Tim Tingle's WHEN TURTLE GREW FEATHERS -- as a mural!

On July 12, 2017, Tim Tingle (Choctaw Nation) was visiting a library and came upon a delightful mural! Here's a photo of Tim, standing in front of it: 

The child depicted in the mural is reading When Turtle Grew Feathers, which is one of Tim's picture books! I was thrilled to see it and asked Tim to share details as soon as he could. 

The mural is in the Tye Preston Memorial Library in Canyon Lake, Texas. The original bank in Canyon Lake was owned by Harry Preston, who donated the land and money for what came to be called the Tye Preston Library. That building was eventually sold. Funds from its sale were used to help finance the new library. 

A local artist, Linda Jacobson, came up with the idea for the "Wall of Honor" mural in the new library. She sketched out the design, and a local muralist, Brent McCarthy, got to work. He was given access to the library, and would come in often late at night, to sketch and paint. They kept a sheet over the mural until it was complete. Take a look at photographs of the work-in-progress, at the "Making of a Mural" page!

Brent likes to work from photographs. Harry Preston was alive when the mural was painted, and he offered pictures of his mother. As you flip through the photographs, you will her, as well as the little girl. 

Brent wanted to put children in the mural. The little girl reading Tim's book is someone who attends Brent's church. He took her photo. He also wanted local authors to be depicted on the mural. When he asked about a local children's author, Tim's name came up. He and his dear friend, Doc Moore, had done many storytelling performances at the old library. Tim had donated copies of When Turtle Grew Feathers. Brent was shown that book, and, that's how it became part of the mural. 

The little girl and her mother were there when the mural was unveiled on October 20, 2010. 

I love the story of this mural! I love the mural! It is heartwarming in so many ways! 

Beverly Slapin's review of JUAN PABLO AND THE BUTTERFLIES

Back in June, a reader wrote to ask me about Juan Pablo and the Butterflies by J. J. Flowers. I did a "have you seen" post about it and am glad to see that Beverly Slapin, of De Colores: The Raza Experience in Books for Children, has a review up now. Here's some excerpts:

Abuela appears to be a shaman as well. She’s an all-in-one spiritual phenom, singularly embodying not only a whole culture’s metaphysics but also bits of other cultures—a mishmash of mythology and mysticism that the author invents. 

Still, it was the old woman’s shamanic powers that were a good deal more popular than her famous doctoring skill. Nothing made his abuela happier than taking away people’s aches and pains, their troubles and struggles. She took away the pain of childbirth as well as the opposite, the struggle of transitioning. She cured little Jose’s [sic / the nickname for “José” would be “Pepe,” not “little José”] poor hearing, but also his mother’s gambling problem, Ms. Sanchez’s strange rash, but also her husband’s infidelity, Mr. Hernandez’s high blood pressure, but also his depression. Occasionally she worked miracles, curing dementia, diabetes, and even many different cancers. People sought her out from hundreds of miles away. (p. 11)

And there's a subsection about playing Indian:

NOTE ABOUT “PLAYING INDIAN”

When Juan Pablo and Rocio were children: 

Following his abuela’s suggestion, he and Rocio had built an Indian tepee [sic] in the forest just beyond the meadow. No one else but his abuela knew about it. The tepee [sic] became their secret, a private tent where they passed the endless hours of childhood playing imaginary games: Indians—Rocio was the chief and he was the brave; hospital—Rocio was the doctor and he the patient; school—Rocio was the teacher and he the student; and the Hogwarts School of Witchcraft and Wizardry—finally, he was Harry Potter and Rocio was Hermione. But lately, as they began outgrowing imaginary games, they hiked up to the tepee [sic] just to read good books like The Adventures of Huckleberry Finn and The Old Man and the Sea, but also The Fault in Our Stars and The Hunger Games. (p.21)

Since most Mexicans are of Mestizo heritage, they’re “Indians.” That Juan Pablo’s Indian abuela would encourage the Indian children to “play Indian” doesn’t make any internal cultural sense. And, as Indian children, why would they want to enact stereotypical Plains Indians? This is all the author’s cultural assumptions and does not apply to Mexican children who probably did not grow up watching “cowboys and Indians” on 1950s TV shoot-‘em-ups. (JP and Rocio’s “tepee” shows up in a later chapter, when Juan Pablo and Rocio are on the run and hide in this “wooden structure,” which a tipi is not.)

The author also inserts some miscellaneous stuff that misrepresents Indians and Mestizos:

If [JP] squinted against the light just so, he could see the narrowest of paths reaching around the cliff. Probably an old Indian path. Indians used to live here hundreds of years ago, after the Aztecs and before the Spaniards. (p. 81)

Go read the full review! There's a lot of detail there that you'll find helpful. 

Recommended: Daniel W. Vandever's FALL IN LINE, HOLDEN

I love Daniel W. Vandever's Fall In Line, Holden! 

Published this year (2017) by Salina Bookshelf, it is a terrific picture book about a Navajo boy. Here's the description from the publisher's website:

Fall in Line, Holden! follows Holden, a young Navajo boy, through his day at boarding school. Although Holden is required to conform to a rigid schedule and strict standards of behavior, his internal life is led with imagination and wonder. Whether he is in art class, the computer lab, or walking the hall to lunch, Holden’s vivid imagination transforms his commonplace surroundings into a world of discovery and delight.

Explore the world through Holden’s eyes. Join him for the day, and celebrate the strong spirit of a boy who rises above the rules surrounding him.

In an interview at the Salina Bookshelf Youtube channel, you can hear directly from Vandever about the book and how it came to be. He cites statistics, too, about the lack of books that can function as mirrors for Native kids. My hunch is he saw CCBC's data. 

Holden--the little boy in the story--is a combination of the author, his dad, and his nephew. Three things that especially appeal to me are...

First, that the little boy's imagination is the heart of the story. Turning the pages, you'll see what Holden sees--and what the rest of us miss--when we stand in rigid spaces. I could easily see teachers using it and alongside John Herrington's Mission to Space.  

Second, the art! When people think "American Indian" (or "Native American") a certain imagery or style comes to mind. Vandever blows that expectation away with his own graphic style. Studying it, I'm reminded of Phil Deloria's book Indians in Unexpected Places. We are, and do, so much more than mainstream society knows. In that regard, Vandever's book is outstanding. 

Third, Vandever's notes provide teachers with important context about Native peoples and education. 

I hope he writes another book, and of course, I highly recommend that you get a copy of Fall in Line, Holden! for your classroom or library!  

Bob White, Colleen Murphy, and Appropriation at the 2017 Stratford Festival

The Place: a church meeting room in Stratford, Ontario

The People: adults in a week-long seminar for the Stratford Shakespeare Festival

The Event: the guest lecturer, Bob White, a dramaturg for the festival

[D]ramaturgs contextualize the world of a play; establish connections among the text, actors, and audience; offer opportunities for playwrights; generate projects and programs; and create conversations about plays in their communities (source of definition is the Literary Managers and Dramaturgs of the Americas page.) 

****

Dare I tell my story the way the dramaturg told his, the day he was the guest at the seminar? Nah. I'll just tell it like it was. 

Bob White told us that he asked Colleen Murphy to submit three one-page ideas for plays that the Stratford Festival could do this year (2017). Of the three, he really liked one that would become the play the festival is doing this year: The Breathing Hole. 

What, you wonder, is it about? Here's the description from the festival page: 

Intersecting with Canada’s history from the moment of First Contact to a future ravaged by climate change, this saga follows the mythic adventures of a polar bear to a profoundly moving conclusion.

Specially commissioned by the Festival to mark Canada 150.

Nothing in there that says Inuit... but if you go to the festival page you'll see an Indigenous woman. A polar bear is behind her. Bob White, at one point, said it is an Inuit story and at another, said it isn't. He also said that they were aware of discussions about appropriation of Aboriginal stories and that they wanted to be careful with The Breathing Hole. Like Bob White, Colleen Murphy, is White. 

Aware of the appropriation conversation, Bob White said he set up a meeting with someone who could look over the play and make sure it was ok. That someone, he said, is Indigenous. He may have said that person's name but I don't remember. That person said it was ok. 

The next thing he had to do was to find some actors who would do the Inuit parts. Bob White said he set up a meeting with some Indigenous actors. Here's where his story got kind of interesting as he recounted how he felt as a White guy going into a room of Indigenous people. He could feel the tension. He'd never felt anything like that before. The actors were not at all pleased or happy about the Breathing Hole project. Oh how I wish there was a recording of that meeting, and of what Bob White said to us that day! 

Bob White said that, in the meeting with the actors, there was a lot of back and forth. On the second day of the meeting, all talk stopped. Nobody said anything. They were at an impasse. A few minutes passed. He wondered if it was all over, if the project was going to fail. 

But, he said, he spoke up, stepping into that silence. He told them their voices were being heard and that their voices would be in the program materials. That seemed to make a difference. This--again--is his telling and my remembering of what he said. One way to think of it: he saved the day and the play went on to open as part of the 2017 festival.

I stood to ask Bob White some questions. I'm paraphrasing as best I remember. If anyone reading this was in that room, please share what you heard. 

I said "If I understand what you've said, the Native actors did not want to do this play because it was written by Colleen Murphy, who is not Native. Do you think, if you were to ask the actors if they would prefer a play written by a Native playwright, they would prefer that?"

Without missing a beat, Bob White said that yes, he was sure they would prefer a play written by a Native playwright. Kudos for his honesty.

And I said "But you did this one, anyway?" 

Again, without missing a beat, Bob White said yes. Again, he was being honest, but this reeks of his privilege and power. 

He also said that they agreed to do it. And then he tried to say something about how it isn't really about Indigenous people, anyway. It is about climate, he said. I was pretty irate by then and said something like "Oh, right. It isn't about us, but you're using us because we're so handy for things like this." There was a bit more. Again, I wish I had been recording that seminar!

A day or so later, I started looking up information about Murphy. 

Prior to The Breathing Hole she did a play called Pig Girl that was controversial. The main character is an aboriginal woman working as a sex trade worker, who is captured by a White man and taken to a pig barn where he rapes, tortures, and kills her. In essence, the play is about MMIW (Missing and Murdered Indigenous Women). Its premier in Edmonton was followed by a discussion. None of the people in the play, or on that panel, were Indigenous. After hearing from Murphy and the actors, Simons (the moderator) invited the audience to participate in the discussion. 

"A very different debate unfolded." she said, because Tanya Kappo, a founder of Idle No More was in the audience. Among her questions was why there weren't any Native people involved in the play or the panel. An Indigenous playwright spoke next. He said the play was exploiting Indigenous women, using what was happening to them as entertainment and that when a play about that is done, it ought to be done by Indigenous people. Another Indigenous actor stood to say that, too. 

In response, Murphy asserted her right to tell stories she wanted to tell. 

See? Colleen Murphy and Bob White knew a lot about appropriation before embarking on their effort to stage The Breathing Hole because she had been critiqued for it--by Native people. But, she and White--in choosing The Breathing Hole essentially said they don't care about what Native people say--they were gonna do it anyway. And they did. 

I got a copy of the program for The Breathing Hole so I could see what space Bob White provided for the Indigenous actors voices.... but found nothing other than the usual acknowledgements. I imagined a page or portion of a page where the Indigenous actors could say... something! Not sure what they'd say, though! They're in a bind. If you're in theater, working/performing at Stratford is an extraordinary opportunity. If they are perceived as too critical, they could be putting their careers at risk. Bob White said they're in other plays, too, and I am sure they are gaining a lot by being in The Breathing Hole and in whatever other plays they're cast in. What I hope for them and the Inuit director--Reneltta Arluk--is that Stratford brings them back again and again--and that the festival commissions a Native playwright for them to perform and work in.

****

News articles about The Breathing Hole call it an Indigenous story. But Colleen Murphy is not Indigenous. You cannot call her play Indigenous story. It is a White woman's story and it has some Indigenous parts to it--but still--it is a White woman's story. In theme, it is like Brother Eagle Sister Sky by Susan Jeffers, or any of a long list of books by White people who use Native people to make a point. Climate is definitely of primary concern to Indigenous people but I can't help but wonder what a Native playwright would have chosen to bring to the Stratford stage. 

And, I can't help but wonder what impact it would have in other ways. Right now in shops in Stratford, there's a lot of Inuit art. That's been the case for decades (I first went there in 1989), but you'd be hard pressed to find anything by anyone from the First Nations for whom Ontario is their homelands. 

On September 16th, the festival will live stream a forum with First Nations panelists. Here's the info:

Canadians assume that the First Nations have some special place, that they shape our society in some significant way, but history – as well as contemporary actions and attitudes – might suggest otherwise. In a country where the rest of us are immigrants, what do the First Nations represent, what do we owe them, and what of the future? CBC Ideas host Paul Kennedy moderates a discussion featuring Anishinaabe writer Niigaan Sinclair; Dr. Alexandria Wilson, one of the early members of Idle No More; Nishnaabeg scholar, writer and artist Leanne Betasamosake Simpson; and indigenous scholar and artist Jarrett Martineau.

This Forum event will be streaming live on our Facebook page on Saturday, September 16 at 10:30 am.

I'll tune in and be back here to add what they say to this post. 

Round Up: Letters About the "Indigenous Experience" Panel at USBBY's October 2017 Conference

For the convenience of activists, scholars, parents, teachers, caregivers, and others who study issues specific to Native peoples in children's literature, AICL offers this timeline about USBBY's October 2017 "Indigenous Experience in Children's Books" panel. For each item, an excerpt is provided. Click on the link to see the full post/conversation. Additional items will be added when they are available. 

Monday, July 24, 2017

Debbie Reese's post to USBBY's Facebook page
"I looked at the schedule for the conference in Seattle, and saw that there will be an Indigenous Experience in Children's Books panel. In the midst of such a visible effort to promote Native and Writers of Color, I am stunned that not all people on the panel are Native. Can anyone here share some background on the rationale for the panel's composition?(One of the White women is married to a Native man and is a co-author with his mother who was in boarding school, which makes her presence understandable.)"


Tuesday, July 25, 2017

Naomi Bishop's Open Letter

"One of the general sessions (that everyone attends) is titled: The Indigenous Experience in Children’s Books. The presenters on this panel include four Canadians (Lisa Charleyboy, Christy Jordan-Fenton, Margaret Pokiak-Fenton, Sarah Ellis -moderator) and one American, Nancy Bo Flood. In an email to me, the USBBY President stated that Nancy Bo Flood is not Native. 

“Nancy Bo Flood is the fourth speaker. She has written a number of children’s books several of which have Native American themes.  She is not Native American.”  

The problem with Nancy Bo Flood is not just that she is non-native, but that she appropriates Navajo culture. She states that she lived on the Navajo reservation, taught college students there, and writes books about Navajo’s, but she is not Navajo. It is disappointing to see Nancy on this panel because there are so many wonderful Native American authors and illustrators publishing awesome books here in the US. I am pleased to see First Nations writers on the panel, but wonder why the organizers did not select any writers from U.S. Tribal Nations?"

Debbie Reese's Open Letter
"I was--quite frankly--furious to see Nancy Bo Flood's name on the "Indigenous Experience in Children's Literature" panel. As regular readers of AICL know, I've been studying the ways Native peoples are depicted in children's literature for decades. In that time, I've come to know the work of many people who--like Flood--are not Native, but write books about Native peoples. Amongst that body of White writers, there are many instances in which the writer has done particularly egregious things."


Wednesday, July 27, 2017

Christy Jordan-Fenton's Response to Conversations
"It is not my mother-in-law’s job to defend her people’s right to control how their stories are told. Her voice is for sharing her experiences. It was under an invitation for her to do so that we agreed to participate. If the panel is now openly forcing her into a position of defence, we will have to decline the invitation. However, if we can all work together to realize our learning opportunity from this, and use it as a catalyst to find a better way together, we would be honoured to participate."


Thursday, July 27, 2017 

USBBY President Therese Bigelow's Announcement 
"We are changing the program on Indigenous Voices in Children’s Literature. Nancy Bo Flood will no longer participate. Panel presenters are all from Canada which reflects the international scope of the conference theme. The panel had already begun working on their program together and the Fenton's, through Christy Jordan-Fenton, have requested that Sarah Ellis continue In her role as moderator. This change will be reflected on the program schedule as soon as I return to my home computer next week."

Naomi Caldwell's Letter to Therese Bigelow 
"Notwithstanding, I am compelled to share my thoughts and a suggestion as past president of the American Indian Library Association, founding chair of the American Indian Youth Literature Award, and advocate for the accurate portrayal of Indigenous books for youth. One would think that in 2017 that organizations such as USBBY would be practiced and astute about planning programs to highlight diversity. After all, the membership is comprised of diverse, devoted well-educated and well-read children’s literature professionals who genuinely care about the quality of literature for youth from a national and international perspective."

Christy Jordan-Fenton's Response to Therese Bigelow
"I understand that to many in the non-indigenous literary world, the issue of appropriation feels like navigating a mine field. However, the ultimate goal is not conflict, but rather finding a better way together. When Indigenous perspectives are considered and dialogue is opened, everyone benefits. As I said previously, the act of appropriation or taking up Indigenous spaces is ingrained in our society, and in the mythologies that society is raised on and maintained by. Issues such as the one with the “Indigenous Experiences” panel will come up. And when that happens, they need to be validated and addressed so that we can all work toward a better way. The change in the make up of the panel shows that we can find that better way together. I hope that in the future other organizations will be open to such dialogues and to listening and acting on ways to facilitate and maintain Indigenous space."

Christy Jordan-Fenton's Response to Therese Bigelow's Announcement Regarding Change to "Indigenous Experience in Children's Books" Panelists at USBBY's October 2017 Conference

27 July 2017

Often when issues are raised in the literary world, over appropriation, representation, and making space for Indigenous voices, they are met with justifications, or are ignored all together. The very nature of the mythology upon which the colonial societies of this continent rest, are at the core, stories of taking up Indigenous spaces…quite literally. It is such a rooted part of our collective consciousness that Indigenous voices remain marginalized, even when it comes to talking about Indigenous traditional cultures and contemporary perspectives. And while the appropriation debate has only recently been engaged in by the gate keepers of mainstream institutions, actual understanding and protocols have yet to become a mainstream part of the literary world. Indigenous voices often remain unvalidated and unanswered, while non-indigenous voices are brought in to fill the void created by the marginalization of Indigenous perspectives.

I was very concerned that this would be happening at the 2017 IBBY Conference in Seattle, on the “Indigenous Experiences in Children’s Literature” panel, where space was given to a non-indigenous author, who is largely considered by the Indigenous community to have violated numerous general protocols on appropriation. A large part of my concern with this panel was that the addition of this author would co-opt the topic of Indigenous experiences, making it about appropriation, thus centring around non-indigenous authors, instead of being focussed on Indigenous voices. If you would like to read more about my concerns, you can find them here:  https://americanindiansinchildrensliterature.blogspot.ca/2017/07/christy-jordan-fentons-response-to.html?m=1

I brought my concerns to the attention of Ed Sullivan and the IBBY committee. And as any of you out there who have been fighting to maintain space for authentic Indigeneity know, it can be a very cynical process where all too often, nothing is done. However, in this case, I am very pleased to say that the outcome of this week’s dialogue is IBBY’s announcement that the panel’s original arrangement has been restored. It is back to being a space intended for Indigenous voices. We greatly appreciate the consideration of the IBBY Committee over the concerns raised, and appreciate that the space will be held in a good way, allowing for Margaret/Olemaun Pokiak-Fenton and Lisa Charleyboy their space to have the floor, with Nancy Bo Flood stepping aside.

I understand that to many in the non-indigenous literary world, the issue of appropriation feels like navigating a mine field. However, the ultimate goal is not conflict, but rather finding a better way together. When Indigenous perspectives are considered and dialogue is opened, everyone benefits. As I said previously, the act of appropriation or taking up Indigenous spaces is ingrained in our society, and in the mythologies that society is raised on and maintained by. Issues such as the one with the “Indigenous Experiences” panel will come up. And when that happens, they need to be validated and addressed so that we can all work toward a better way. The change in the make up of the panel shows that we can find that better way together. I hope that in the future other organizations will be open to such dialogues and to listening and acting on ways to facilitate and maintain Indigenous space.

I further hope that when respected Indigenous scholars and artist raise these issues, their wisdom and experience will be heeded, even when they are outside of the organization involved, as they often will be, so that uncomfortable situations between panelists and artists involved are not necessary.

We look forward to participating in this panel. I am encouraged by the IBBY’s actions, and that the matter was used as an opportunity for learning how to better allow such platforms to be about the amplification of Indigenous experiences. The willingness of the IBBY Committee to address the issue shows that we can navigate a better way together. By keeping the matter transparent, and committing to a continued dialogue in the future, everyone who must navigate such situations can advance toward evolving past the ways things have been done in the past.

While I would still like to have seen Indigenous voices from within the colonial borders of the US represented on the panel, space has been made for the current participants, which was the biggest concern. Though I will add, with having a keynote speaker who makes repeated claims to be the only strong Indigenous literary voice out there, I am concerned that a lack of American Indian writers on the panel confirms what that keynote speaker says. There many strong Indigenous voices that could have been included.

For those who will be attending the panel, I don’t want anyone to be scared that the topic of appropriation is entirely taboo. It isn’t, but I ask respect be given to the participants to share their truths and experiences on their terms, and that you reflect on how it is for Indigenous artists to constantly have to contend with the “white permission” question at the expense of being able to speak about their own art.

That said, I would encourage everyone to further engage in conversations concerning appropriation, and to seek opportunities to listen to what Indigenous artists themselves have to say. It is unfortunate that within the scope of the conference as it stands, space could not be found to have this conversation as a separate topic, but that should not dissuade anyone from continuing to learn more. It cannot be assumed that Indigenous artists have the responsibility to educate anyone, but I can guarantee there are many out there who do want to be heard.

To address the question of a non-indigenous moderator conducting the panel, I have no issue with Sarah Ellis as moderator, now that the panel has been restored to its original composition. There are a few issues that can happen with a non-indigenous moderator. One is that when there are diverse voices on the panel, and the moderator belongs to the non-marginalized group, those voices can be drowned out. Even when moderators have the best intentions, ultimately their perspectives and experiences will, in most cases, resonate closer with the panelists who share similar perspectives and experiences. This becomes problematic where the panelists view the issues from very different perspectives. That will no longer be a concern for this panel. Also, there can be times when audience members ask disrespectful questions or ask questions in inappropriate ways, and in my experience, non-indigenous moderators do not always catch what is actually being said, or they do not intervene where they should and give too much space to those voices. However, in the communications we have had with Sarah, she has demonstrated that she is sensitive to the fact these things do happen, especially on indigenous panels, and she has actively sought input from the panelists. I have been very pleased with her approach. This has not been a race issue, but rather one of shifting the balance to maintain the voices of the Indigenous panelists, and I feel confident in Sarah’s desire to give those voices their due platform.

Thank you to the IBBY committee for hearing us. This is a meaningful step in the right direction, and we hope that others take this as an example of how we can all work together toward restoring Indigenous space. I look forward to seeing how the committee carries this experience into the future planning of its events, and how this dialogue can move from being a discussion into meaningful practice for the entire literary community.

Christy Jordan-Fenton

Coauthor of Fatty Legs, A Stranger at Home, When I Was Eight, and Not My Girl

Naomi Caldwell's Letter to Therese Bigelow Regarding USBBY's Oct 2017 "Indigenous Experience in Children's Books" Panel

Alabama State University

College of Education

311 Abernathy Hall

Montgomery, AL 36106

July 27, 2017

USBBY United States Board on Books for Young People
The U.S. National Section of International Board on Books for Young People
Building Bridges Through Children´s and Young Adult Books
USBBY Secretariat, Center for Teaching through Children´s Books
National Louis University
5202 Old Orchard Road, Suite 300, Skokie, IL 60077, USA

Dear President Bigelow:

I read several posts on the American Indian Library Association list serv and the American Indians in Children’s Literature (AICL) blog (Debbie Reese) about the USSBY Indigenous Experience in Children’s Books session panelists. Most notable was your announcement that Nancy Bo Flood will no longer be a panelist. Your announcement was swift and welcomed news.  Please accept my congratulations for this act of courageous leadership.

            Notwithstanding, I am compelled to share my thoughts and a suggestion as past president of the American Indian Library Association, founding chair of the American Indian Youth Literature Award, and advocate for the accurate portrayal of Indigenous books for youth. One would think that in 2017 that organizations such as USBBY would be practiced and astute about planning programs to highlight diversity. After all, the membership is comprised of diverse, devoted well-educated and well-read children’s literature professionals who genuinely care about the quality of literature for youth from a national and international perspective.

Yet, there is a strange dichotomy that exists in the world of children’s literature about quality (accurate and truthful) materials about Indigenous peoples. Most children’s literature about Indigenous cultures that are ready available in the United States are written by individuals who are not Indigenous (CCBC Center for the Study of Children’s Literature, University of Wisconsin, Madison, Multicultural Publishing Statistics 2016). Most of these authors are not skilled in the nuances of indigenous culture and their writing is of inferior quality in terms of realistic and accurate portrayals.

My research on the global image of indigenous people books for youth supports the notion that this trend is not exclusive to North America. It is widespread among nations that were and are under the influence of a colonial ideology. Unfortunately, global educational material accessible in literate nations is steeped in the omission of the Indigenous way of being and voice.  However, there are Indigenous scholars, librarians, educators and associations with the mission to share information from the Indigenous perspective. They are only a click away on the internet.  Dr. Reese's blog American Indians in Children’s Literature (AICL) is recognized as an excellent award winning resource.

USBBY is in a unique situation to help advocate for quality Indigenous literature for youth by work by cooperating with the American Indian Library Association (AILA). A collaborative relationship with AILA has the potential to bring together professionals who are knowledgeable of Indigenous authors and publishers with USBBY program planners. Please consider this suggestion for future reference.

My letter is motivated by the idea that something brilliant can result from the unfortunate faux pas in the planning process of the Indigenous Experience in Children's Books panel.  We can begin working together and follow your courageous example by listening and honoring the voice of the indigenous people. We can always make better choices for the sake of our collective future and I hope we will.

Collegially yours,

Naomi Caldwell

Naomi R. Caldwell, (Ramapough Lenape), PhD, MSLS

Associate Professor and Coordinator Library Education Media Online

American Indian Library Association (AILA), past president

AILA Youth Literature Award, Chair Founding Member

            

Christy Jordan-Fenton's Response to Conversations About USBBY's Oct 2017 "Indigenous Experience" Panel

Eds. note: At 9:00 CST, on July 27th, Therese Bigelow, USBBY's Board President, announced that Nancy Bo Flood would not be on the panel. Bigelow said

We are changing the program on Indigenous Voices in Children’s Literature. Nancy Bo Flood will no longer participate. Panel presenters are all from Canada which reflects the international scope of the conference theme. The panel had already begun working on their program together and the Fenton's, through Christy Jordan-Fenton, have requested that Sarah Ellis continue In her role as moderator. This change will be reflected on the program schedule as soon as I return to my home computer next week.

_____________________ 

25 July 2017

About a year ago, myself, and my mother-in-law, Margaret/Olemaun Pokiak-Fenton (Inuvialuk), were invited to attend the 2017 IBBY Regional Conference in Seattle, to sit on a panel about “The Indigenous Experience in Children’s Literature”. At the time, the only other participant we knew of was Lisa Charleyboy (Tsilhqot'in), and we assumed there would also be Indigenous authors from the US included. We were thrilled to accept the invitation, especially Margaret/Olemaun, who as an 81 year old great-grandmother, still finds herself overwhelmed by gaining a measure of fame and attention so late on, and to her shock, for sharing stories she had been ashamed of her entire life.

To explain a bit about who we are, Margaret/Olemaun is a Inuvialuk Indian Residential School (Indian Boarding School) survivor, best known as the indomitable character in Fatty Legs (Annick Press 2010), along with three other books. Having been raised by a residential school survivor myself, it was important to me to have my children see their grandmother as the strong resilient hero she is, and not through a lens of colonial suffering that has become so much a part of Indigenous identity (one dictated by a colonial narrative, and not an authentic Indigenous one). And so in 2008 we began the slow, extremely painful process of sharing her story. It was a two year ceremony of transmutation we held each other through. I don’t think I could possibly convey how much this journey has asked of Margaret/Olemaun, and how much she has put into it for the future generations, and for herself, or given to me toward my own intergenerational healing, and how far she has come on that journey. What she has given with that journey…what any elder who shares such a journey gives, is sacred, and needs to be held as such.

My job when we speak, which we do about 100 times a year, is to help her in sharing her voice, sometimes to encourage her to share that story she didn’t think was a big deal but was phenomenal and I know the audience will love (she tells great stories), and also sometimes to buffer questions and comments that dig very deep into the trauma she carries from her years at residential school, and a life of experiencing subtle, overt, and systemic racism (think: What are some examples of how they physically hurt you at the school? Or on the other end of the spectrum: Weren’t there any good things about the schools?) A major part of my job is maintaining a good space for her to share her truth and shine as the beautiful elder she is.

It is from this place of needing to hold a good space for her, that I am now addressing the situation that has arisen in an unexpected change of dynamics on the “Indigenous Experience in Children’s Literature” panel. First, I admit it was very naïve of me not to look further into who we would be sharing that space with. I took for granted that the other authors would all be Indigenous. I took for granted that the focus would be about “Indigenous Experiences”. As of a few days ago, it was communicated to me that the dreaded “permission” question of appropriation was one that we should all strategize about ahead of time, for the sake of not letting it hijack the forum (at this point I didn’t realize why that was going to be such a major issue).

However, I have found out today, in a public comment from Ed Sullivan of IBBY, that Nancy Bo Flood was invited to be a part of the panel precisely so that this question could be debated. Normally I would be discreet in handling these matters, but as I myself only found out about this other agenda today, and publicly… and really, I think too many of us spend too much time trying to negotiate and navigate these situations in private, or remain silent, when transparency is needed, here I am responding publicly.

What was originally a panel about “Indigenous Experiences” where we believed Indigenous experiences would be the focus, is now being shifted to a situation that calls the attention to being a discussion on “White Authors’ Experiences”. The panel is now made up of a non-Indigenous moderator, an author called out numerous times for appropriation, and well…if I look in the mirror, I present pretty white too. My role in the panel is not supposed to be to explain why I felt I could represent my mother-in-law’s voice, or about who claims me, what traditions I practice, and the lineage of my teachings. It’s to support Margaret/Olemaun. (And I am completely open to sharing those things. Find me on Facebook if you feel compelled to discuss it and we’ll start a dialogue). But I see no good way to do that when it takes away from the voice of Margaret/Olemaun, and from Lisa Charleyboy. I see no respectful place to discuss that in the setting of this panel.

But more importantly, why has the responsibility of defending their culture and their right to control how their stories are told, been assumed? Why does the IBBY committee feel that it is acceptable to place this, without even asking, on the shoulders of an 81 year old elder who is still working through her healing from trauma, who is still navigating her relationship with decolonization (a journey her great-grandchildren’s grandchildren will be working through generations from now), who was expecting to go and share her childhood experiences in a children’s literature context, in a safe way…why is it deemed acceptable to assume it is her place to educate others against appropriation and defend her indigeneity against it? Again, she wasn’t even asked. Why is it deemed acceptable to assume Lisa Charleyboy, who has so much to offer when it comes to discussing carving out space for modern Indigenous identity…why is it assumed she wants to attend to instead discuss why non-indigenous authors shouldn’t appropriate, thus giving the floor over from what Indigenous artists themselves are doing, so white permission can be the focus?

I am left feeling that if I sit visibly white on this panel, as it is currently composed, next to an author very arguably guilty of appropriation, at a conference where last I knew of the keynote speaker was slated to be an Indigenous author who repeatedly claims to be the only one out there with books people read (despite knowing better), I will be contributing to that message—the message that there are no Indigenous authors out there, and so we need to have white people discuss Indigenous experiences. I know different. I know this isn’t true. My shelves are filled with works by Indigenous authors. And so to stand in my truth, and above all ensure safe space for Margaret/Olemaun, and to honour what my elders and mentors have taught me about my responsibility as someone entrusted to amplify (not appropriate) a small portion of the Indigenous experience, my integrity asks that we, Margaret/Olemaun and myself, do not participate in this panel, as it currently is, with Nancy Bo Flood participating.

What I would suggest, is that if the conference committee deems the topic of appropriation one worthy of exploring, and I think it is, this conversation take place within the context of a separate panel, and I would also like to suggest that such a panel include Indigenous voices like Lisa Charleyboy’s (provided she was asked respectfully and wanted to participate), and that such a panel be moderated by an Indigenous voice who knows Indigenous literature, such as Debbie Reese (Pueblo), or Louise Erdrich (Anishinabe).

And, I suggest that the “Indigenous Experience in Children’s Literature” panel be left as a space to discuss “Indigenous Experience”.

As my elders have taught me, mistakes are really just opportunities to learn, in disguise. I invite the committee of the IBBY to please examine their decision to include Nancy Bo Flood, knowing it would co-opt the conversation from Indigenous voices to a discussion on appropriation. Please make space for Margaret/Olemaun and Lisa Charleyboy to share what they are doing and what they have experienced, and also consider adding an Indigenous voice or two to represent peoples from territories within the colonial boundaries of the US.

Indigenous peoples and all peoples of colour are constantly expected to defend their cultures against appropriation at the cost of opportunities to discuss their own art. Please, make space for the art. And as this incident demonstrates, there is a need for the appropriation conversation also. We should have it. I would like to have it. I think the attendees would like to have it. But that needs its own forum, and to be guided by Indigenous experience and knowledge.

It is not my mother-in-law’s job to defend her people’s right to control how their stories are told. Her voice is for sharing her experiences. It was under an invitation for her to do so that we agreed to participate. If the panel is now openly forcing her into a position of defence, we will have to decline the invitation. However, if we can all work together to realize our learning opportunity from this, and use it as a catalyst to find a better way together, we would be honoured to participate.

Christy Jordan-Fenton

coauthor of Fatty Legs, A Stranger at Home, When I Was Eight, and Not My Girl

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See also:

Naomi Bishop's Open Letter Regarding USBBY's 2017 "Indigenous Experience" Panel in Seattle

Debbie Reese's Open Letter Regarding USBBY's 2017 "Indigenous Experience" Panel in Seattle