Dragonfly Dance is a collection of poems remarkable for their candor and sense of catharsis. Writing from the vantage point of an American Indian women, Denise Lajimodiere opens a door into the lives of Native girls and women. Her poems often reflect the deep tensions between Native culture and white culture. Reflected in Lajimodiere's poems, life is sometimes beautiful but rarely easy. "The Necklace," the narrator details how her mother repaired a favorite beaded necklace, "her arthritic fingers patiently / threading beads / on the long thin needle, weaving / night after night." When the necklace is finally repaired, she wears it to school where At recess a White boy ran by, yanked it off my neck and threw it. I watched as it ascended high above the blacktop, the beads glittered, scattering their light, a rainbow against gray skies. Unadorned, direct, and often raw, these riveting poems sear their way into our imaginations, inviting us into a world we might never have known. We are richer for the knowledge.
Dragonfly Dance is a collection of poems remarkable for their candor and sense of catharsis. Writing from the vantage point of an American Indian women, Denise Lajimodiere opens a door into the lives of Native girls and women. Her poems often reflect the deep tensions between Native culture and white culture. Reflected in Lajimodiere's poems, life is sometimes beautiful but rarely easy. "The Necklace," the narrator details how her mother repaired a favorite beaded necklace, "her arthritic fingers patiently / threading beads / on the long thin needle, weaving / night after night." When the necklace is finally repaired, she wears it to school where At recess a White boy ran by, yanked it off my neck and threw it. I watched as it ascended high above the blacktop, the beads glittered, scattering their light, a rainbow against gray skies. Unadorned, direct, and often raw, these riveting poems sear their way into our imaginations, inviting us into a world we might never have known. We are richer for the knowledge.
Echoing and expanding the aims of the first volume, Visualities: Perspectives on Contemporary American Indian Film and Art, this second volume contains illuminating global Indigenous visualities concerning First Nations, Aboriginal Australian, Maori, and Sami peoples. This insightful collection of essays explores how identity is created and communicated through Indigenous film-, video-, and art-making; what role these practices play in contemporary cultural revitalization; and how indigenous creators revisit media pasts and resignify dominant discourses through their work. Taking an interdisciplinary approach, Visualities Two draws on American Indian studies, film studies, art history, cultural studies, visual culture studies, women’s studies, and postcolonial studies. Among the artists and media makers examined are Tasha Hubbard, Rachel Perkins, and Ehren “Bear Witness” Thomas, as well as contemporary Inuit artists and Indigenous agents of cultural production working to reimagine digital and social platforms. Films analyzed include The Exiles, Winter in the Blood, The Spirit of Annie Mae, Radiance, One Night the Moon, Bran Nue Dae, Ngati, Shimásání, and Sami Blood.
An Ojibwe girl practices her dance steps, gets help from her family, and is inspired by the soaring flight of Migizi, the eagle, as she prepares for her first powwow.
Denise K. Lajimodiere's interest in American Indian boarding school survivors' stories evolved from recording her father and other family members speaking of their experiences. Her research helped her gain insight, a deeper understanding of her parents, and how and why she and her siblings were parented in the way they were. That insight led her to an emotional ceremony of forgiveness, described in the last chapter of Stringing Rosaries. The journey to record survivors' stories led her through the Dakotas and Minnesota and into the personal and private space of boarding school survivors. While there, she heard stories that they had never shared before. She came to an understanding of new terms: historical and intergenerational trauma, soul wound. She is haunted by the resounding silence of abuses that happened at boarding schools across the United States. She wants these survivors' stories told uninterrupted, so that each survivor tells their own story in their own words. The youngest survivor interviewed was fifty years old, and the oldest was eighty-nine. In the tradition of her Turtle Mountain Chippewa tribe, she offered them tobacco and gifts. She told them her parents' and grandparents' boarding school stories and that she is considered an intergenerational, someone who didn't go to boarding school but was a survivor of boarding school survivors.The journey was emotionally exhausting. Often, after hearing their stories she had to sit in her car for a long while, sobbing, waiting to compose herself for the long drive back across the plains.Stringing Rosaries: The History, the Unforgivable, and the Healing of Northern Plains American Indian Boarding School Survivors has been recognized with multiple awards.oOne of three finalists for the 2020 Stubbendieck Great Plains Distinguished Book Prizeo2020 Independent Press Awards, Distinguished Favorite in Cultural and Social Issueso2020 Independent Publishers Awards (IPPY Awards) Bronze Medal for Multicultural Nonfictiono2020 Independent Book Publishers Association-Benjamin Franklin Award, Silver Medalist in the Multicultural categoryo2019 Midwest Book Awards, Gold Medal in the Regional History categoryo2019 Foreword Reviews INDIES Finalist, Historyo2019 Midwest Book Awards, Silver Medal for Cover Design
Dragonfly Dance is a collection of poems remarkable for their candor and sense of catharsis. Writing from the vantage point of an American Indian woman, Denise Lajimodiere opens a door into the lives of Native girls and women. Her poems often reflect the deep tensions between Native culture and white culture. Reflected in Lajimodiere's poems, life is sometimes beautiful but rarely easy. The Necklace, the narrator details how her mother repaired a favorite beaded necklace, her arthritic fingers patiently threading beads on the long thin needle, weaving night after night. When the necklace is finally repaired, she wears it to school where, at recess a boy ran by, yanked it off her neck and threw it. I watched as it ascended high above the blacktop, the beads glittered, scattering their light, a rainbow against gray skies. Unadorned, direct, and often raw, these riveting poems sear their way into our imaginations, inviting us into a world we might never have known. We are richer for the knowledge.
Though the Shawnee chief Tecumseh attempted to form a confederacy of tribes to stem the tide of white settlement in the Old Northwest, in November of 1811, the Americans marched to his village at the mouth of Tippecanoe Creek. The ensuing battle ended all hope of an Indian federation and had far-reaching effects on American and British relations. The British, blamed for providing the Indians with arms, drew the ire of hawks in Congress, who clamored ever more loudly for a war to end Englands power in North America. Revised with a new introduction and updated biographical information, After Tippecanoecontains six papers originally presented as lectures in Windsor, Canada, and Detroit, Michigan, during the winter of 196162 by three American and three Canadian historians. Their focus is the War of 1812 as it unfolded in the Great Lakes region, with special emphasis on the conflict in Michigan, New York, and Ontario, Canada.
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