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Art plays a role in community connections and gives a sense of shared humanity. 

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Art plays a role in community connections and gives a sense of shared humanity. 

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Hopi Tribal Pottery

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American Indians of the Southwest began making functional pottery at least 2,000 years ago. The skills needed to make these vessels passed from generation to generation, a continuing tradition.

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Diego Romero
This bowl shows imagery of the strong political injustice. Natives still feel it is relevant to portray in their artwork.

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Her recored experience after visiting basket exhibit.

https://www.saatchiart.com/shantiparks

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Bridging the Gap

Video: Caitlin Mahony consults with Chuna McIntyre, a Yup'ik dancer, on her approach to the conservation.

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Caitlin Mahony: Working at The Met is very special. It's an amazing collection spanning the globe. I work on objects from Africa, the Pacific, and the Americas here.

I have an anthropology background so I've always been interested in how objects are made. Now I get to ask questions about individual objects-how this individual object was made and the life it's lived before coming to this Museum.

Conservators always condition check the objects before they come into the collection. The wood on the Yup'ik mask is driftwood; it's from Alaska. It clearly had had a lot of use in the past, as well as conservation treatments, so part of my job was this close looking and figuring out the story behind the piece.

The appendages are easily inserted and re-inserted, and so I wanted to make sure that things were in the right place and understand what was missing.

These pieces are often connected to living communities. They often have people still around using similar objects so the opportunity came up to work with Chuna McIntyre, a Yup'ik dancer, who dances masks similar to this piece.

Chuna McIntyre: I find many of these masks in many museums around the world in a very sad state. When it was first created, imagine the brilliance. What you are looking at here really is the culmination of thirty centuries of life in our region.

Mahony: Where do the ideas for these come from?

McIntyre: From dreams and from visions of our medicine people. But this particular design has occurred over and over and over again, in some way or another. The seal, which is an essential figure, is emerging out of the kayak. It's what we humans will recognize as an entity emerging out of the piece. This hoop is a representation of the universe out there.

This, at one time, held a lot of appendages. There may have been wing structures and feet. And these fish, I bet you there were more flounders because we're saying to the universe, "Please give us more fish."

Mahony: I don't understand these broken quill bits.

McIntyre: Those probably are kind of like blood spurts.

Mahony: Oh my goodness! That's exactly where they go.

McIntyre: Masks this big would hang from the rafters. A dancer would walk up to it and dance behind it.

Mahony: And these feathers?

McIntyre: Need to stand like this, with the stars being up here.

Mahony: So that when the mask is danced at night, you just see these white plumes.

McIntyre: See these stars!

Mahony: They're stars.

McIntyre: You got it.

And this always escapes people: Why are these little lines here, aside from being decorative? Black is the realm of night, it's the realm of the spirit, things we don't understand and we can't. And why red? Red is our blood, which binds us all. Seemingly simple lines imbued with great historical significance to us Yup'iks.

I feel that whenever we can repair and we know what to do, we should repair them.

Mahony: It helped to have this conversation with Chuna. We were able to know which things were in the wrong position. For example, we had two flippers; one of those was a back flipper and one was a front flipper. When we put it into its proper position, suddenly you see that there's seal coming through this kayak structure and it has a front flipper as it moves forward and a back flipper.

These pieces, often the treatment has to be guided by what the material is telling you-whether it can be held in that way or bent or moved or shifted or humidified, really is informed by what the material is telling you.

The treatment that was attaching the hoop to the mask was failing and it was slightly moved down, which I realized in conversation with Chuna, that this is something that would've encompassed all of it; it's the universe. I shifted the whole hoop. The two sides really slid into place, and you could tell that's exactly where it was meant to sit.

The feathers that are attached to the mask had suffered damage so I was able to use the shaft of a replacement feather, the rakis, as a way to bridge over the breaks and the loss. These small things were making the mask sit more correctly, the pieces were fitting better.

The mask is stable. It's going to be displayed in the American Wing for the first time. That's why it was a great opportunity to connect Chuna with the piece, to connect it to other Yup'ik masks that are being displayed. These things have very extended lives and things change over time. It was a very unique experience. Now, it's in a better position to be understood and interpreted.

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Caitlin Mahony: Working at The Met is very special. It's an amazing collection spanning the globe. I work on objects from Africa, the Pacific, and the Americas here. I have an anthropology background so I've always been interested in how objects are made.

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Artist Helen Hardin of Santa Clara Pueblo in New Mexico (Tewa name: Tsa-sah-wee-eh, or “Little Standing Spruce,” 1943–1984) emerged in the 70s & 80s as a trailblazing example for Native American artists wishing to break from tradition.
Throughout her life, Hardin was faced with cultural challenges created by having a mixed-race background, and she often felt the dualism of living in both worlds.

According to the laws and traditions of that time, Hardin was rejected by the Santa Clara Pueblo elders and forbidden to partake in the traditions of her mother’s culture. She also experienced art-world opposition to the fact that she was both a Native artist and a woman.

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The artwork produced traditionally was for a function, such as Baskets, blankets, clothing. In the mid 1900's art Native American was being produced for the sole purpose of having expressional artwork. The elders of the tribes frowned upon this new movement and many artists were discouraged and shunned for their personal independence outside their cultural and religious beliefs. These artists had a late start in the art world as we imagine it today. Many Native artists find it is easier to find space for their artwork at a gallery that is for Native American art as a whole, rather than as an artist.

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Museums can set the tone for how art is perceived and portrayed for the audience.
Museums are consulting with Natives to know how to preserve and where to put artwork within collections. They are stepping away from the stigma of primitive labeling and recognizing Native American art as beautiful, powerful art without the negative connotations.

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The Native American Graves Protection and Repatriation Act passed in 1990

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The Native American Graves Protection and Repatriation Act passed in 1990

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This act is considered to be one of the most important legislations in the history of the relationship between Native Americans and the US federal government. This provides Native American people and tribes with the right to recover and exercise control over
various cultural items. This is a huge advancement between the Native Americans and museums that held artifacts as their own.

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Although the law is not perfect, it led museums to acknowledge the necessity of consultation with Native communities. That in turn 28 resulted in increased collaborations for other purposes, such as increased inclusion of indigenous perspective in exhibits and collaborations between mainstream museums and an increasing number of tribal museums and cultural centers. Many Native American Nations now have their own museums to present their views of their culture and history. Many of these tribal museums also function as educational centers for Native American youth.
Museums are now presenting collections very differently. Some museums focus on celebrating the extensive history of the Native Americans and the living Native cultures of today. The communities represented in its exhibits are given control over how the artwork and exhibitions are portrayed.

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Native American art hasn’t changed, but museums have - Chip Colwell

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Native American art hasn’t changed, but museums have - Chip Colwell

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"Native Americans have made art for millennia, even if the Euro-American intelligentsia could not understand it as such. The Native repertoire includes representational expressions that parallel Western traditions – 15,000 years of rock art, figurines in clay, wood, and stone. Native Americans have also developed aesthetic frameworks that suffuse every part of their societies: fashion, song, story, poetry, history, ceremony, dance, cuisine, gardening, body language, and more. Today, Native Americans know and embrace their ancient traditions. They don’t need museum curators to designate objects as beautiful and meaningful, to pronounce cultural products as Art." - Chip Colwell

This was a quote about how museums are shifting the focus from Native American Art as 'primitive' and placing art next to other western and European artwork. In many cases before,  Native artwork was shown downstairs, in hallways, or stairways leading to other shows. The placement of art can be just as important as the art itself. This is significant because it shows the audience world the museums have finally started to deem Native artists equal to Euro-American artists.

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Urban, W., Wagoner, J. and Gaither, M., 2019. American Education. 6th ed. New York: Routledge.

Romero, D., 2005. A True Tale. [Ceramic].

Hardin. H. 1980.  The Messenger From the Sun. [Etching].

Parks, S., 2021. Current Exhibitions | Crocker Art Museum. [online] Crocker Art Museum. Available at: <https://www.crockerart.org/exhibitions> [Accessed 21 May 2021].

https://www.nps.gov/subjects/nagpra/index.htm

Colwell, C., 2021. Native American Art Hasn’t changed, But Museums Have. Apollo, [online] Available at: <https://www.apollo-magazine.com/native-american-art-hasnt-changed-museums-have/> [Accessed 28 May 2021].

https://www.metmuseum.org/exhibitions/listings/2018/art-of-native-america-diker-collection

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Native American children received their education early on at home. Children had to master certain skills and gain specific understanding before they could be accepted as mature members of the tribal society.

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Native American children must have knowledge of the land and knowledge of the tribal traditions to be mature members of the tribal society. They learned these through daily life and also through deliberate teachings.

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The immediate family, extended family, and the entire tribe served as teachers. Knowledge was passed from generation to generation. Education was not separate from life. Education was life.

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Traditions were learned from storytelling. Mature members of the tribal society told stories that were passed on for generations.

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The Indian Civilization Act was passed. This authorized funds to groups who were willing to live among and teach the Indians. This led many to found mission schools. Some still operate today.

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The Carlisle Indian Industrial School was the first off-reservation boarding school. The boarding schools offered half day academics and half day vocational programs. They were often run like military schools.

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Richard Henry Pratt was the Carlisle School's founder. His goal was to civilize them through total cultural assimilation. In a speech he said "Kill the Indian in him, and save the man."

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Children outside the Carlisle School right after arriving

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Children outside the Carlisle School right after arriving

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This law was developed to help conserve and develop land as well as extend the right to form business and other organizations.

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This act subsidized education, medical attention, and other services provided by states or territories with Native Americans living within their borders.

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This school opened in 1966 in the Navajo Nation in Arizona as the first Indian-controlled school in modern times.

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In 1968 the first tribal college was founded.

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Congress passed this act declaring a federal policy to preserve, protect, and promote the rights and freedoms of Native Americans to use, practice, and develop their language.

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Bureau of Indian Education schools still run today in the United States. As of 2013 there were 183 BIE schools.

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Urban, W., Wagoner, J. and Gaither, M. 2019. American Education. 6th ed. New York: Routledge

1776-1926: Native American Education History - Partnership With Native Americans. 1776-1926 | Native American Education History - Partnership With Native Americans. (n.d.). http://www.nativepartnership.org/site/PageServer?pagename=PWNA_native_history_1776.

1819-2013: A History of American Indian Education. Education Week. (2020, November 23). https://www.edweek.org/leadership/1819-2013-a-history-of-american-indian-education/2013/12.

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Brianna, or Bri for short, is a friend of mine from when I was serving tables back in high school! She has been a huge part of my life, influencing me to challenge perspectives in more way than one. Mother of 2, Bri is 80% Native American, with her parents being of  Cherokee decent.
I wanted to share some highlights that Bri shared with me about our current educational system and her perspectives and experiences.

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Here's a picture of Bri and I when we first became friends back in 2014!

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Native American Students: Are They Invisible?

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Native American Students: Are They Invisible?

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- The school system has failed the Native American student of today
- An article in the New York Times goes into detail about a specific school in Wolf Point Montana.
- Ruth Fourstar is a student at the local high school and has experienced a lot of neglect regarding her individualized education plan.
- Her plan was designed to help her keep up and prepare for college, but instead, it was just a discipline plan.
-  Native American youth experience neglect throughout US schools. When looking at the achievement gap for education, Native American youth is often overlooked.
- In result of this neglect, Native American youth have the highest rate of suicide compared to white youth, with a rate of 23 per 10,000 as compared to 15 per 10,000 for white students.
- Obama even declared Native American Youths to be in a "state of emergency"
- Then, in 2017, The Tribal Executive Board of Fork Peck filed a civil rights complaint, and asked the board to investigate the tribe neat West Point, Montana, and the school's discrimination of Native students
- The tribes' civil rights complaint states: “The district not only demonstrates indifference to but actually inflames Native students’ vulnerability to self-harm."
- Rob Osborne, the superintendent, wants no involvement with the Native American population at his school.
“I’m not going to get into this Native American thing,” he said. “All I’m trying to do is make sure all our kids have a quality education. And is there some discontent up there? Yeah, probably.” ~ Rob Osborne
- Osborne is like many others in our country, neglecting the rights of the Native American Youth and their needs and accommodations in the classroom.

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- White students are twice as likely as Native American students to take an Advanced Placement class
- Native American youths are over twice as likely to be suspended
- Native Americans score lower on all national demographic tests
- And only 72% of Native American youths are likely to graduate. The lowest of any demographic group!

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- Native American schools are not run by the tribe, they are run by the federal government. Therefore, these schools are teaching deficit curriculum about Native language, history, art, and more.
- For students who attend public schools, their culture is overlooked, and many times, these students are misunderstood in their culture, receiving racist comments and harsh bullying
- There is a lack of skilled teachers to teach at an all Native school
- Lack of funding, which affects native and public schools alike
- Lack of updated technology : 60% of Native Americans lag behind our 21st century standards of technology
- Native schools are in disarray and in need of desperate repairs

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Video On The Native American Suppression 

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Video On The Native American Suppression 

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How The US Suppressed Native American Identity

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Green, E. L., Waldman, A., & Flanagan, A. (2018, December 28). 'I Feel Invisible': Native Students Languish in Public Schools. The New York Times. https://www.nytimes.com/2018/12/28/us/native-american-education.html.

The Issue of Native American Education System Failure. The Red Road. (n.d.). https://theredroad.org/issues/native-american-education/.

telesurenglish. (2016, October 13). How The US Suppressed Native American Identity. YouTube. https://www.youtube.com/watch?v=FFAQBUCNEtg.

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Beverly is a Navajo artist and author from Window Rock, Arizona, which is located in the heart of Navajo nation. Through her stories and works, she promotes the culture and beauty of the Navajo people.

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Beverly Blacksheep, Artwork & Promotional Products Original Artwork, Artist, Paintings, Ceramic Mugs, Tiles, & Prints

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Baby Learns About Colors    (By: Beverly Blacksheep)

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Baby Learns About Colors    (By: Beverly Blacksheep)

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Baby plays outside with members of her family and learns the names of the colors around her.

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Is a Cree-Metis author, illustrator, and artist. She has won several awards for her work. She centers her work around the life and culture of Indigenous Canadians.

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PICTURE BOOKS

WE ALL PLAY: KIMÊTAWÂNAW by Julie Flett, Greystone Kids

ON THE TRAPLINE words by David A. Alexander, Tundra Books
JOHNNY'S PHEASANT words by Cheryl Minnema, Univ Of Minnesota Press BIRDSONG by Julie Flett, Greystone Kids THE GIRL AND THE WOLF words by Katherena Vermette, Theytus Books
WHEN WE WERE ALONE words by David Robertson, High Water Press
BLACK BEAR RED FOX/COLOURS IN CREE A DAY WITH YAYAH words by Nicola Campbell, Tradewind Books WE SANG YOU HOME words by Richard Van Camp, Orca Book Publishers MY HEART FILLS WITH HAPPINESS words by Monique Gray Smith, Orca Book Publshers DRAGONFLY KITES words by Tomson Highway, Fifth House Publishing WE ALL COUNT words by Julie Flett DOLPHINS SOS words by Roy Miki and Slavia Miki, Tradewind Books LITTLE YOU words by Richard Van Camp, Orca Book Publishers WILD BERRIES words by Julie Flett, translations by Earl N. Cook, Simply Read Books PAKWA CHE MENISU words by Julie Flett, translations by Jennifer Thomas OWLS SEE CLEARLY AT NIGHT/A MICHIF ALPHABET words by Julie Flett, translations by Grace (Ledoux) Zoldy & Heather Souter, Simply Read Books , Simply Read Books , Native Northwest words by Julie Flett, Native Northwest
ZOE AND THE FAWN words by Catherine Jameson, Theytus Books

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WE ALL PLAY: KIMÊTAWÂNAW by Julie Flett, Greystone Kids ON THE TRAPLINE words by David A.

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Spend the day picking wild blueberries with Clarence and his grandmother. Meet ant, spider, and fox in a beautiful woodland landscape, the ancestral home of author and illustrator Julie Flett. This book is written in both English and Cree, in particular the n-dialect, also known as Swampy Cree from the Cumberland House area

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Boozhoo:  Come Play With Us (By: Deanna Himango)

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Boozhoo:  Come Play With Us (By: Deanna Himango)

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A bilingual (Ojibwe and English) book full of photographs of Fond du Lac toddlers at play. It features a classroom decorated in tribal specific works of the Chippewa culture.

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A bedtime poem describing the gifts given to a newborn baby by all the animals of the artic. It teaches love and respect of the land and all its animals inhabitants. Kulu is a term of endearment given to Inukitut babies and children.

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Is a Inuktitut Language Specialist and Cultural Arts High School teacher. She is also an author, artist, and Inuit throat singer.

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"Daylight Remains" by Celina Kalluk - English

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On the shores of Resolute Bay Celina Kalluk sings a traditional Inuit song that combines Inuktitut and throat singing

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Johnny, a Native American boy, and his grandma encounter a pheasant (which may or may not be sleeping) on their walk. This book takes a surprising turn in a series of events.

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She was born and raised on the Mille Lacs Reservation in Minnesota. She is an author of children's literature and poetry, and also creates Ojibwe floral beadwork and nature photography.

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in the release of our newly revamped elementary curriculum. Cheryl Minnema (Waabaanakwadookwe) is a member of the Mille Lacs Band of Ojibwe. She was born in Minneapolis and raised on the Mille Lacs Reservation. Along with writing children's literature and poetry, she creates Ojibwe floral beadwork and nature photography. She is the author of AMAZEworks is excited to have Cheryl Minnema's book Hungry Johnny Hungry Johnny as well as Johnny's Pheasant, which won the 23rd annual Charlotte Zolotow Award for outstanding writing in a children's book. Hungry Johnny is a beautiful book that provides windows and mirrors into the American Indian (Ojibwe) experience, multigenerational relationships, and community while giving the reader and child an opportunity to explore the anti-bias education tenets and SEL competencies of empathy & understanding, healthy complex identities, respect across difference, self-awareness, and self-management.

We had the opportunity of getting to know Cheryl through her beautiful responses in this question and answer session:
AW: What inspires you to write children's books - and Hungry Johnny in particular?
CM: I'm inspired by the memories of growing up and not having nice books to identify with. All the books that included "Indians" were only in history books, and we as Indigenous people were misrepresented through stereotypes. The story of Hungry Johnny is inspired by my memories of grandma and my little brother Johnny. We were close with our grandmother and learned a lot of Ojibwe language and traditions from her while growing up. There were many memories of humorous moments that I enjoy building a story around.
AW: What is your hope for children when they read this book?
CM: My hope is for children to have fun hearing/reading the story of Hungry Johnny. I hope non-Native children appreciate the story as they would any other story, yet also gain a modern-day impression of Indigenous people instead of how older books portray us. I hope Native children feel proud to see themselves represented in children's literature.
AW: What is your hope for educators/teachers/caregivers when they read this book.
CW: I hope my stories help diversify children's literature in classrooms and educators/teachers pick up on the interlaced themes that can be used in teaching (respecting elders, appreciation for intergenerational relations, patience, humor, and how family structures are not always just mom, dad, child). I hope caregivers enjoy the characters and the experience of sharing the story is fun.
AW: Are you working on a book now?
CW: Yes, I have additional picture book manuscripts in progress and a young adult novel.
AW: Where can we buy your books and support your work?

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An interview with local author, Cheryl Minnema | AMAZEworks

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AMAZEworks is excited to have Cheryl Minnema's book Hungry Johnny in the release of our newly revamped elementary curriculum. Cheryl Minnema (Waabaanakwadookwe) is a member of the Mille Lacs Band of Ojibwe. She was born in Minneapolis and raised on the Mille Lacs Reservation. Along with writing children's literature and poetry, she creates Ojibwe floral ...

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As Johnny learns from Grandma the ways of the American Indian culture, the readers gets a deeper look inside the Ojibwe experience, the importance of multigenerational relationships, and the concept of community. This books strongly supports and SEL curriculum and the ABAR movement.

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Hiawatha and the Peacemaker (By: Robbie Robertson)

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Hiawatha and the Peacemaker (By: Robbie Robertson)

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An educational and inspirational story of Hiawatha, a strong and articulate Mohawk who was chosen to translate the Peacemakers message about unity for the five warring Iroquois nations during the 14th century. This book offers insight into how the tribes unified, governed themselves, and inspired other nations to do the same.

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Born of Cayuga and Mohawk descent, he is a musical icon turned storyteller. As part of the Iroquois oral tradition, he learned the story of Hiawatha and the Peacemaker. He now shares this same story with readers of all ages.

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He was a Choctaw storyteller and oral performer from Oklahoma City, Oklahoma. He celebrated his Native American heritage and was a proud member of the Choctaw Nation. Majoring in and graduating with a degree in Native American studies, he went on to write three books, including the popular children's book, Chukfi Rabbit's Big Bad Bellyache.

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Chukfi Rabbit's Big Bad Bellyache (By: Greg Rodgers)

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Chukfi Rabbit's Big Bad Bellyache (By: Greg Rodgers)

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A book recognized by the AICL, is full of Choctaw heritage and culture. This children's picture book will tell the tale of Chukfi, a lazy rabbit who avoids helping his friends with a task, but still manages to enjoy the benefits of it when complete. It includes Choctaw words, Choctaw apparel,  and visual clues of Choctaw story.

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She is "a best-selling, award-winning children’s-YA writer, writing teacher, and the author-curator of the Native-centered Heartdrum imprint at HarperCollins Children’s Books." She belongs to the Muscogee Nation and lives in Austin, Texas, which is ancestral land of the Jumanos, Comanche, Sana, and Tonkawa.

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Official site for Cynthia Leitich Smith and her Cynsations blog. New York Times and Publisher's Weekly best-selling award-winning Children's and YA author.

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A native of the northeastern American Indians, he stays firmly rooted in his Native American ancestry through storytelling and writing  adult and children's literature.  His stories share traditional tales of the Adirondacks and the Native peoples of the Northeastern Woodlands. He and his family are actively trying to preserve the Abenaki language, culture, and traditional Native skills.

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Through this historical fiction tale of eleven-year-old Sonny discovering his hidden roots of Native American ancestry and his family's secrets about the unjust treatment of his people in the 1930's. Through this book we learn factual information about the life and treatment of Native Americans near Vermont during the 1950’s and the forced sterilization of the Abenaki and Mohican Indian population that occurred in the 1930’s.

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He was raised on the Fort Apache Indian Reservation in Whiteriver, Arizona. He has ethnic roots from the Tewa, Hopi, and Apache tribes. He held a Bachelor and Masters degree in Secondary Art Education and Printmaking. He used his talents to teach at the local schools, and to help develop a multicultural educational curricula for native school-aged children. He went on to become a well-known author and illustrator of numerous children's books about Native American culture and folktales.

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In this fictional tale about Tony, a multicultural boy, being teased by his friends that he is "not all Indian" and "less than half", Tony sets out on a quest to find meaning in who he is. Through his grandfather and an ear of Indian corn, Tony finds his answers.

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Unstoppable: How Jim Thorpe and the Carlisle Indian School Defeated the Army (By: Art Coulson)

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Unstoppable: How Jim Thorpe and the Carlisle Indian School Defeated the Army (By: Art Coulson)

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In this nonfiction story, we hear the story of an intense football game between the Carlisle Indian Industrial School and the West Point Cadets. The Carlisle Indian's are playing on the field of "the U.S. Military Academy, home to the bigger, stronger, and better-equipped West Points Cadets. Sportswriters billed the game as a sort of rematch, pitting against each other the descendants of U.S. soldiers and American Indians who fought on the battlefield only 20 years earlier. But for lightning-fast Jim Thorpe and the other Carlisle players, that day’s game was about skill, strategy, and determination. Known for unusual formations and innovative plays, the Carlisle squad was out to prove just one thing—that it was the best football team in all the land.”

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Formerly a writer and editor for newspapers and magazines across the United States, Art has since become an author of multiple children's books. Born in Honolulu as a Navy brat, he moved cross-continentally throughout his school career. However, he never lost site of his Cherokee heritage by way of his extended family members who reside on the Cherokee Nation Indian territory in Oklahoma. He still actively participates in some of the rituals and pastimes of the Cherokee Nation, though he and his family live in Minnesota.

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New, expanded edition, illustrated by Carlin Bear Don't Walk, with all-new bonus story, The Energy of The Thunder Beings, illustrated by Roy Boney Jr.
Chooch Tenkiller is reluctant about many things - he is reluctant to be a storyteller like the rest of his family and he is reluctant to spend spring break in the small town of Greasy, Oklahoma, with his Uncle Dynamite. But Chooch will find out there's more than one way to tell a story... (Hardcover, $17)
Also includes Cherokee Life Today by Traci Sorell!

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New, expanded edition, illustrated by Carlin Bear Don't Walk, with all-new bonus story, The Energy of The Thunder Beings, illustrated by Roy Boney Jr. Chooch Tenkiller is reluctant about many things - he is reluctant to be a storyteller like the rest of his family and he is reluctant to spend spring break in the small town of Greasy, Oklahoma, with his Uncle Dynamite.

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Born in South Dakota on the Rosebud Sioux Indian Reservation, he is an enrolled member of the Sicangu Lakota tribe. Raised traditionally by his maternal grandparents, he is skilled in the arts of storytelling and handcrafting bows and arrows. He is wilderness specialist, as well. Joseph is a former high school and college instructor, but now writes full-time. He has many published works, in the forms of novels, short stories, plays, essays, and more. He has also dabbled his feet in television documentaries and media productions.

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Set in present-day on the Rosebud Sioux Reservation, Jimmy McClean, a Lakota boy, learns about his Lakota heritage while on a trip with his grandfather, Nyles High Eagle. He learns about Crazy Horse, a prominent figure of Lakota and American History.

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If I Ever Get Out of Here (By: Eric Gansworth)

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If I Ever Get Out of Here (By: Eric Gansworth)

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Lewis Blake, a gifted Native American student who attends a predominantly white high school, befriends a new student named George. The two bond over rock-and-roll music by Queen and The Beatles. The story depicts their friendship, his life on the reservation, and the challenges he faces at school. Lewis wonders if there will ever be life beyond the reservation.

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He is a writer and visual artist who was raised on the Tuscarora Nation near Niagara Falls, New York. Now, an enrolled member of the Onondaga Nation, he is a professor of English and a published author of a dozen books depicting popular culture and current indigenous life. He has earned many awards and recognition for his works of art and literature.

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The Absolutely True Diary of a Part-time Indian (By: Sherman Alexie)

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The Absolutely True Diary of a Part-time Indian (By: Sherman Alexie)

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In this first person narrative of Sherman's own personal experiences, the main character Arnold Spirit Jr., as known as, Junior, tell of his life growing up on the Spokane Indian Reservation outside of Spokane, Washington. He decides to leave the reservation to attend and all white pubic high school where the only other Indian is the school mascot. He is determined to break away from the life he was destined to live.

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the absolutely true diary of a part time indian

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He is a Native American writer and author born to Salish Indians on the Spokane Indian Reservation, just outside of Spokane, Washington. He has published numerous novels, poetry, short stories, and films on the lives of American Indians. His books spend time examining life on the reservation and the issues faced by Native Americans.

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Back in time when the rural community of Skullyville in Eastern Oklahoma was the capital of Choctaw nation, 11-year-old Rose's life takes a terrifying turn. First, she escapes a fire when her boarding school for Choctaw girls, New Hope Academy, is burned. Then, she grandfather, Amafo, is assaulted by the drunken, white marshal while at a nearby train station in front of the entire city. This only deepens the division between the white settlers, Nahullos, and the Choctaw tribe. Other small town happenings and mystical realism take the community, and the reader, on a ride as they learn the art of forgiveness, love, patience, and resilience.

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The Lesser Blessed (By: Richard Van Camp)

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The Lesser Blessed (By: Richard Van Camp)

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In this fictional, coming of age story, Van Camp details the adventures of Larry Sole, a Dogrib teenager, and Johnny Beck, a suave antagonist who disrupts Larry’s world. Johnny and Larry, along with several other teens, revel in outrageous shenanigans in the small town of Fort Simmer, a fictional place that mirrors Van Camp’s real hometown.

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An Oklahoma Choctaw storyteller and an award-winning author, shares compelling stories of his family's heart-wrenching history. From his grandfather's experience of walking the Trail of Tears, to his grandmother being forced to attend Indian boarding schools in the 1900's, we learn how his homeland and tribal elders were impacted then and some of the effects that still remain today.

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Dreaming in Indian: Contemporary Native American Voices

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Dreaming in Indian: Contemporary Native American Voices

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A collection of articles and art from emerging and established Native artists, writers, photographers, and graphic designers that share thoughtful and heartfelt pieces on their experiences of growing up Indigenous. We learn more about the effect of residential schools, bullies, and uniformity on their lives, yet also hear their hopes and dreams for the future.

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Dreaming in Indian- Contemporary Native American Voices

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Born into the Dene Nation from Fort Smith, Northwest Territories in Canada, he is a Dogrib storyteller, writer, and best selling author. He has published numerous short stories, baby books, children's books, comics, and much more.

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Made with love on the unceded Coast Salish Territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and sə̓lílwətaʔɬ (Tsleil-Waututh) peoples. © Richard Van Camp 2021. All Rights Reserved.

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Urban, W., Wagoner, J. and Gaither, M. 2019. American Education. 6th ed. New York: Routledge

First Nations Development Institute. (n.d.). Native American Children's Literature Recommended Reading List. https://www.firstnations.org/wp-content/uploads/2018/11/Revised_Book_Insert_Web_Version_March_2018.pdf.

#Ownvoices: Kids Books by Indigenous Authors and Illustrators. The Seattle Public Library. (n.d.). https://seattle.bibliocommons.com/list/share/606674457/725561467.

Colours of Us. (2020, November 20). 75+ Native American Children's Books. Colours of Us. https://coloursofus.com/32-native-american-childrens-books/.

Best Books. American Indians in Children's Literature (AICL). (n.d.). https://americanindiansinchildrensliterature.blogspot.com/p/best-books.html.

Native American Authors and Illustrators: Picture Books. Cynthia Leitich Smith. (2021, May 22). https://cynthialeitichsmith.com/lit-resources/read/diversity/native-am/nat-lit/native_lit_picbooks/.

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She is native to Canada, who comes from a mixed race background of Tsilhqot’in, Mexican, Cherokee and Dutch. She was not raised in her First Nations (Tsilhqot'in) family, but has since embraced her heritage and is learning more about it each day. She is well-known blogger, author, journalist, and advocate of aboriginal rights. She is the Co-founder of a lifestyle magazine dedicated to inspire Indigenous youth. Through her works, we get a firsthand look at current day Native issues, pop-culture, and politics.

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Urban, W., Wagoner, J. and Gaither, M. 2019. American Education. 6th ed. New York: Routledge

Home. Blacksheep Originals. (n.d.). https://www.beverlyblacksheep.com/.

Books. Julie Flett. (n.d.). https://www.julieflett.com/books.

Bratulich, J. (2020, September 3). An interview with local author, Cheryl Minnema. AMAZEworks. https://www.amazeworks.org/an-interview-with-local-author-cheryl-minnema/.

- Cynthia Leitich Smith. Cynthia Leitich Smith. (2021, May 22). https://cynthialeitichsmith.com/.

Joseph Bruchac Home Page: Author biography, published works, performance schedule, multimedia videos, music and poetry. (n.d.). https://www.josephbruchac.com/.

Shuffling Toward the Nightland. (n.d.). https://artcoulson.com/.

Eric Gansworth. ericgansworth. (n.d.). https://www.ericgansworth.com/.

Author. Tim Tingle. (n.d.). http://www.timtingle.com/.

Richard Van Camp. (n.d.). https://richardvancamp.com/.