Dancing on Our Turtle's Back
Page 5
It also tells us that there is no limit on Indigenous intellect. Gzhwe Mnidoo dreamt our world into existence. S/he dreamed us into existence, demonstrating that the process of creation—visioning, making, doing—is the most powerful process in the universe. My Creation Story tells me that collectively we have the intellect and creative power to regenerate our cultures, languages and nations. My Creation Story tells me another world is possible and that I have the tools to vision it and bring it into reality. I can’t think of a more powerful narrative.
All of the knowledge that Gzhwe Mnidoo possessed from making every aspect of creation was transferred to us. We can access this vast body of knowledge through our cultures by singing, dancing, fasting, dreaming, visioning, participating in ceremony, apprenticing with Elders, practicing our lifeways and living our knowledge, by watching, listening and reflecting in a good way. Ultimately we access this knowledge through the quality of our relationships, and the personalized contexts we collectively create. The meaning comes from the context and the process, not the content.[27] In another way, Sákéj Youngblood Henderson says the meaning comes from the performance of our culture.[28] Gerald Vizenor says the meaning is in the telling and in the presence, our individual and collective presence—Creation as presence.[29] We are all saying the same thing. The performance of our “theories” and thought is how we collectivize meaning. This is important because our collective truths as a nation and as a culture are continuously generated from those individual truths we carry around inside ourselves. Our collective truths exist in a nest of individual diversity.
A little while later in the story, Original Man—or in my case, Betasmosake—goes searching for answers about both the meaning of life and the meaning of her own existence. She finds that for every question she has, Gzhwe Mnidoo has created a story with the answers. She finds that it is her responsibility to discover those stories and seek out the answers. This is our journey through resurgence. This is our responsibility. We are each responsible for finding our own meanings, for shifting those meanings through time and space, for coming to our own meaningful way of being in the world. We are each responsible for being present in our own lives and engaged in our own realities.
Interpreting Creation Stories within a culturally inherent framework provides several insights into Nishnaabeg thought. First, it is highly personal. All Nishnaabeg people are theorists in the sense that they hold responsibilities to making meaning for their own creation and their own life. This happens in the context of Nishnaabeg Knowledge, their name, their clan, their community, their own personal gifts and attributes and their own life experience. Theory is collectivized through the telling of our stories and the performance of our ceremonies. We begin to teach our children theory immediately, and they begin to teach us theory immediately. In part because they are fresh from the Spiritual world, with a purity of heart and mind that is difficult to find in adults, but also because they tell it like it is, unaware of whether that is considered “appropriate” or not.
In terms of resurgence, our Creation Stories tell us that collectively and intellectually we have access to all of the knowledge we need to untangle ourselves from the near destruction we are draped in, because Gzhwe Mnidoo transferred all of her/his thoughts into our full bodies. It tells us that each of us must live in a good and balanced way—physically, intellectual, emotionally and spiritually—in order to access this knowledge. For me, it took participating in my own Creation Story and the Creation Stories of my children through the ceremonies of pregnancy, birth and mothering that enabled me to understand the deeper meanings of these theories. These ceremonies in my life were profoundly transformative in all aspects of my being, and yet it took seven years to be able to articulate these meanings from within debwewin, meaning truth.
* * *
The term “Indigenous theory” or “Indigenous Thought” is problematic because it reinforces an artificial division between thought and embodiment. For Indigenous Peoples, thought is fully integrated into living, being and performance of our traditions. For a more detailed discussion, see Sákéj Youngblood Henderson’s First Nations Jurisprudence and Aboriginal Rights, Native Law Centre, Saskatoon, SK, 2006). “Indigenous theory” is lived, not just discussed and actualized in the intellectual realm. This will become more apparent in Chapter Five, and I have attempted to use terms from Nishnaabemowin where appropriate. ←
Sákéj Youngblood Henderson, “Postcolonial Ghost Dancing: Diagnosing European Colonialism,” in Marie Battiste, ed., Reclaiming Indigenous Voice and Vision, UBC Press, Vancouver, 2000, 57–77. ←
I have carefully considered the ethical issues around this discussion and I decided to frame this chapter around published versions (both oral, in the form of public talks and written) of these stories by reputable Nishnaabeg Elders. This means that what is available to widely share is a small fraction of these stories and their meanings. Full understanding only occurs after several years of learning these stories in appropriate oral contexts under the guidance of Elders. I have heard the telling of various versions and parts of this Creation Story over the past fifteen years from a variety of sources including Robin Greene-ba, Edna Manitowabi and Doug Williams. Most recently, Jim Dumont told a similar version to the one I am using for my purposes here at the Elders Conference on February 20, 2010, at Trent University in Peterborough, ON. I have also heard Nishnaabeg educator Nicole Bell retell several aspects of these stories in our local language nest, Wii-Kendimiing Nishnaabemowin Saswaansing. I have relied on these oral versions for the purposes of this book, but they are also similar to Benton-Banai’s telling in the Mishomis Book. ←
Aandisokaanan are traditional, sacred stories. See Wendy Makoons Geniusz, Our Knowledge is Not Primitive: Decolonizing Botanical Anishinaabe Teachings, Syracuse University Press, Syracuse NY, 2009, 12. ←
There are both Four Hill and Seven Hill versions of this concept in Nishnaabeg philosophy. ←
Bell, N., E. Conroy, K. Wheatley, B. Michaud, C. Maracle, J. Pelletier, B. Filion, B. Johnson, “Anishinaabe Creation Story” in The Ways of Knowing Guide, Ways of Knowing Partnership Turtle Island Conservation, Toronto Zoo, Toronto Ontario, 2010, 32, available online at torontozoo.travel/pdfs/tic/Stewardship_Guide.pdf. The story present in The Ways of Knowing Guide is based on the Teachings of the Seven Fires of Creation by Edward Benton-Banai, rendered as a poem entitled “The Seven Fires of the Ojibway Nation, originally published in The Sounding Voice, Indian Country Press, 1978, and found in print, page 20 of First Nations Peoples, 2nd Edition by Pamela Williamson and John Roberts, published by Emond Montgomery, Toronto, 2004. ←
Neal McLeod, Cree Narrative Memory: From Treaties to Contemporary Times, Purich Press, Saskatoon SK, 2007, 100. ←
I use this term in the sense of presence and engagement, rather than a performance that is aimed at entertaining the audience. ←
Basil Johnston, Edward Benton-Banai, Doug Williams, Jim Dumont, Edna Manitowabi, Thomas Peacock and Marlene Wisuri, have published these tenets in print form, digital form or have discussed these tenets in oral forms in public. Following this led, I do not discuss our Creation Story further than the boundary they have established. ←
Bell, N., E. Conroy, K. Wheatley, B. Michaud, C. Maracle, J. Pelletier, B. Filion, B. Johnson, “Anishinaabe Creation Story” in The Ways of Knowing Guide, Ways of Knowing Partnership Turtle Island Conservation, Toronto Zoo, Toronto Ontario, 2010, pages 25–32, available online at torontozoo.travel/pdfs/tic/Stewardship_Guide.pdf. The story present in The Ways of Knowing Guide is based on the Teachings of the Seven Fires of Creation by Edward Benton-Banai, rendered as a poem entitled “The Seven Fires of the Ojibway Nation, originally published in The Sounding Voice, Indian Country Press, 1978, and found in print, pages 17–20 of First Nations Peoples, 2nd Edition by Pamela Williamson and John Roberts, published by Emond Montgomery, Toronto, 2004. ←
The following section was written by Edna Manitowabi and is printed here with her permission, March 18
, 2011, Peterborough, ON. ←
Asinykwe means “Rock Woman.” Wiiwemikong refers to Wikwemikong Unceded Indian Reserve. Mnidoo Minising or “Spirit Island” is the Nishnaabeg name for Manitoulin Island, Ontario. Gaazongii means “Grizzly Bear.” Naakwegiizigokwe means “Half Day Women.” ←
Oshki-Nishnaabekwe means “New Woman.” ←
Ogichitaa is a “sacred or holy woman.” ←
This is a reference to a visit by Nokomis Giizis, Grandmother Moon, and is a way of talking about a young woman’s first menstrual cycle. ←
Kobaade means Great Grandmother and refers to making a link from one generation to another. We are not to keep the teachings, but to pass them on. ←
There is no gender associated with Gzhwe Mnidoo and it can be translated as life force, life essence, creator, the great mystery or “that which we do not understand.” ←
birds ←
I am using the word theory here to mean entities, explanations and engagements that bring about meaning to both the individual and collective. ←
Dibaajimowinan are personal stories, teachings, ordinary stories, narratives and histories. See Wendy Makoons Geniusz, Our Knowledge is Not Primitive: Decolonizing Botanical Anishinaabe Teachings, Syracuse University Press, Syracuse NY, 2009, 12. It is my understanding there is not a uniform boundary between the two, or that different Elders and different regions have specific teachings and protocols around which stories are considered sacred and which are personal stories, teachings, ordinary stories, narratives and histories. There is a relationship between the Aandisokaanan and Dibaajimowinan that to me, is like an echo, not a dichotomy. ←
Neal McLeod, Cree Narrative Memory: From Treaties to Contemporary Times, Purich Press, Saskatoon SK, 2007, 98. ←
Doug Williams noted that while the terms “God” or “Creator” might invoke feelings of fear, punishment or authority, Gzhwe Mnidoo invokes one of awe, warmth, love, total acceptance, and protection. Gzhwe Mnidoo is the one who can see you and accepts you completely. Waawshkigaamagki (Curve Lake First Nation), July 15, 2010. ←
This teaching was reaffirmed to me by Jim Dumont, Elders Conference, Trent University, Peterborough, ON, February 20, 2010; and Edna Manitoba, Guest Lecture indg 2601, Trent University, September 23, 2010. ←
This teaching was reaffirmed to me by Jim Dumont, Elders Conference, Trent University, Peterborough, ON, February 20, 2010; and Edna Manitoba, Guest Lecture indg 2601, Trent University, September 23, 2010. ←
This teaching was reaffirmed to me by Jim Dumont, Elders Conference, Trent University, Peterborough, ON, February 20, 2010; and Edna Manitoba, Guest Lecture indg 2601, Trent University, September 23, 2010. ←
It is my understanding through many conversations with Edna Manitowabi that the story of Original Man and his trip around the earth visiting all aspects of Creation reveals many of our Nishnaabeg ways of knowing. Original Man is our first teacher, or first researcher. Original Man learns about the world by engaging with it. He learns by visiting, observing, reflecting, naming, singing, dancing, listening, learning-by-doing, experimentation, consulting with Elders, story-telling and by engaging in ceremony. For a print version of this story, “Original Man Walks the Earth”, see pages 6-12 in Edward Benton-Banai, The Mishomis Book: The Voice of the Ojibway, Indian Country Communications, Hayward WI, 1988. Also see Leanne Simpson, “Advancing an Indigenist Agenda: Promoting Indigenous Intellectual Traditions in Research,” in Jill Oakes, Rick Riewe, Rachel ten Bruggencate and Ainsly Cogswell, eds., Sacred Landscapes, Aboriginal Issues Press, University of Manitoba, Winnipeg, MB, 2009, 141–54. ←
Leanne Simpson, The Construction of Traditional Ecological Knowledge: Issues, Implications and Insights, Unpublished PhD Dissertation, University of Manitoba, Winnipeg, MB, 1999. ←
Sákéj Youngblood Henderson, First Nations Jurisprudence and Aboriginal Rights, Native Law Centre, Saskatoon, SK, 2006. ←
Gerald Vizenor and Robert Houle, Pine Tree Lecture, Trent University, Peterborough, ON, February 23, 2010; and Gerald Vizenor, Fugitive Poses: Native American Indian Scenes of Absence and Presence, University of Nebraska Press, Lincoln, NB, 1998. ←
Gdi-nweninaa: Our Sound, Our Voice
Note on chapter title.[1]
Indigenous languages carry rich meanings, theory and philosophies within their structures. Our languages house our teachings and bring the practice of those teachings to life in our daily existence. The process of speaking Nishnaabemowin, then, inherently communicates certain values and philosophies that are important to Nishnaabeg being. Breaking down words into the “little words” they are composed of often reveals a deeper conceptual—yet widely held—meaning. This part of the language and language learning holds a wealth of knowledge and inspiration in terms of Aanji Maajitaawin. That is because this “learning through the language” provides those who are not fluent with a window through which to experience the complexities and depth of our culture. The purpose of this chapter is to use this approach to deepen our understandings of decolonization, assimilation, resistance and resurgence from within Nishnaabeg perspectives.
Biskaabiiyang
Biskaabiiyangis a verb that means to look back.[2] The Seventh Gener-ation Institute, located in the northwestern part of Anishinabek territory, has been working with several Elders to develop an Anishinabek process for their ma program in Indigenous thought. They call the first part of their process Biskaabiiyang. In this context it means “returning to ourselves,” a process by which Anishinabek researchers and scholars can evaluate how they have been impacted by colonialism in all realms of being.[3] Conceptually, they are using Biskaabiiyang in the same way Indigenous scholars have been using the term “decolonizing”—to pick up the things we were forced to leave behind, whether they are songs, dances, values, or philosophies, and bring them into existence in the future. Wendy Makoons Geniusz, an Anishinaabe scholar from Wisconsin, uses this approach in her PhD dissertation research and explains:
Biskaabiiyang research is a process through which Anishinaabe researchers evaluate how they personally have been affected by colonization, rid themselves of the emotional and psychological baggage they carry from this process, and then return to their ancestral traditions … When using Biskaabiiyang methodologies, an individual must recognize and deal with this negative kind of thinking before conducting research. This is the only way to conduct new research that will be beneficial to the continuation of anishnaabe-gikendaasowin (knowledge, information, and the synthesis of personal teachings) and anishnaabeg-izhitwaawin (anishnaabe culture, teachings, customs, history).
The foundations of Biskaabiiyang approaches to research are derived from the principles of anishnaabe-inaadiwiwin (anishnaabe psychology and way of being). These principles are gaa-izhi-zhawendaagoziyang: that which was giving to us in a loving way (by the spirits). They have developed over generations and have resulted in a wealth of aadizookaan (traditional legends, ceremonies); dibaajimowin (teachings, ordinary stories, personal stories, histories) and anishnaabe izhitwaawin(anishnaabe culture, teachings, customs, history). Through Biskaabiiyang methodology, this research goes back to the principles of anishnaabe-inaadiziwin in order to decolonize or reclaim anishnaabe-gikendaasowin.[4]
The power of Biskaabiiyang as a process is that once engaged in this process, it becomes obvious and necessary to think of Biskaabiiyang not just in relation to research, but also in relation to how we live our lives as Nishnaabeg people. In our current occupied state, it becomes important to carry the essence of Biskaabiiyang with me through my daily life; it is not something that I can do at the beginning of a project and then forget. We are still enmeshed in the insidious nature of colonialism and neo-colonialism, and this means that I need to keep Biskaabiiyang present in my mind when I am making my way through the world. Biskaabiiyang is a process by which we can figure out how to live as Nishnaabeg in the contemporary world and use our gaa-izhi-zhawendaagoziyang to build a Nishnaabeg renaissance.
Biskaabiiyang has to
be an ongoing individual process. However, we cannot effectively engage in Biskaabiiyang in an isolated fashion. As communities of people, we need to support each other in this process and work together to stitch our cultures and lifeways back together. In this way, Biskaabiiyang is both an individual and collective process that we must continually replicate. This is why the larger critical Indigenous intellectual community is important. The contestation of imperial domination becomes our collective and individual starting point, and the lens through which to view our own liberation. As demonstrated in the coming chapters, the personal is always embedded intrinsically into our thought ways and theories; and it is always broadly interpreted within the nest of the collective.
Within Nishnaabeg theoretical foundations, Biskaabiiyang does not literally mean returning to the past, but rather re-creating the cultural and political flourishment of the past to support the well-being of our contemporary citizens. It means reclaiming the fluidity around our traditions, not the rigidity of colonialism; it means encouraging the self-determination of individuals within our national and community-based contexts; and it means re-creating an artistic and intellectual renaissance within a larger political and cultural resurgence. When I asked my Michi Saagiig Nishnaabeg Elder Gdigaa Migizi about Biskaabiiyang, the term immediately resonated with him when English terms such as “resistance” and “resurgence” did not. He explained Biskaabiiyang in terms of a “new emergence,”[5] noting that he lives his own interpretations of the teachings he received from his Elders, just as my generation has the responsibility of finding meaning in the teachings our Elders share with us.