boston College Law School. For more information, please contact [email protected]. GUILTY UNTIL PROVEN INNOCENT: LEONARD PELTIER AND THE SUBLEGAL SYSTEM You are about to perform an act which will close one mare chapter in the history of the failure of the United States to do justice in the case of a Native American. After centuries of murder . could I have been wise in thinking that you would break that tradition and commit an act of justice?' At 11:00 a.m. on June 26, 1975, FBI Special Agents Jack Coler and Ronald Williams entered the Jumping Bull compound in Oglala, a traditional Native American community on the Pine Ridge reservation in South Dakota. 2 Coler and Williams were in search of an Indian wanted on charges of assault and thefts Within the next hour, a shoot-out occurred in which both Coler and Williams -
Trailblazing Native Journalist Paul Demain to Speak in Skokie November 10 for Mitchell Museum Event
Mitchell Museum of the American Indian Press contact: Nat Silverman 3001 Central Street. Nathan J. Silverman Co. Evanston, IL 60201 1830 Sherman Ave., Suite 401 (847) 475-1030 Evanston, IL 60201-3774 www.mitchellmuseum.org Phone (847) 328-4292 Fax (847) 328-4317 Email: [email protected] News For Approval Attn: Arts & Entertainment/Lectures Trailblazing Native Journalist Paul DeMain to Speak in Skokie November 10 for Mitchell Museum Event Award-Winning Investigative Reporter Will Analyze Power of Native Voters in National and State Elections Editor of ‘News from Indian Country’ to Deliver Museum’s Annual Montezuma Lecture EVANSTON, Ill., October 25, 2012 — American Indian journalist, entrepreneur, and political activist Paul DeMain of Hayward, Wis., will discuss what he sees as Native America’s growing impact on national and local politics and public policy at a lecture organized by the Mitchell Museum of the American Indian, to be held at 3:30 p.m. on Saturday, November 10, in the Petty Auditorium of the Skokie Public Library, 5215 Oakton Street, Skokie, Ill. An award-winning investigative reporter of Oneida and Ojibwe descent, DeMain will deliver the Mitchell Museum’s third annual Dr. Carlos Montezuma Honorary Lecture. The title of his talk is “American Indians and the Tipping Point: No Longer a Miner’s Canary.” “Native America has a bigger seat at all the tables now,” DeMain said in a telephone interview with the Mitchell Museum. “Tribes are something to be reckoned with.” In some states, counties, and districts, Native votes can determine the outcome of close elections, he said. DeMain said he can recall when political campaigns used to ignore Indian reservations. -
'Ask No One for Your Sovereignty': John Trudell and the Affirmations of Alcatraz
‘ASK NO ONE FOR YOUR SOVEREIGNTY’: JOHN TRUDELL AND THE AFFIRMATIONS OF ALCATRAZ David L. Moore University of Montana Floating amid the dances of the flower children; wafting in the atmosphere of patchouli oil, sandalwood incense, and marijuana; braided into the long hair and other EuroAmerican projections and reworked stereotypes of American Indian life ways–a global political reorientation was taking shape that deepens the superficial ideals of the Woodstock Years. As the 60s and 70s revalorized what had been the shame of Native American identity into a badge of honor, and as Native American artists, intellectuals, and activists rode that popular wave to reclaim their voices, international Indigenous movements coincided to make those voices echo around the world. The rising discourse of Indigenous sovereignty worldwide is proposing to restructure modern notions of the nation-state, a prospect that many 60s progressives might have longed for, but few envisioned. (See Niezen, The Origins of Indigenism; and Bruyneel, The Third Space of Sovereignty). The 2007 passage of the UN Declaration on the Rights of Indigenous Peoples was a step in the codification of that discourse. Beginning in 1969, Santee Sioux artist and activist, John Trudell, made an important contribution to those voices and to that emerging new structure. During the nineteen-month occupation of Alcatraz, or what Acoma poet Simon Ortiz calls the “liberation” of Alcatraz, launched in November 1969, Pacifica radio station KPFA-FM in Berkeley, California, broadcast monologues and interviews with John Trudell and others from the island. As Robert Warrior and Paul Chaat Smith write in their history of the period, “WBAI-FM in New York and KPFK-FM in Lost Angeles, stations with similar leftist politics as KPFA, also carried the program, popularly called ‘Radio Free Alcatraz’” (Hurricane 71). -
A NATIONAL MUSEUM of the Summer 2000 Celebrating Native
AmencanA NATIONAL MUSEUM of the Indiant ~ti • Summer 2000 Celebrating Native Traditions & Communities INDIAN JOURNALISM • THE JOHN WAYNE CLY STORY • COYOTE ON THE POWWOW TRAIL t 1 Smithsonian ^ National Museum of the American Indian DAVID S AIT Y JEWELRY 3s P I! t£ ' A A :% .p^i t* A LJ The largest and bestfôfltikfyi of Native American jewelry in the country, somçjmhem museum quality, featuring never-before-seen immrpieces of Hopi, Zuni and Navajo amsans. This collection has been featured in every major media including Vogue, Elle, Glamour, rr_ Harper’s Bazaar, Mirabella, •f Arnica, Mademoiselle, W V> Smithsonian Magazine, SHBSF - Th'NwYork N ± 1R6%V DIScbuNTDISCOUNT ^ WC ^ 450 Park Ave >XW\0 MEMBERS------------- AND television stations (bet. 56th/57th Sts) ' SUPPORTERS OF THE nationwide. 212.223.8125 NATIONAL MUSEUM OF THE © CONTENTS Volume 1, Number 3, Summer 2000 10 Read\ tor Pa^JG One -MarkTrahantdescribeshowIndianjoumalistsHkeMattKelley, Kara Briggs, and Jodi Rave make a difference in today's newsrooms. Trahant says today's Native journalists build on the tradition of storytelling that began with Elias Boudinot, founder of the 19th century newspaper, the Cherokee Phoenix. 1 ^ WOVCn I hrOU^h Slone - Ben Winton describes how a man from Bolivia uses stone to connect with Seneca people in upstate New York. Stone has spiritual and utilitarian significance to indigeneous cultures across the Western Hemisphere. Roberto Ysais photographs Jose Montano and people from the Tonawanda Seneca Nation as they meet in upstate New York to build an apacheta, a Qulla cultural icon. 18 1 tie John Wayne Gly Story - John Wayne Cly's dream came true when he found his family after more than 40 years of separation. -
Land of the Red Giants of Ixtlan
LAND OF THE RED GIANTS OF IXTLAN Chapter 19 - Anna Mae & Leonard: "In video-theatre 'FREE PELTIER'" The funniest thing I ever saw was a little old lady laughing so hard at my play that she fell off her folding chair and was actually rolling around on the floor choking. The situation was nearly tragic, about like the play, as her sons or granddaughters frantically pounded her on the back to get her breathing again, while we on stage had to stop our own crazy antics for a minute to watch the performance in the audience. Reality blurred until I never did know when we were doing the play and when I was living it out on the streets, or in the Oyate Community Center in the Lakota Homes ghetto where we had set up our improvised excuse for theatre. Just when they had gotten the old Lakota Gramma back to some form of normalcy and back in her chair, Jay Hart, a handsome Mohawk woman who was playing Custer in a grotesque mask with long blonde hair, stepped across the borders between art and gender and snuck around behind the Gramma and whispered, "Are you dead yet, Ciye?" Upon which the poor old lady really lost it and screamed and fell off her chair again! Chaos erupted, as all of us poured off the commedia dell'arte platform and chased the evil whiteman around the room and out into the street. Kids and dogs chased after us and we just kept going with it, running around the parking lot as the audience ran after us, and passing cars stopped to gape in wonder at the surreal scene of clowns and devils in fantastic costumes screaming, falling down, throwing confetti-bullets like Jerry Lewis or Harpo Marx wrecking the fabric of society. -
DISCUSSION GUIDE Table of Contents Using This Guide 3
DISCUSSION GUIDE Table of Contents Using This Guide 3 Indie Lens Pop-Up We Are All Neighbors Theme 4 About the Film 5 From the Filmmakers 6 Artist Profiles 8 Background Information 13 What is Indigenous Music? 13 Exclusion and Expulsion 14 Music and Cultural Resilience 15 The Ghost Dance and Wounded Knee 16 Native and African American Alliances 17 Discussion 18 Conversation Starter 18 Post-Screening Discussion Questions 19 Engagement Ideas 20 Potential Partners and Speakers 20 Activities Beyond a Panel 21 Additional Resources 22 Credits 23 DISCUSSION GUIDE RUMBLE: THE INDIANS WHO ROCKED THE WORLD 2 USING THIS GUIDE This discussion guide is a resource to support organizations hosting Indie Lens Pop-Up events for the film RUMBLE: The Indians Who Rocked the World. Developed primarily for facilitators, this guide offers background information and engagement strategies designed to raise awareness and foster dialogue about the integral part Native Americans have played in the evolution of popular music. Viewers of the film can use this guide to think more deeply about the discussion started in RUMBLE and find ways to participate in the national conversation. RUMBLE: The Indians Who Rocked the World is an invitation to come together with neighbors and pay tribute to Native influences on America’s most celebrated music. The film makes its PBS broadcast premiere on the Independent Lens series on January 21, 2019. Indie Lens Pop-Up is a neighborhood series that brings people together for film screenings and community-driven conversations. Featuring documentaries seen on PBS’s Independent Lens, Indie Lens Pop-Up draws local residents, leaders, and organizations together to discuss what matters most, from newsworthy topics to family and relationships. -
The American Indian Movement's Strategic Choices
The American Indian Movement’s Strategic Choices: Environmental Limitations and Organizational Outcomes Timothy Baylor Lock Haven University of Pennsylvania The roots of modern Indian protest reach backward in history and forward into the future. Modern protest developed out of specific historical contingencies. For many protesters, the immediate concerns of housing shortages, police brutality, poverty, unemployment, and similar issues existed along side other issues such as identity and status within the American mosaic. Did Indians represent just another ethnic group bound to be assimilated by American society, or did Indians embody something different and far more significant – nations? As modern Indian protest escalated, the question increased in salience. Nancy Lurie explained that “Indian distinctiveness ... stressed culturally and historically” included an “emphasis on treaties rather than judicial recourse in obtaining perceived rights of Indians,” “an attitude that all other Americans are ‘immigrants,’” and that Indians as the “‘First Americans’ deserve special consideration (1972:308). In this sense, Native Americans were different than Blacks and other ethnic minority groups; they were the only ethnic group the U.S. Supreme Court had defined as “domestic dependent nations” in Cherokee Nation v. Georgia (1831). Just what this meant and the degree of tribal sovereignty this status conveys has continued to be a matter of political and judicial wrangling. Regardless of the Indians’ status as “domestic dependent nations,” the overall American policy was one of assimilation in which reservations were seen as a temporary necessity until Indians had gained the necessary cultural, educational, and technical levels of competence necessary to participate in American life. Central to accomplishing this end was the boarding school system. -
Ward Churchill Becomes Lightning Rod for 911 Grief, by Paul Wolf With
Ward Churchill becomes lightning rod for 911 grief by Paul Wolf, 3 Feb 2005 Date: Thu, 03 Feb 2005 12:26:35 -0500 From: Paul Wolf <[email protected]> Subject: Ward Churchill becomes lightning rod for 911 grief Introduction 1. Churchill a lightning rod 2. Professor Is Assailed by Legislature and Vandals 3. American Indian Movement Press Release 4. CU prof affirms Indian heritage 5. New Republic Calls for Death and Torture of Arundhati Roy and Stan Goff 6. Graham Defense Update, Feb. 2, 2005 7. Did September 11 Cause a Constitutional Paradigm Shift? Introduction A media frenzy has developed surrounding a 2001 Ward Churchill article entitled "Some People Push Back: On the Justice Of Roosting Chickens," in which Dr. Churchill compares the World Trade Center victims to nazis, and suggests that if there was any better way to punish them for their complicity in the 1991 gulf war, he’d like to hear about it. This was indeed a foolish and unscholarly theme for an essay, dismissing the distinction between civilians and combatants set out in the Geneva Conventions half a century ago. By Churchill’s logic, his own death in such an attack would be justified. But that’s beside the point. Churchill’s article was obviously intended to be offensive. What’s amazing is the ability of Bill O’Reilly to pull this scandal out of the dustbin. It must have been a slow news day at Fox for Mr O’Reilly to have seized on this three year old article. O’Reilly is an expert character assassin, and should be held accountable in a court of law for the death threats and other harms Churchill has suffered.