Somebody at a talk I was giving once said to me "the name is bad. I get the name thing. Nobody wants to be called that kind of name. But the mascots. Mascots make us feel really good about our teams. Mascots are a source of pride."
And then they waited for a response.
I smiled. "Sure," I said. "Some mascots may be a source of pride. And some mascots may be a source of many questions. But Native mascots do not make people feel a great sense of pride, they mostly just confirm that we are still comfortable with racist caricatures and that when we normalize them and say they are harmless, that just allows these images to keep saying 'ha ha, we think of your group as something beneath us.'"
"How so?" And this person was generally interested.
"Well," I said. "Let me tell you about this exercise I sometimes do in my classes..."
In Which I Show How Racist Chief Wahoo Really Is or Adventures In Teaching About Mascots
In my classes we often talk about mascots and imagery and representation. I assign students articles like this one, this one, and this one. And they usually watch a video about the personal nature of the mascot debate that happened at Stanford University (featuring my Mama). As part of our class lecture I feature a portion where we talk about stereotypical/racist imagery and discuss how to critically analyze this imagery for the story it is trying to tell. I'm trying to get students to understand that it is not just what the image looks like but also the argument that the image is trying to make. What is the story that you walk away with? What is the message that the image is trying to send?
I am often surprised at the visceral response that student’s have to racist portrayals of other cultures and it takes me a moment not to second guess my process of confronting them with these racist images as a way to show them how desensitized they are to racist portrayals of Native people. I can tell many of them are uncomfortable, very uncomfortable actually. They whisper to each other trying to figure out what my angle is and more than one often give me the side eye. I’m guessing they are convinced that my use of certain cartoons is some sort of tacit approval of the cartoon. I can see their heads spinning -- who googles stuff like that? And what does one have to google to find such a derogatory, ignorant cartoon for use in a class? Is this how she spends her spare time?
Turns out – “racist Asian caricature” will work just fine.
I wanted to find caricatures that were reminiscent of Chief Wahoo to lead them to the point where they can start to recognize how this "othering” of people in our cultural imagination is played out in popular stereotypes. I can’t tell you how many times I have gotten the question “aren’t some stereotypes true?” And my favorite answer is “does it matter?” Stereotypes are built on a foundation of lies, half truths, biased interpretations etc. meant to support and justify colonial occupation. Stereotypes are there to influence how we see the world so that we are okay with what our settler-colonial state did to formulate this world.
If settler colonialism is the dark side, then stereotypes are the red light-saber. Also, Dan Snyder is General whatever that guy’s name was who was a general and had some dying heart and was actually a robot and Fox News is the Empire which would make Bill O’Reilly some kind of Darth something (Maul? Sidious?) but I really don’t want to give him that sort of satisfaction.
The first time I did this exercise in my class was one of the most illuminating.
Many of the students laughed uncomfortably at the ridiculousness of the portrayals in the cartoons. Once we started talking about them, it was hard for them to put in to words, or rather to want to say out loud what stereotypes were included in the pictures. I asked many questions – “How do you know the person is a certain ethnic background? What makes you think that? What about them is exaggerated? What’s the point of the cartoon? What are they trying to say about these people?”
And it was so fascinating to me to watch how many of the students were visibly uncomfortable with the image remaining on the screen as we talked about it. I could see some of them recoiling in their chairs and it sort of hit me how uncomfortable it was for them to see this kind of racist imagery because they are able to live in a world where they don’t have to see it if they really don’t want to. I know this type of imagery exists around us in various ways. Katie Perry as a Geisha, black face at Halloween parties on college campuses, but really… in a singular world where you hang out with your friends and check out their Instagrams, well that’s the privilege… the privilege of feeling like this type of overt, confrontational racism isn’t tangible and definitely isn’t socially acceptable. Unless your teacher puts it up as some cartoons as part of a class lecture…
I kept wanting to tell them “this discomfort. This physical reaction, this disgust, this head-shakingly bad taste in your mouth… remember that.” Because as we made our list of what these images confronted us with I was readying them for the blow. Here’s their list of what these images were all about according to my class:
That was their list! I was amazed… When I would flip to the next image they would shake their heads again. Some of them would sink down in their chair. One whispered “she knows these are awful right? Just plain awful…” And I would try to continue. Tell me what story this image is telling you. Tell me how this dehumanizes the person. Tell me which features are exaggerated and why. What story is this image trying to tell you about this person?
Finally I asked them to consider all the ways they were uncomfortable. I asked them to reflect for a moment on their visceral reactions. I said “think about these images and how having them here, on this screen, in your classroom… made you wonder if I was crazy because why would anyone want to call attention to images like this. And then look at this…”
And let's compare.
What’s the same about them?
My students replied: The crazy skin color. The exaggerated features, large mouth, large teeth. The sort of dumb look on their faces, like they are so stupid they don’t even know they are a racist caricature. The stereotypes, what they wear, how they dress, how their faces look.
And then I said "What's the story?"
One of the students replied. "It's that they are too dumb. They are dumb and okay with however we want to treat them. They go along with it. And we can laugh at them and use them the way we want to."
I immediately wondered if it was too heavy handed and if confronting them with incredibly racist and derogatory images would negate the message because they would spend most of their time personally reacting. Part of me wanted to say “it’s not fun is it? It’s not fun, or funny to be confronted with imagery that demeans you. It either demeans you by its portrayal of what may be your culture, or it demeans you by confronting you with stereotypes that you know all too well. Because the image would mean nothing if the stereotypes weren’t ingrained in us… this is what society gives to us. And think about what it means that our starting images caused a stir in the classroom but what would have happened if I had started with Chief Wahoo, something you can see on television today, something that is just a “normal” part of sports… you can go out to a store right now and buy a shirt, pants, posters, keychains and more with him on it. And then think about what it means that we are desensitized to the visceral nature of this image, what does that mean for Native people – but also, what does that mean for everyone else?”
Do I think everyone walked away believing my hype? Maybe. Probably not. If I have taught them anything it is to question everything and to do their own research and come to their own conclusions. But I do think there was kind of a safety-net that had been cast away from those “other” pictures, the ones that had made them squirm in their seats, the ones they didn’t really want to talk about. We ended the class with pictures that Native people posted declaring themselves #NotYourMascot. And I wondered which images they would carry with them as they left class.
I don't want to be an Indigenous Debbie Downer (okay yes I do. I do it a lot anyway. "Hey I love this music video..." "Sure, except it's racist." "Hey I can't wait for the Oscars." "Sure, except they are celebrating a film that is basically a white savior movie for Indigenous peoples or #DancesWithBears) but it's not just the name that we are talking about when we say #NotYourMascot
We are talking about how inundated we are with images of Native people as red faced, dopey, savage, creatures. That's what is all over our television and movie screens. I promise one day your grandchildren will be searching on their tiny watch phones while riding their (not going to set your house on fire) hoverboard and they will go "Grandpa, did you guys really have this picture of Native people as part of your sports teams and people would like wear it around and put it on the bumpers of their non-electric cars and everything?"
And you will have to be like "um. Yeah. Kind of." And they will give you the exact look my students give me when I put up some racist imagery, the one that says "This is bad. This is so bad. This is a joke. It's not funny."
It's not funny.
In Which I Nominate Myself To Be The Native Oprah and make my list of favorite things OR Buy Native This Holiday Season
It's that time of the year. Oprah is pushing many expensive things pretending they aren't that expensive and telling me I should buy them because what's $160? (My car registration that's due Oprah. CAR REGISTRATION) Each and every year I promise that I am going to reign supreme as the Native Oprah and make my own list of favorite things... but each and every year I have just gone ahead and not told anyone else because it's none of their business what I am probably buying other people as their gifts.
This year though, I'm getting on top of it. Mostly because it's important to #BuyNative and not just #AtTarget Native, or #AtAnthropologie Native or #AtWalmart Native, but instead Native, from Native artists who are doing wonderful and amazing things. So you want to get some Native things and impress your friends this holiday season? Here are some of my favorite things (hint hint to my BFF and my #SupaHupas and my #HoChunk and of course... the Husband).
Buy this shirt
Supports a good cause too. If you've never listened to Metis In Space then you should. Like right now. Go there and then come back. It'll be a while. I'll wait. http://www.indianandcowboy.com/metis-in-space/
Welcome back. Okay. Now buy their shirt.
This art work
This painted tile by artist Loren Lavine.
She's from Hoopa. That means she's cool.
There are so many other things on her Etsy site right now. You can buy any one of those and then send her a note and say "send it to Cutcha!" and she will! #ThankYouInAdvance
This book https://heydaybooks.com/book/a-is-for-acorn/
You have a baby? Buy it! Read it to them!
You have children? Buy it! Give it to your child. Tell them to get inspired.
You have no children? Buy it! Put it in your bathroom. Remind people what life was like before iPhones when we didn't just keep watching our TV shows while we were pooping.
This magazine subscription
While you're at it. Give the gift that keeps on giving. A subscription to News from Native California.
Then all year someone will be reminded how much you love them.
So much you gave them News from Native California. https://heydaybooks.com/news-from-native-california/
One time my BFF and I found a Cleveland Indians shirt at a garage sale. She took it home and then put a big black sharpie marker over the logo. Because #NoThanks
Now it's time for you to get on the bandwagon. #NotYourMascot
So buy this shirt: http://shop.beyondbuckskin.com/product/dechief-raglan
This hat right here.
My cousin made it.
It's an awesome hat.
I have a pair kind of like them. They are really cute. And when you wear them they make this really nice sound.
Also, wearing Native jewelry is important.
Also important to learn something this Holiday season.
Always be learning.
And this book (though I haven't read it... yet) is HIGH on my list. Sarah Deer is a Native woman who won a freaking Genius Grant cause she's a genius.
This collection of Indigenous comics. That's right, comics that are Indigenous.
An Indigenous comics collection? A collection of Indigenous comics?
A comic collection of Indigenous comics?
"So I really like comics but I can't find any Indigenous ones."
"I bought you a book."
Because we're all going to be in line soon waiting to get in to our screening and figure out WHERE THE HELL IS LUKE?! #LukeTruther
What better way to show your #StarWars love then with this awesome shirt. You know R2D2 was Native because he was a trickster with the best sense of humor and pretty much was like "Chill Luke. We'll just go blow up the Death Star, gimme a minute." http://oxdx.storenvy.com/products/14580765-r2dine2-mens-charcoal-crew
And this snuggling blanket...
Admittedly one of the more expensive things on this list because a girl can dream. http://eighthgeneration.com/products/salish-pattern-blanket
These blankets are wool and awesome and Native made. So if you were wondering "where can I find an awesome blanket that isn't just Native inspired but actually from a Native company" here you go!
Now, what if you want to take this blanket it and make it in to a really awesome coat that Cutcha can wear when she's up late at ceremony? Sure. That works too.
Oh man, I really want this blanket. Cold nights, awesome blanket... some peppermint tea and Metis in Space!
Z Nation was the first post-apocalyptic zombie tv show to feature Native Americans and it was bad… bad… really bad… I’m sure there was something redeeming… Eddie Spears is cute.
Recently the SyFy channel announced that they would air an upcoming episode that featured Native American people living on their reservation post-apocalypse. And there was a resounding “INDIANS ON TV! POST-APOCALYPTIC INDIANS ON TV!” because we tend to get a little bit excited knowing that (1) somebody is trying to make an effort to show a representation of us as alive, futuristic people and (2) hey we actually survived an apocalypse in this fictional universe!
As I have said before, Natives aren’t really represented in post-apocalyptic shows and movies which I find very interesting because Native people have actually survived apocalypses/ the end of the world before… If you want to know more you should read my blog about The Walking Dead and Settler Colonialism. Or listen to this radio interview.
It seems to me that by the time the futuristic apocalypse rolls around Native people have already vanished (as per the “vanishing Indian” trope), so they aren’t a part of this “new world.” Either that, or Native people are just straight chillin’ someplace else, probably on their reservations, and they don’t need to get involved in all that junk where people go into hordes of zombies and think it’s a good idea to try to lead them around (THAT WAS NEVER A GOOD IDEA RICK. NEVER.)
Z-Nation is a bit different because in this post-apocalypse there is a dude who is part zombie or something and they think he might be a cure? I don’t know I’ve only watched two episodes. And this episode was billed as a great thing because it featured many Native actors and a very Native specific storyline.
I watched it because I like seeing Indians on TV. I’ve written about this before in my blog where I explore the “Native Cameo.”“Native Cameos” are those 1-2 episode, sometimes intermittent appearances by Native characters on television shows. What I have found *spoiler alert* is that these Native Cameos resettle settler colonial claims to legitimacy, meaning, they justify, and normalize colonization and settler colonial occupation of Indigenous spaces and Indigenous histories.
To better critically analyze (or what I like to call “engage in Indigenous media analytics”) I have provided the following cheat sheet of what I have noticed about these Native cameos. In the Native Cameo:
1. Native Americans are spiritual peoples full of knowledge that is specifically aimed at addressing answers to questions and conundrums of main characters (Spiritual & Knowledgeable)
But ultimately what I was arguing was that
Understanding, discussing, and complicating the Native Cameo is important. We are more than just cameos to a world that tries to pretend like we don’t exist, or that we aren’t fully functioning nations of people who deserve equal footing in politics and culture. Our worlds are more than just other to the “real” or “normal” world that is often portrayed on television. When we are represented in places like Network television it can and should speak to our continued investment in our shared existence, in our shared experiences on Indigenous lands.
Now, while I think Z-Nation did complicate some of the usual Native Cameo points in their episode. (For instance there is a big attempt to have a “strong female Native” character here. She is the one who ends up in charge). There was still a lot of really problematic storylines that actually resulted in me and my friends GUFFAWING (yes, guffawing). And by the end of the episode the show had checked off every last one of my cameo requirements… (except mascots. Almost Z-Nation. Almost)
In the episode the main characters are running from a zombie-storm (z-storm) that is wide, moving fast and driving them toward the grand canyon. When they get there they meet up with a bunch of Indians living on the land, some in the sacred mountains of the tribe, others in the casino. There is the Chief (whose name is Danny) and the Mad Indian Guy (whose name is Gordon) and the Indian Princess Daughter (I didn’t catch her name) and the Medicine Woman plus several unspoken Indian parts. The Indians introduce themselves by saying “This is tribal land, no visitors allowed." And after they are told that there is a horde of zombies coming their way… they refuse to leave. And all heck breaks lose.
I offer you here my picture essay of this episode. Enjoy.
The Native Cameo in Z-Nation: A Picture Essay
Now everybody's friends.
Final conclusion: These Natives need their own zombie-apocalypse show. It would be awesome. There's some work to do... yes. Much actually. Many, many things. But if Eddie Spears ain't on the television each week what's the point of television anyway? Get on it Z-Nation. And then hire some really good Native writers. Lots of them actually. And Directors. This could be awesome. (This episode was not.)
no:'olchwin-ding, no:'olchwin-te (to growold in a good way): The Hupa Flower Dance and the revitalization of women’s coming of age ceremonies in Native California
The following is an excerpt from my in progress book based on research I have been doing for the past few years on the revitalization of women's coming of age ceremonies in Native California. People have been asking "where's the blog?!" And I can only respond "I'm trying to write a book!" So I thought I'd give a sneak preview of what I'm working on and a little bit more info about my academic life and why women's coming of age ceremonies are so important for Native communities.
At one time,women's coming of age ceremonies were a public celebrations of a girl’s first menstruation which demonstrated how young women are powerful members of Native cultures and societies and that gender equality is central to Native epistemologies. Prior to invasion by western settlers, the Hoopa Valley Tribe, like many other tribes in Native California, were complex societies where gender roles were egalitarian and spirituality was central to all aspects of life. California's post-invasion history was a genocide aimed at the total annihilation of Native peoples and included systematic attacks on Native women and their coming of age ceremonies. As a result, many Native nations no longer practiced their women’s ceremony. At the start of the new millennium, Native women in many communities throughout California have come together to bring back the ceremony as a way to strengthen their community and promote healing from the issues of exploitation and violence introduced during colonization.
As I set out to do research on the revitalization of the women’s coming of age ceremony for my tribe, I was keenly aware that I wanted my research and study to focus on the impacts of this ceremony and demonstrate how it (re)writes, (re)rights and (re)rites who we are as Native people. In my own community, the Flower Dance has been an important method of healing for our people. It not only helps young women to build a foundation for their futures, but it has inspired older women, men and young boys to change how they regard the young woman of our community.
In regards to writing what will become part of the historical record, and a testimony to the contemporary experience and autonomy of Native people, I wanted to help tell a powerful story about women, about California Indian women, and how California Indian people can continue to build their futures with the cultural and spiritual foundations from our First People and our ceremonies. It was for this reason I focused not only on rigorous scholarly research of archival, ethnographic materials, but also on informed community based research that does not treat decolonization as “metaphor” but articulates a tangible means by which to decolonize Native communities so that they can be healthier, vibrant peoples (Tuck & Yang).
I foregrounded interviewing the women who were tied to this revitalization, although there were men who are important to the praxis and (re)vitalization of this ceremony as well. I have personal relationships with all of the women who I interviewed. Melodie George-Moore is a medicine woman for the Hupa people, mother and teacher, my relative, and close friend of my mother. Lois Risling, my mother, is a Hupa elder, trained medicine woman, and educator. The young women who agreed to be interviewed included Kayla Rae Carpenter, Natalie Carpenter, Alanna Lee Nulph, Melita Jackson, and Deja George. Together they span the first ten years of this revitalization in the Hoopa community. Each of the women agreed to and were excited about utilizing their real names in this research, something that I found poignant and important to respect, because of how proud they were to be tied to this revitalization.
The following is an excerpt from the final chapter of my book...
xoq’it-ch’iswa:l (on her- they beat time; a Flower Dance is held for her) The revitalization of the Hupa Women’s Coming of Age Ceremony
As I have continued to participate in Flower Dance ceremonies it has become very clear to me that the resurgence of the Flower Dance is a tangible, physical, spiritual and communal act of decolonization. This aspect of the dance was reflected by Hupa medicine woman Melodie George-Moore as well. For her, the dance is about empowering women, because of how colonization targeted Native women.
[The Flower Dance is] a very powerful nod to what women bring to their tribe. Especially powerful seeing as colonization, and for some tribes up to 500 years of colonization, it’s amazing to see when they come to watch what they experience… decolonization, I would say, at a very basic level; at a very biological level. We are celebrating menstruation. I don’t care what you think of it, this is what we think of it (George-Moore)
The Flower Dance supports an Indigenous decolonizing praxis by enacting Indigenous methodologies that center on ceremony to counteract the impact of settler colonial ideologies of gender, history, and spirituality. The women who helped revitalize this dance believed it was the loss of the Flower Dance that contributed to the struggles facing the women of the tribe and that the performance of this ceremony would create a community of women who could provide support to each other and to the young girls.
TI think that it’s an important part to keeping the balance in our community, in our spirituality, basically in all the areas of our lives. ...There’s a lot there that sort of keeps that balance within our tribe, male and female (Carpenter, K).
Part of (re)building this community came from the resurgence of songs and singing among women. Some of the older women who participated in the ceremony were singing for the first time. Younger women were coming together with older women to teach each other songs and talk about their role in the ceremony. Some women created song groups, who specifically came together to make up new songs, bringing new life to the ceremony. In these song groups many of the women were afraid at first of singing but were encouraged by those older women who remembered when women “sang out.” In this respect, the personal journey of the women was reflected in their journey of learning, creating and singing a song in the ceremony. As Melodie George-Moore reflects:
There’s other things happening here, like the five generation first time dancers, all of them first time, one time, singing together for the first time ever. Wow, I can’t top that- five generations of women singing together at one time. That’s the ultimate, that’s the ultimate decolonization that happens (George-Moore).
The revitalization of the dance, therefore, has provided a very poignant methodology for addressing these issues of gender and societal imbalance and the introduction and adoption of a misogyny into Hupa cultural practices and epistemologies. Alanna Nulph notes that what she learned in her Flower Dance was that in Hupa culture and society women are very important in all aspects of the culture and that the Flower Dance ceremony speaks to that importance.
[In Hupa culture] women own a lot of property and regalia and did a lot of the work, they are acorn eaters and who gathered all the acorns? Women! And who weaves all the baskets? The women, with exceptions sometimes you know. Who cuts up the fish? Who drys the fish? The women. So women are important just as the same as men are important in the bigger dances, you need something to celebrate women or else women will get mad at you and you don’t want angry women in your society (Nulph).
Lois Risling explains that this dance has helped men to “look at women in a different light.”
When you dance over somebody and celebrate somebody you don't think of them just as a piece of meat or just as some kind of sexual object. Which is kind of ironic, because that’s not how the miners thought, the miners thought the opposite of [Native women], just as them being a sexual object. But I think if you’ve danced with somebody, you've said prayers over somebody, you begin to think of women in a different way. And this is I think really important for our society because we have been oppressed and we have been told that women, from Christian American morals, we’ve been told that women are not equal to men and they’re not in the same position that men are in. But this ceremony definitely shows that women are important to the society and play a very important part in it (Risling).
As Hupa medicine woman Melodie George-Moore reflects on the impact of this dance she focuses intently on how each of these young women, and all of the people who have become a part of a the Flower Dance community, are able to utilize the positivity of this ceremony against the many issues that still face the Hupa people. The dance, and it’s public celebration of young women, contributes to a community healing, not just an individualized experience on the part of the kinahłdung.
I think we’re making a dent in, or building and holding space against, negativity. There’s a lot of negative things in this world. Especially in the modern world. In the modern Hupa world there is a lot of negative things that are cause for concern and I think we’re holding space against that with this dance. …I thought (we were only) giving the girl armour but in fact what we’re doing is a lot larger than that not just for the girl but for other people who come to participate (George-Moore).
Blue Jay Sings-- The Revitalization of Women's Coming of Age Ceremonies and making Blue Jay Veils
by Cutcha Risling Baldy (Hupa, Karuk, Yurok)
Presentation on Flower Dance revitalization begins at 57:21 in below video.
In which we establish that there was a genocide against Native Americans, yes there was, it was genocide, yes or this is why I teach Native Studies part 3 million
Late last week this happened. A young woman by the name of Chiitaanibah Johnsen (Navajo/Maidu) told Indian Country Today about her experience in a history class at Sacramento State University where she disagreed with the Professor’s claim that Native Americans did not face genocide. She said that because she was trying to engage with him during class, he ended the class early, called her disruptive, and said that she was “hijacking” the class. She also said that her professor told her she would be disenrolled and expelled from the classroom.
You should read the entire article here if you haven’t.
Now, some people may be surprised to learn that when I talk about genocide in my classes (and I do, I often teach about California, and it becomes very clear, very quickly that what happened in California is a genocide) that students resist. There are many things that I tell them which they take at face value. If we are talking about basketry, they don’t question the methods or the outcomes of what I am saying about basketry. If we are talking about sacred sites, they nod along to videos I show them of Native people fighting for the right to protect their sacred places. But when we start talking about genocide, it usually results in few people who really, really, want there to have not been a genocide in the United States. That’s why this story hit so close to home for me. I mean, this dude is teaching in CALIFORNIA. CALIFORNIA. Genocide in California? Yeah, Native scholars have been writing about that for a while now…
Part of the problem is that many are surprised to hear there was a genocide, or even mass killings, or any horrific example of something that happened. When you start talking about sport killing, the hunting of Indians, the large sums of money that were paid for California Indian heads and scalps, the open, flagrant, killing of Indian children, -- well nobody’s ever heard about it before. The erasure of the genocide feels almost surreal, like nobody (especially our school system) could pull it off. If it was a thing that happened, we would learn about it, because you can’t hide something like that, right?
Bringing people into a discussion about how thoroughly we have “hidden” the genocide that shaped this “great nation” of ours is, yes, usually met with some skepticism. And what I noticed about this Professor’s response to some of Ms. Johnsen’s research is that these responses are ingrained, because we learn them even if nobody takes us aside and says “this is how you refute or question or muddy genocide against Native peoples.”
How we understand history is ingrained, it’s something that we have repeated… from kindergarten all the way through our required western history classes in college. We learn that history is benign, that history is the study of the past from an objective point of view that just wants to tell a story. We learn that history is in the past, and that our present and future depend on learning this story because we can learn a lot from it.
But in reality, history is about power. The ability to tell the story is a very powerful thing. And the history we have learned in the west, is about justifying, maintaining and supporting the illusion that western civilization, western control of, western ownership of this land was inevitable, beneficial, and destined (manifestly).
From a different perspective, history is not so benign. In fact, it is a constant presence meant to deny Native people’s very existence. Because if Native people exist, then all that history comes in to question. Who we will be, it’s not so set. And we are a country, not so settled.
I found this quote from Joy Harjo yesterday while I was preparing for class and it stuck with me because I know that to raise your hand, to say something, to speak as a Native person is a very powerful moment. Especially when someone will try to shut you down. In this case a Professor had an opportunity to maybe learn something, or at least bring this young woman into a discourse about the messiness of history. But most don’t want their history to be messy. They want their history to be in the past, and for them easily controlled.
But for Native people our history is our present is our future. Actually, that’s for all people, but Native people are clear examples of how this is true. Genocide (which happened) doesn’t just go away. Genocide… well Native people in California we didn’t just call it genocide… many of us called it “the end of the world.” An apocalypse, that doesn’t go away. That changes the world for everyone.
Or as Joy Harjo said:
“We are still dealing with a holocaust of outrageous proportion in these lands. Not very long ago, native peoples were 100 percent of the population of this hemisphere. In the United States we are now one-half of one percent, and growing. All of the ills of colonization have visited us in its many forms of hatred, including self-doubt, poverty, alcoholism, depression, and violence against women, among others. We are coming out of one or two centuries of war, a war that hasn’t ended. …But to speak, at whatever the cost, is to become empowered rather than victimized by destruction.”
Anyway… here is my list of the top three things people tell me that try to explain why it's not genocide against Native Americans (even though it is. It's genocide.)
Most Native Americans died of disease.
Cutcha Risling Baldy is an Assistant Professor of American Indian Studies at San Diego State University. She received her PhD in Native American Studies from the University of California, Davis. She is also a writer, mother, fan of "The Good Wife" and "The Walking Dead", who likes to go for long walks on long piers...
(5) Top Posts
On telling Native people to just "get over it" or why I teach about the Walking Dead in my Native Studies classes... *Spoiler Alert!*
Hokay -- In which I lead a presentation on what happens when you Google "Native American Women" and critically analyze the images or "Hupas be like dang where'd you get that dentalium cape girl? Showing off all your money! PS: Suck it Victorias Secret"
In which we establish that there was a genocide against Native Americans, yes there was, it was genocide, yes or this is why I teach Native Studies part 3 million
5 Reasons I Wear "Indian" Jewelry or Hupas...we been bling-blingin' since Year 1
Pope Francis decides to make Father Junipero Serra a saint or In Which I Tell Pope Francis he needs to take a Native Studies class like stat
I need to read more Native blogs!
A few that I read...