Video: WHEN YOUR HANDS ARE TIED

Across the country, students are headed back to classrooms. Many teachers and students are watching the Democratic Convention and are aware that race has been a significant conversation in this year's campaign. If you're developing lesson plans around the subject of race, the video When Your Hands Are Tied will prove useful. Click here to go to the companion website and view a trailer. You can get a free copy of the DVD from Oyate. Given Oyate's non-profit status, consider ordering another video from them, or a book, or a CD.

[This review may not be published elsewhere without written permission from its author, Beverly Slapin. Copyright 2008 by Beverly Slapin. All rights reserved.]

When Your Hands Are Tied. 2006, 56 minutes, color, grades 7-up

“When you’re given all these obstacles and barriers,” says Hataalii (healer) Eric Willie (Diné), “when they tie your hands behind your back and your legs together, and they leave you just crawling, what do you do? You develop new ways to communicate, you develop new ways to express self-identity, and that’s what I see with today’s children.”

As Indian communities all over Turtle Island struggle to heal from the generational trauma of the Indian boarding schools, Indian young people struggle to resist the negative pressures of the dominant society. That’s why When Your Hands Are Tied is so important. It’s an exceptional film that explores the realities of Indian young people navigating between the traditional and the contemporary, maintaining strong ties with their communities while expressing themselves in unique ways. The Pueblo, Diné and Apache teens seen here are photographers and filmmakers, breakdancers and rappers, rockers and skateboarders, and all are very talented. The teens—mentored by a young Diné healer, the governor of Nambé Pueblo, a director of American Indian Studies, and artists who are their role models: singer/songwriter Radmilla Cody, rappers Mistic and Shade, the high-energy rock band Blackfire, skateboard artist Douglas Miles and others—learn that it is possible to honor the past while looking to the future. With young people showing and telling what they’re doing, breathtaking views of the land, and amazing music—including Blackfire’s rendition of Woody Guthrie’s “Mean Things Happenin’ in This World”—When Your Hands Are Tied will resonate with Indian teens everywhere.

When Your Hands Are Tied was co-produced by Mia Boccella Hartle and Marley Shebala (Diné/Zuni) as an educational tool to reach families, communities, schools, libraries, and treatment centers, so that everyone can see a positive reflection of what’s happening with Native young people today. Funded by a not-for-profit charitable organization with limited funds, this excellent film was given to us to distribute at no cost to anyone who can benefit from it. Feel free to order it if you can use it well.

DVD, no charge

(As you know, Oyate is an often cash-strapped, grassroots 501(c)(3) non-profit educational organization. Please consider making a tax-deductible donation. Thank you.)

Audio: THANKS TO THE ANIMALS by Allan Sockabasin

On January 2, 2007, I posted Beverly Slapin's review of Allen Sockabasin's terrific picture book, Thanks to the Animals. Sockabasin is Passamaquoddy. I reread his book yesterday, looking over the Passamaquoddy words included on the last page. I also learned that you can listen to Sockabasin and his daughter reading the story aloud. She reads a line in English; he reads it in Passamaquoddy.

When you're developing lesson plans for the wintertime, plan on using Thanks to the Animals, and teach your students about the Passamaquoddy people. They're in Maine. Click here to go to the tribe's website. Read through their "History" page.

Too many people think Native peoples were primitive, but the fact is, we were recognized as Nations and as such, entered into diplomatic and trade relationships with Europeans.

In spite of efforts to 'kill the Indian and save the man,' Native peoples are still here, and you may be surprised to know, we've got our own governments and services. The Passamaquoddy's, for example, have a police and fire department. Imagine the power of sharing that information with readers who think that Native peoples no longer exist!

Audio: "How! and Other Approaches to American Indians"

A friend (Thanks, Teresa!) sent me the link to an audio file of a panel at the 2007 Virginia Festival of the Book. The panel included Karenne Wood and Garbrielle Tayac. Both women share powerful stories. Click here to listen.

Karenne is an enrolled member of the Monacan Indian Nation, and, she is Director of the Virginia Indian Heritage Program at the Virginia Foundation for the Humanities. Gabrielle is Piscataway and works as a curator at the National Museum of the American Indian.

Teaching Van Camp's THE LESSER BLESSED

If you teach literature in high school, or if you teach Native lit in a college or university, consider teaching Richard Van Camp's The Lesser Blessed. Readers of this site know I've written several times about Van Camp's work. Today, I direct you to an article called "I Liked It So Much I E-mailed Him and Told Him: Teaching the Lesser Blessed at the University of California." The author is Jane Haladay, an assistant professor at the University of North Carolina, Pembroke. Here's the first paragraphs. To read the entire article, click on the title (it is hyperlinked) and scroll down to page 66. The article is from the journal, Studies in American Indian Literatures. At the end of her article, Haladay includes an appendix she called "Presentation Guidelines for Making a Strong Presentation."


"I Liked It So Much I E-mailed Him and Told Him"Teaching The Lesser Blessed at the University of California

JANE HALADAY

MY STORY IS NOT MINE ALONE

Class ends like a scene from the novel itself. "Okay, when we meet next week we'll be into our second novel, Richard Van Camp's The Lesser Blessed," I announce.

From the back corner of the room Luana, a Tongan student, is scrutinizing Van Camp's moody book flap photo. "He's hot!" she proclaims. The class -- seventeen women and three men -- laughs. "

Yeah," I concede, "he's a good looking man." I pause. "But he looks even better in person." They perk up, watching me in anticipation. "He's a bit young for me, though," I finally say. More laughter.

"Do you know him?" Luana asks.

"Yes, I met him at a conference last fall. If you ever get a chance to hear him read his stuff, go! He's an incredible storyteller."

"Where's he at again?" Luana asks.

"Vancouver," I tell her.

"Vancouver . . . ," she echoes dreamily.

"Is that in Washington?" somebody else asks.

"It's in Canada," Luana answers.

"I guess you could transfer up there," I say to Luana, "but I hear it gets pretty cold." Not long after this, Luana dropped my class with no explanation. I still wonder if she transferred.

This essay is just one story in the ongoing conversation of how to approach teaching indigenous literatures in colonial educational {67} institutions. My pedagogy stresses sharing an interactive process of reading and reflection with my students, what black feminist scholar bell hooks terms "engaged pedagogy" in her book Teaching to Transgress: Education as the Practice of Freedom. Hooks's description of engaged pedagogy insists that discomfort, confusion, pleasure, risk-taking, and revelation are not only acceptable but are necessary in the process of acquiring knowledge. While all ethical educators encourage their students to view texts as the ultimate authorities about their own stories' meanings, the complex cultural content of Native texts pushes me and my students even further in recognizing that none of us, sometimes not even the authors themselves, may fully understand what and how the stories "mean" -- and that their meanings are multiple. Through sharing my experiences teaching Richard Van Camp's The Lesser Blessed, I hope to reveal the power of this particular text and the way its effects on students who willingly engage it can create a collaborative learning atmosphere that is transformative. This environment requires me to relinquish primary authority (not always easy) to open a space for student vulnerability and voice, while simultaneously remaining an active moderator and guide shaping the direction of the class. In such a space, students, author, and educator share power in the discussion and comprehension of culture and story.

Students' and my own interactions with the novel's author, Richard Van Camp, a member of the Tlicho, or Dogrib, Nation, have become another strand braided into the collaborative process of teaching The Lesser Blessed.¹ I am sharing these interwoven stories to outline the possible ways in which both educators and authors may interact with and be inspired by the "consumers" of their textual productions, those hungry readers of and listeners to their stories. The Lesser Blessed is now taught in only a smattering of U.S. and Canadian high schools, colleges, and universities, and to date there is a dearth of literary criticism on the novel.² It is my hope that this essay may add to a growing body of discussion around this vital text and encourage other educators to include it in their aboriginal/ Native and other literature curricula.

Leitich Smith Interviews Bruchac

Update on Sep 30 2023: I (Debbie Reese) no longer recommend Bruchac's work. For details see Is Joseph Bruchac truly Abenaki?

On her blog Cynsations, Cynthia Leitich Smith regularly features interviews she does with writers. On Tuesday, she posted an interview with Joseph Bruchac. Click here to read it.

"O is Ojibwa"

I'm in Ontario, Canada for a few days (Stratford, to be specific). Stopped in a bookstore, saw a book called M is for Maple: A Canadian Alphabet. Skimmed it quickly and found this on the 'O' page:

O is Ojibwa,
just one of the tribes
that spanned this vast country
before settlers arrived.
We're Canadians all,
but we must never forget
that our land was their land
and we owe them a debt.

I must say, the last three lines blew me away! I've never seen anything like that in an American children's book... Lynne Cheney's alphabet book is a good example. On the N page she writes something like "N is for Native Americans, who came here first."

M is for Maple, by Mike Ulmer, illustrated by Melanie Rose, was published in 2001. I'm sure a good many First Nations people object to Ulmer's "We're Canadians all." In fact, a good many First Nations people do not consider themselves Canadian at all.

Ulmer is a sports columnist for the Toronto Star. While his poem about the Ojibwa is problematic, it also opens the door for some interesting conversations. I wonder if any teachers are having conversations in their classrooms about that page?

__________________________
UPDATE: August 7, 2008, 12:15 PM

I'm in the children's section of the Stratford Public Library. I've pulled a copy of M is for Maple. Here's more observations on each page. My remarks are in brackets.

A - Anne [of Green Gables]
B - Banting and Best [men who invented insulin] and Bonder [first Canadian woman to fly in space.'
C - Canada and Kim Campbell [page shows Kim Campbell, first female prime minister, in 1993]
D - Dionne Quints [quintuplets taken from their parents at birth in the 30s, lived till age 9 in a theme park where visitors paid to see them.]
E - "Eh" and Edmonton [page shows map of Canada]
F - Fox [Terry Fox lost a leg to cancer; aimed to run across the country to raise money for cancer research; died before he could finish; inspiration for "Terry Fox Runs" held ever year.]
G - Grain, and Governor General who "represents the English monarchy"
H - Hockey [kids shown; range of skin/hair color]
I - Islands [there are many in Canada] and, Iqaluit, the capital of Nunavut, where 27,000 people of Innu descent live. Illustration is a small island with a house, a dock, and a rowboat.]
J - Justice [illustration is of a Mountie; Royal Canadian Mounted Police formed in 1873 "to bring order to the West."]
K - Klondike [gold rush. I wonder if its history in Canada parallels that in California?]
L - Louisbourg [a place the French and British fought over; the text says the garrison "stands as evidence of France colonizing this land." No mention here of lands belonging to First Nations prior to British and French arrival.]
M - Maple and Montreal [the sidebar says "Long before the first Europeans arrived, Canada's aboriginal peoples had discovered the food properties of maple sap, which they gathered each spring." Note use of past tense.]
N - Northern Lights and Northern Dancer. [Text reads "N is for Northern, the great Northern lights, those mystery visions that light up our nights. The Innu believed that the lights showed a game being played by the Sky People in their heavenly domain." Again, note past tense. Northern Dancer is a racehorse.]
O - Ojibwa and Ottawa.
P - Oscar Peterson, a jazz pianist and Peggy's Cove, a town in Nova Scotia.
Q - Quebec [Sidebar says that since 1534, Quebec has existed as a unique and wonderful French culture. What about prior to 1534?]
R - Rocket [a hockey player named Rocket Richard]
S - Stampede [page is about the Calgary Stampede and rodeo]
T - Toronto and Trudeau
U - Underground railroad and Ukranians [illustration is of an African American family approaching a house, at night]
V - Victoria, which is "the most common name for cities and roads all named in her reign."
W - Wind and Winnipeg [illustration of two dark haired children in the wind]
X - the spot the last spike in the railroad that spanned the country
Y - Yoho, a national park.
Z - Zipper

Persons: Campbell, Dionne Quints, Peterson, Rocket, Trudeau
Things: Anne, Eh, Governor General, Hockey, Justice, Klondike, Maple, Northern Dancer, Northern Lights, zipper
Places: Edmonton, Islands, Iqaluit, Louisberg, Montreal, Peggy's Cove, Quebec, Victoria, Yoho, Toronto
Events: Stampede, X, Underground railroad
People: Ojibwe, Ukranians

It is a mixed bag, this book... Unusual recognition of First Nations peoples but a tendency to use past tense verbs. And as pointed out in the first comment (below), the view is white Canadian. That is the norm by which other things are presented. There seems to be an intent to present diversity of gender and gender roles (scientists, political leaders) and race (jazz musician is black).

What is wrong with celebrating diversity?

Among the ALA newsletters I get is one from Booklinks. The theme of the August 2008 issue is "Celebrating Multicultural Literature." I think "celebrate" is a problematic way to approach this body of literature.

Celebrations are meant to mark an event or moment or accomplishment. We celebrate birthdays and anniversaries. We do this with cake, balloons, and sometimes, with the exchange of gifts.

As a Native woman, parent, educator, I don't want my Nativeness to be celebrated with material objects. I'd much prefer a fundamental respect for who I am, who Pueblo peoples are, who Native peoples are... I don't want to be honored, on a pedestal...

When we 'celebrate' culture by eating the foods of that culture, or making a craft of that culture, what are we doing? When we plan that sort of activity, what are we conveying, and what are we leaving out or ignoring?

What does it mean to respect a culture/people?

For me, it means an honest presentation of history, of issues, of present day struggle and success... All of it. The good and the bad, the matter of fact. It means publishing books that tell all of that.