Tim Tingle's CROSSING BOK CHITTO

[Note: This review used by permission of its author, Beverly Slapin. It may not be published elsewhere without written permission of the author.]

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Tingle, Tim (Choctaw), Crossing Bok Chitto: A Choctaw Tale of Friendship & Freedom, illustrated by Jeanne Rorex Bridges (Cherokee). Cinco Puntos Press, 2006. Unpaginated, color illustrations; grades 2-5

Crossing Bok Chitto, originally one of the stories in Tingle’s excellent collection, Walking the Choctaw Road, is now a picture book.

In the early 1800s, Mississippi’s Bok Chitto River was a boundary, dividing the home of the sovereign Choctaw Nation from the “Old South” of plantation owners and their human property. Enslaved Black people who were able to get to the Choctaw side of Bok Chitto were free. According to the story, the Choctaws built a stone path just below the muddy surface of Bok Chitto—built it up in times of flooding and built it down in times of drought. It is this unseen stone path, and the generosity of a Choctaw family, that aids an enslaved Black family to cross to freedom. 

When her momma asks Martha Tom to fill her basket with blackberries for an upcoming wedding, the little girl crosses Bok Chitto, loses her way, and encounters the calling together of a Black church secreted in the Mississippi woods. After an enslaved Black father instructs his young son how to move among the white people without being seen—“not too fast, not too slow, eyes to the ground, away you go!”—Little Mo escorts Martha Tom past the plantation house and back to the river, where she shows him how to cross. The relationship between the two children and their respective families deepens, and when trouble comes—“it always does, in stories or in life, trouble comes”—magic is made, and the Black family is empowered to cross to freedom. 

There are two concerns with this otherwise extraordinary story. One is that, in moving the text from a short story to a picture book, the description of the Choctaw was changed from “a sovereign nation of people” to “a nation of Indian people.” “Sovereign” may be one of the most important words in Indian Country, and children old enough to read this book—or have it read to them—need to be taught its meaning. 

There is something else that needs to be considered. For people to be defined by their condition of servitude—“slaves”—is a social construct that holds the institution of slavery in place. Rather, the word “enslaved” places the responsibility for servitude on the owners rather than on the owned, and raises a level of consciousness that the word “slave” does not. 

These issues notwithstanding, Crossing Bok Chitto is an awesome story of survival, generosity, courage, kindness and love; enhanced by Jeanne Rorex Bridges’ luminous acrylic on watercolor board paintings on a subdued palette of mostly browns and greens. In an endnote, Tingle describes how this particular story came to be. Today, Choctaw families—as well as Cherokee, Chickasaw, Creek and Seminole—continue to tell the stories of how they aided the “runaway people of bondage. "

—Beverly Slapin

American Psychological Association Resolution on American Indian Imagery

In 2005, the American Psychological Association passed a resolution calling for the immediate retirement of American Indian mascots, symbols, images, and personalities used by schools, colleges, universities, athletic teams, and organizations.

The APA's Justification Statement for the resolution reads, in part:

“It is especially difficult when American Indian peoples are trying to present their tribal identity as accurately as possible, to have the dominant culture employ symbols, mascots, images and personalities that depict American Indians in an inaccurate and offensive manner (Staurowsky, 1999; Pewewardy, 1991).”

Here’s another excerpt from the APA Justification:

“The stereotyping of any racial, ethnic, or religious group by other groups and social institutions—especially public educational institutions and educators—had the potential to teach children and youth that stereotyping of ethnic minority groups is acceptable (US Commission on Civil Rights, 2001).”

A lot of people are inclined to dismiss stereotypical images in a children’s book because “it is just a children’s book.” Others defend dressing up as an Indian, especially if the Indian is/was a real and heroic person (i.e. Pocahontas), arguing that such actions are informative to the person dressing up that way, and potentially to those who the person interacts with while dressed that way. And still others cite freedom of expression, first amendment rights, etc.

Read the APA document and consider what we do, as individuals who create, edit, publish, review, and purchase children’s books with American Indian imagery. You can read the entire statement by clicking below or pasting the URL in your browser window: http://www.apa.org/pi/oema/justification_amindian_mascots.pdf

Justification Statement

Resolution Recommending the Immediate Retirement of American Indian Mascots, Symbols, Images, and Personalities by Schools, Colleges, Universities, Athletic Teams, and Organizations

More on Indian Costumes at Halloween

In the comments section for "Cowboys and Indians and Tacos and Tequila," a mother who identified herself as a "Caring and Concerned but Decidely UN-PC-Mom" defended her decision to support her daughter's wish to be an Indian at Halloween.

Jean Mendoza, my friend, colleague, and co-author, submitted a reply to Un-PC-Mom. I think these two comments are important and should be read by all (not all visitors to the blog read the comments), so I'm posting both comments here. Directly below is the comment from Un-PC-Mom (her comments were not broken into paragraphs), and below it is Jean's reply to her.

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Comment from "Caring and Concerned by Decidely UN-PC-Mom"

OK, I get that you don't want people to be insensitive to the Native American Culture. However, I do believe that children should be allowed to feel what they feel and want to be what they want to be. My daughter wants to be an "Indian." This is interesting because one of her best friends is actually Indian, from India. Different to that, she is fascinated by the Native American Dress and calls it Indian. We, as a family, are not disparaging of any ethnicity and she is immersed in many cultures, living here in New York City. We are middle class people who work hard for a living, and yet we do go to a private school. That school is not for profit and is of a developmental philosophy. We pay far less than the "privelaged class" of NYC, but we consider ourselves lucky to have found our cool school. One thing I find interesting about your blog is that it does not allow that historically, Native American Indians had a certain dress and look, and why is that not OK to observe as a costume? People dress as Marie Antoinette, don't they? People dress as Vampires. The point is, people dress as things that they find intriguing and actually might want to learn more about. I am very sorry if you find it offensive, but honestly, I find it an opportunity to talk organically with my child about what she finds interesting and then that opens the door to what is there academically. She certainly means no offense, being 6, and I, most certainly do not either. In this day and age, when so little is actually taught correctly about native american indians, I find it a great "in" to talk about everything with my daughter. I am sorry if it offends your sensibilities, but then, that is something for you to deal with. At the end of the day, do you want people to be insinserely NOT talking about Native America Indians, or do you want them to learn, by hook or by crook, what is real?

Signed,
A caring, concerned, but decidedly UN-PC Mom
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And here is Jean's reply:

Response to Un-PC-Mom in New York

I appreciate your participating in a conversation that you probably didn’t expect to encounter when trying to find information about Indian “costumes”. I’ve read your post a couple of times & think you may have misread Debbie’s work. I don’t see Debbie saying that supporting children’s mistaken ideas about Native Americans “offends sensibilities”. Instead, she is inviting you and the rest of the world to consider why you would want to continue to support a child’s mistaken ideas about other people – or about anything, for that matter.

You (un-PC Mom) said: historically, Native people had “a certain dress and look”. In fact, you probably know that there were/are HUNDREDS of ways of “dressing and looking”, historically, depending on one’s culture, gender, age & experience, time period, etc. You probably have yet to see a culturally authentic, historically accurate “Indian costume” for kids sold anywhere. The ones available (even the patterns sold for those who sew) are a hodge-podge of Hollywood Indian stereotyping and foolishness.

I’m wondering what resources you and your daughter would use to find information about “Indian” ways of dressing and looking? Without the most accurate resources and careful choices, the result is likely to be a pseudo-historical mélange of styles and inaccuracies that will add to her misinformation about what it means to be Indian, in either the historical or contemporary sense. Even if the costume is 100% authentic/accurate, you still run into the problem of allowing your child to think that "playing Indian" is somehow on a par with pretending to be a vampire or Marie Antoinette, which it isn't.

If your daughter’s wearing an Indian “costume” is “an opportunity to talk organically” with her, which then “opens the door to what is there academically” – where will you look for materials that won’t add to the misinformation she already has? Debbie has suggested Oyate; so do I. A lot of non-Native people are uncomfortable when they look at Oyate for the first time. The perspective is very different from that of the dominant culture. It can be painful to come face-to-face with the fact that much mainstream “knowledge” about indigenous people is actually false, inaccurate, even stupid. Good books by Native people are an excellent antidote for the misinformation that dominates popular culture.

"Mom", you mention that your child’s school is “developmental”. Many schools with that approach also implement an anti-bias approach to diversity. You might want to ask the principal and the teachers whether they use the anti-bias curriculum, and then check out the materials, yourself. One tenet is that it’s educationally and ethically appropriate to proactively support children’s authentic understandings of cultures, groups, and lives other than their own. That means challenging or doing away with activities that keep the misunderstandings alive. Anti-bias curriculum materials are available from the National Association for the Education of Young Children.

Maybe a question to ask is, “If there were Native children in my daughter’s school, would I be caringly, proudly ‘un-PC’ and let her dress that way for Hallowe’en? Or would I make a point of being sure that she did nothing that reflects my/her ignorance about someone else’s history and culture?”
If the answer is, “That would be something for THEM to deal with; let her dress as she likes” – then what does that show her about how to get along with other people? “Let them eat cake?” “It doesn’t matter what I don’t know, as long as I don’t MEAN to offend?”

I should probably identify myself: I'm white, married to a kind, intelligent and talented tribally enrolled Muscogee Creek man; we have 4 wonderful children and (yay!!) four amazingly wise and beautiful grandchildren. I've known Debbie for about 12 years and am honored to have worked with her from time to time.

"Cowboys and Indians" and "Tacos and Tequilas"

In the last few hours, several people have found my blog by doing an Internet search using these terms:

"indian war paint for halloween"
"american indian halloween costume face paint"
"american indian war paint"
"halloween indian face paint example with picture"

I read this data as I ponder recent events on the UIUC campus. The Greek (fraternity and sorority) Houses are a significant element here. They have events in which a frat and sorority get together around a specific theme.

This practice started to come to awareness last year, with a "ghetto" party in which the (mostly) white students in the Greek system organized a party where they dressed up like "ho's and thugs."

This year, another party was exposed. This is the "Tacos and Tequila" party (publicly called a Fiesta). This time, students dressed as pregnant Mexican women. Some students attached little brown dolls to their shirts. Males dressed as "farmers" or "gardeners" --- the words they use publicly for what they privately said was "wetbacks" and "illegals." Of course, there is a heavy amount of liquor involved in this get together. Also coming to light are "Cowboys and Indians" parties.

From a rather disturbed perspective this afternoon, I feel some anxiety over what all of this says about society. What are we doing such that this sort of thing takes place? It isn't happening just here. The parties are happening on campuses across the nation.

Those who wrote to me saying that my posts about dressing up like Indian are hypersensitive.... please rethink that response. It isn't the innocent act you think it is.

NOT RECOMMENDED: Gerald McDermott's ARROW TO THE SUN

Note from Debbie on Nov 6, 2021: I inserted "NOT RECOMMENDED" to the title of this post, and I inserted an image of the book cover with "NOT RECOMMENDED" above the cover. I did that to make this review more consistent with ones we've done more recently. 

Gerald McDermott’s Arrow to the Sun won the prestigious Caldecott Medal in 1978. Awarded annually by the American Library Association, the Caldecott Medal is given to the most distinguished American picture book for children published in the United States during the preceding year. My guess is that most public and elementary school libraries order at least one copy of every book that has won the Caldecott. Many of these books are also made available in video and audio format. Due to their visibility and award-winning status, teachers use them extensively. For example, I did an internet search using “Arrow to the Sun”+K12. (K12 is one way of locating school web pages.) The search returned 23,200 hits.

Its popularity and acclaim aside, Arrow to the Sun has many problems. For Pueblo people, kivas are places of ceremony and instruction, not places of trial. However, in McDermott’s kivas, the protagonist must prove himself by fighting lions, serpents, bees, and lightning in four different kivas.

I think most teachers, prepping to use this book, would know that kivas are not scary places, but more like a church or temple. Hopefully, that teacher will pause as she reads the story, to tell her students that McDermott’s representation of a kiva is wrong. Fortunately for her students, they will have had a valuable experience, as they learn to question the books they read, no matter how popular they may be. Course, it is award-winning because the people who selected the book, and the reviewers who gave it a favorable review don't know much, if anything, about Pueblo culture!

What if the teacher does not know anything about Pueblo kivas, and therefore, doesn’t question McDermott’s presentation? I think that her students are harmed by this misinformation. They will come away with a concept of kivas that is incorrect.

If one of her students should visit a pueblo on a vacation, he or she might express fear upon seeing a kiva.

And, what about Pueblo Indian children in this or any classroom where the book is used?

They, too, are harmed, but in a different way. Most likely, they know the story is wrong. How might they grapple with the error? Will they challenge or question the teacher, who is an authority figure they’ve been taught to respect? How might they feel, when asked to participate in a small group discussion on “how do you think the protagonist felt going into the kiva?” Will the child be distracted and unable to focus on school assignments in general?

Another problematic area of Arrow to the Sun is the status of the protagonist. In the story, the protagonist is mocked and chased away by other boys in the pueblo who say to him “Where is your father?” and “You have no father.” This conflict is the impetus for the boy’s journey to the sun. However, the conflict is one that does not reflect Pueblo family structure and values. The concept of illegitimacy does not exist. Children in Pueblo communities are born into large extended families. The stain of illegitimacy is European, not Puebloan.

If there is a copy of Arrow to the Sun in your school or classroom library, read it, and think about what I’ve shared here. I know some will reject what I’ve said as unimportant. It is, after all, a great story, but I hope others will reconsider using that book as “a great story” and use it as a tool in educating children about how authors and illustrators can get things wrong.

Jeanette Armstrong's DANCING WITH THE CRANES

[Note: This review is used with permission of its author, Beverly Slapin. It may not be published elsewhere without written permission of the author. Dancing with the Cranes is available from Oyate, a non-profit organization.]

Armstrong, Jeannette (Okanagan), Dancing with the Cranes, illustrated by Ron Hall (Okanagan/Thompson). Theytus Books, 2005, unpaginated, color paintings, grades 2-up.

Last year, Chi’ and her Temma had come to the lake to watch the birds, and the geese had come so close that they could almost touch her. But now Temma is gone, Chi’s momma is expecting a baby, and none of the birds pay any attention to her. And the sound of a loon especially makes Chi’ feel like crying. The cranes come back in their season, but Temma is never coming back. 

As Momma helps her see the continuity of birth, life and death, Chi’ begins to understand that the cranes that come back every year may not all be the same individual cranes, and like the song of the cranes, “her Temma would always be inside of her." 

Hall’s stylized acrylic paintings are a stunning complement to this gentle, but deep, little story. Full-color pictures in shades of blue, brown and green with red and yellow highlights alternate with text pages on solid colors that complement those in the illustrations. And a “cutout” on each of the text pages further lend continuity to the illustrations. Like the traditional faceless Indian dolls, the artwork allows the young reader to imagine the characters’ facial expressions. In three pictures, a small design on the front of Momma’s dress draws the reader’s eye to where the beginning of a baby is growing. And the picture of Temma dancing with the cranes is awesome in its simplicity and beauty.

—Beverly Slapin

Thomas King's A COYOTE COLUMBUS STORY

If you read comments to AICL's blog posts, you'll see that Fuse #8 (that's Betsy Bird, of School Library Journal) posted this comment to the Oct. 11th, 2006 blog about Columbus Day:

"I'd just like to point out that I'm very very fond of "A Coyote Columbus Story" by Thomas King. If you haven't seen this picture book, you might do well to give it a glance."

King's book is terrific. My dear friend and colleague, Jean Mendoza, has an essay about it in A Broken Flute: The Native Experience in Books for Children. The essay, titled "Goodbye, Columbus: Take Two," discusses A Coyote Columbus Story and Jane Yolen's Encounter.

A gifted writer, Jean deftly critiques both books. Yolen is a powerful name in children's literature, and she's written many excellent books, but as Jean points out, Yolen's attempt to give readers a Taino perspective on Columbus ends up blaming the victim.

King's book is a far better choice. Some of you know that Coyote is a trickster. In this story, Coyote is a girl. Here's part of what Jean says:

A Coyote Columbus Story is no finger-pointing lament. None of its characters slouch in defeat with body parts morphing into thin air, as does the narrator at the end of Encounter. The reader sees indignation, not stoicism, on the faces of the people being kidnapped.

Your school or public library probably has a copy of Yolen's book, but not King's. Order a copy of A Coyote Columbus Story and a copy of A Broken Flute and read Jean's essay. You will gain insights that you can apply to other books.

More on "I am part Native American"

On October 18th, I blogged about the phrase "I am part Native American." I will discuss the topic of Native identity in a series of posts. It is very complex, and filled with tension, but important. A statement claiming a Native identity is one that should be offered with a great deal of thought and care for several reasons.

One reason is the claim itself.

A lot of people say it, but, does the tribe they claim say it about them?

For example, I can say "I am Nambe Pueblo Indian" but I can also say "I am tribally enrolled." That means that Nambe claims me. They have listed me on the tribal census.

My family lineage was unbroken by any of the various efforts to assimilate American Indians into mainstream American society, and my tribe is among the tribes recognized by the US government. We are "federally recognized." You can read more about federal recognition at the webpage of the National Congress of American Indians.

I am what we call, in children's lit, an "insider" who can offer an "insider's perspective" based on a lived experience. I offer my critiques, reflections and reviews of children's books, teaching about American Indians, and playing Indian activities from a place of knowing that is enriched and informed by my experiences.

It is troubling to me when people say "I am Cherokee and I don't think there is anything wrong with dressing up like Indians at Halloween." In my experience, Cherokee people who are connected to their tribe generally don't say things like that.

My experience is that people who say "I am Native American and I don't see anything wrong...." are individuals for whom their claim to Native identity is based--not on their present day life--but on the great grandparent/ancestor situation. It seems to me that they are offering this claim to identity as a means to defend their use of what I feel is the inappropriate use or representation of American Indians.

As people charged with educating children and selecting books, we ought to pay attention to what we say and why we say it, what we claim, and why we claim it.

There's more to say about all of this another day. In the meantime, you may also want to read Oyate's statement on identity.

[Update, 12:54 PM, Oct. 23, 2006: Just above, I said "There's more to say about all of this another day" and I want to let you know that among the "more to say" is the idea of "federal" recognition, and "who can write" or retell stories about American Indians. ]

Native-authored Plays on Internet Radio

Native radio is carried on the web by AIROS (American Indian Radio on Satellite). In November, we'll all have the opportunity to listen to three Native-authored plays that will be broadcast on Native Voice One. I don't know the suggested age for the listener, but think they are probably fine for YA audiences. Details below:
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Celebrate Native American Heritage Month with a Three Course Feast for the Ear

The Native Radio Theater (NRT) Project presents three original radio plays, produced at a National Audio Theatre Festival workshop in West Plains, MO in June, 2006. Melba's Medicine, written by Rose-Yvonne Colletta (Lipan-Mescalero Apache) features a Native Grandmother who hosts her own radio talk show and gives out sage advice. Super Indian by Arigon Starr (Kickapoo) is about an Indian with super powers and his side kicks General Bear and Diogi. THE Best Place to Grow Pumpkins by Rhiana Yazzie (Navajo) tells the story of a young girl who helps her grandfather fight his diabetes through a magical pumpkin patch. Funded by the Ford Foundation, NRT is a project of Native American Public Telecommunications and Native Voices at the Autry.

The hour-long special will be broadcast over Native Voice One (NV1) eight times during November. NV1--The Native American Radio Service distributes through the Public Radio Satellite System to Native American radio stations around the country. Listeners all over the world can hear it on the web at www.airos.org or www.nativeradio.org

Thursday, November 16 at 8 a.m., 1 p.m., 6 p.m. E.T.

Saturday, November 18 at 1 p.m. E.T.

Sunday, November 19 at 1 p.m. E.T.

Twice on Thanksgiving Day, November 23 at 8 a.m., 1 p.m., 6 p.m. E.T.

Saturday, November. 25 at 1 p.m.

Sunday, November 26 at 1 p.m.

“I am part Native American”

In recent weeks there has been an increase in comments to my blog. For the most part, I’ve left the comments alone as a place for dialog among readers to take place. Periodically, I will respond to a specific comment or set of comments.

Today I want to respond to a recurring phrase, in which someone says “I am part Native American” and then goes on to make his/her point.

To those who say that here or elsewhere, I urge you to be specific. It is critical that people learn that the phrases “Native American” or “American Indian” are very broad, encompassing over 500 different tribes, each one different from the next.

A lot of people write to me, asking if they should use "American Indian" or "Native American" or "Indian" in their teaching. I write back, saying that best practice is to specify the tribe. If you're a teacher in New Mexico, best practice is to teach your students about the American Indians of New Mexico. Apache. Dine (Navajo). Pueblo.

Do your part in working responsibly to help everyone know more about who we are. Be explicit. State your tribe.

Cynthia Rylant's Long Night Moon

[Note: This review is used by permission of its author, Beverly Slapin, and may not be posted elsewhere without permission of the author.]
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Rylant, Cynthia, Long Night Moon, illustrated by Mark Siegel. Simon & Schuster, 2004. Unpaginated, color illustrations; preschool-2.

Rylant begins Long Night Moon with this: “Long ago Native Americans gave names to the full moons they watched throughout the year. Each month had a moon. And each moon had its name…” Together with the artist’s description of the author’s “tribute to the Native American tradition of naming the full moons” as “lyrical” and “magic,” and the CIP data describing Long Night Moon as “Indians of North America—Fiction,” unwary teachers may be led to believe that this book has something to do with Indians. It does not. Rather, Rylant, whose ethnicity we might safely assume is not Native American, assigns her own imaginative names and behaviors to twelve of the full moons in a year: “In January the Stormy Moon shines…on a wild wolf’s back.” “In July the Thunder Moon…listens to the clouds beat their drums.”

In the excitement of writing kiddie-poetry about moons and wild wolves and drumbeats, Rylant may not have noticed that the thirteen full moons in the lunar year—by which traditional peoples reckoned the seasons—do not coincide with the twelve months in the Roman year.

The two-page spreads—charcoal, pencil and pastel scenes of a house and surrounding countryside in blues, purples, greens and grays—contain visual markers to lend continuity to the poem: a woman holding a baby, a small house, gazebo, telephone poles, fence, large tree, smaller trees. So what are we to make of two polar bears sleeping in March in the hollow of the big tree right outside the fence?

I can just see classroom teachers making a list of “Indian moons” on the chalkboard, teaching young students to make paper-and-feather necklaces featuring their favorite “Indian moons” or make up their own “Indian moon” names based on their own experiences (e.g., “rollerblading moon”). This kind of thing gives me a headache.—Beverly Slapin

"An Indian?" in CLIFFORD'S HALLOWEEN

Across the country, kids know who Clifford the Big Red Dog is. A long-time favorite in a series of picture books by Norman Bridwell, even more kids are meeting Clifford by way of his television program, broadcast on PBS.

In the book Clifford's Halloween, Emily Elizabeth is trying to figure out what Clifford will be for Halloween. One option is an Indian. That page shows him in a large multi-colored feathered headdress, with what Bridwell must have intended to be a peace pipe in his mouth.

Many books about Halloween have illustrations of kids dressed up as Indians, and due to society's embrace of things-Indian and playing Indian, most people don't give it a second thought. 

Let’s pause for a moment, though, and think about this seemingly innocent act of dressing up as an Indian for Halloween.


What else do kids dress up as at Halloween? I don’t mean animals or superheroes, but people-costumes. They can be policemen, firefighters, cowboys, doctors, nurses, pilots, astronauts, baseball players, cheerleaders... All these are occupations or positions one can, in fact, be at some point, with the proper training.

Now---what about an Indian? You can’t train to be an Indian. You can’t become one. It is something you are born into.

Does that distinction matter? A lot of people would say “No. It’s all in good fun, no harm done.” So you help your child apply his/her “war paint” and put on feathers and other items that complete the costume. Can you imagine yourself painting the child’s face so he/she could be a black person? A minstrel performer, or perhaps a slave, or even Martin Luther King? I’m guessing a parent wouldn’t do that. That parent would know it was wrong. (Doing it in another context----a school play, for example, is a different context.)

Another question to consider: What sort of Indian are we encouraging children to be when we endorse an Indian costume, and what does it teach them? Are they savage Indians, the ones who, according to history books, were murderous, bloodthirsty killers? Or are they the tragic ones, heroic, last-stand, looking into the sunset, riding away despondent over loss?

In either case, the costume they wear is stereotypical. And—savage or heroic—both place Native peoples in the past, not the present, reinforcing the idea that we are an extinct people.

If the book you select for a Halloween read-aloud in storytime has characters that dress up as Indians, turn that illustration into a teachable moment with your students. And, if you’re the parent of a child who wants to dress up as an Indian, talk with your child about that choice and what it means.

In choosing NOT to think about this, are you, unwittingly, fostering the development of stereotypes?

Children's Books about Columbus Day

In comments to the poem about Columbus Day (posted on Oct 9th), anonymous said "There are fewer and fewer students these days who aren't aware of the varied opinions which arise in discussion of Columbus' voyages to the Western Hemisphere."

Do others have similar observations? I think anon's comment may be true with older children, but what about younger ones, in elementary school? Do high school students have to unlearn what they were taught in earlier grades? Or are teachers problematizing the teaching they do with young children?

If you're a teacher of young children, I'd really like to know what you're teaching.

I'm also interested in the children's books you have in your classroom (or library) that are about Columbus. And history texts, too, used in elementary school. Do they glorify Columbus? Is he a heroic figure? Do they say that he "discovered" America?

To get a sense of how to look critically at them, read James Loewen's book THE TRUTH ABOUT COLUMBUS. Published in 1992 by The New Press, it is an analysis of history textbooks used with high school students.

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

A Review of Joseph Bruchac's Geronimo

[This review posted here with permission of its author, Beverly Slapin. It may not be published elsewhere without written permission from the author.]

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Bruchac, Joseph (Abenaki), Geronimo. Scholastic Press, 2006; 360 pages, grades 5-up; Ndee (Apache)

It is 1908, more than twenty years after Geronimo’s final surrender to the White Eyes, and the grouchy, once-fearsome old man is looking for his hat. When his adopted grandson, whom he once called “Little Foot,” flicks his eyes up and then respectfully looks away, the old man discovers his hat—on his head.

As narrated by a younger Little Foot coming of age during the captivity years, the life of the man history has come to call “Geronimo” and the lives of the Ndee people who have come to be called “Apache” are rich with cultural and historical markers and a litany of broken promises. As Little Foot observes, “Lies from the mouths of the White Eyes seemed as certain as the sunrise each morning in the east. Even when they wrote their promises down on paper, they still did not keep them. Paper lies are even easier to burn.”

There is great good humor here too, as when Little Foot attempts to describe the thing called “cement” and as Nana opines in the humid Alabama weather, “Perhaps it would be better of us to sign a treaty with the mosquitoes. If they become our allies, together we can defeat all the White Eyes.”

Chronicling the years from 1886 to 1894, each short chapter begins with a historical third-person record that offers a counterpoint to Little Foot’s narrative and grounds it in the history of the times. Through Little Foot’s interpretation, middle readers will come to know the great spiritual leader as a man who loved his wives and many children, had an infectious sense of humor, and was an astute businessman besides.

Geronimo is a story of resistance and survival, courage and sacrifice, and, above all, the fight to maintain land, culture and community. Told from the perspective of the people themselves—with a refreshing absence of words such as “renegades” and “raiders”—Bruchac’s work is an antidote to the many toxic volumes, fiction and so-called non-fiction, that portray Geronimo and his people as savages.—Beverly Slapin

Jimmy Durham's "Columbus Day" poem

Durham is not Cherokee. I removed his poem.

Details at Indian Country Today: 

Dear Unsuspecting Public, Jimmie Durham Is a Trickster

Jimmie Durham’s indigenous identity has always been a fabrication and remains one

June 26, 2017

The The traveling retrospective Jimmie Durham: At the Center of the World and its accompanying catalog has launched a new conversation about Durham’s claims of being Cherokee, American Indian, and a person of color. Now art writers, museum staff, and scholars are making these claims on his behalf. These false claims are harmful as they misrepresent Native people, undermine tribal sovereignty, and trivialize the important work by legitimate Native artists and cultural leaders.

Durham is neither enrolled nor eligible for citizenship in any of the three federally-recognized and historical Cherokee Tribes: the Eastern Band of Cherokee Indians, the United Keetoowah Band of Cherokee Indians of Oklahoma, and the Cherokee Nation.

Self-determination of citizenship is a basic tenant of any sovereign nation including tribal governments. The three Cherokee tribes, whose history is thoroughly documented and accessible, stem from a history of self-governance that predates the establishment of the United States.

Anskohk Aboriginal Literature Festival

Nicola Campbell’s book, Shi-shi-etko, was awarded Aboriginal Children’s Book of the Year at the Anskohk Aboriginal Literature Festival on September 30^th. You can read Beverly Slapin’s review of Shi-shi-etko here. Campbell is currently working on a sequel to Shi-shi-etko.

Also receiving the award is Dale Auger’s Mwakwa-Talks to the Loon: A Cree Story for Children, which I have not read yet.

Cynthia Leitich Smith's Jingle Dancer

As noted in my profile, I am from Nambé Pueblo, located in northern New Mexico. Several times a year, we dance. Pueblo dance is, essentially, prayer-in-motion. It is not entertainment, and it is not performance.

Twelve years ago, my daughter danced for the first time. She was three years old. I have many strong, powerful, beautiful memories of sewing her clothes, of finding the items we would need to get all the traditional clothing she would need together. We turn to others in our family and community to help. An important note: we do not wear “costumes.” We are not “dressing up.”

Cynthia Leitich Smith’s picture book, Jingle Dancer, resonates warmly with memories of my daughter’s first time dancing. I've referenced Jingle Dancer several times on this blog, but haven't given it the attention it deserves.

The protagonist in Jingle Dancer is not Puebloan; she is a Muscogee (Creek)-Ojibwe (Chippewa) girl named Jenna. In the story, Jenna’s family and community help her get ready to do the Jingle Dance.

The illustrations, by Cornelius Van Wright and Ying-Hwa Hu, are just as important as the story. With each turn of the page, I smile, recognizing items that I see when I’m in my own home, or that of siblings or parents… Native art on the walls, a trunk used to keep traditional clothing.

It is apparent that author and illustrators collaborated on Jingle Dancer. Their book is a treasure, one that I love to share with friends, colleagues, students, and others who look for the best children’s books about American Indians. Several professional organizations and associations include it on their lists of recommended and notable books.

Too many children (and adults) think we no longer exist. Obviously, that is no longer the case. Some of us live on reservations, but like Jenna, a lot of us live in cities and towns across the country. Instead of teaching about Pilgrims and Indians this year, consider teaching students about American Indians as we are today. Start with Jingle Dancer.

I will be home (Nambe Pueblo) for a week and won't be posting until I return.

BASIC SKILLS CAUCASIAN AMERICAN WORKBOOK, by Beverly Slapin and Annie Esposito

I have used Basic Skills Caucasian American Workbook in classes and workshops. My experience is that people find it helpful in understanding what it feels like to have your culture presented by someone who knows little about it (or, more accurately, misrepresented by someone who knows little about it).

In the workbook you will find familiar worksheets. There are segments to read that have unfamiliar words followed by phonetic spelling to help pronounce the words. Blocks of text are followed by fill-in-the blank statements. There is a glossary. There are pages about education and schools, religion, and dating. The illustration on the front cover is of a man at a golf course.

Some people strongly object to the ways that the authors present Christianity, which makes the case beautifully about what is wrong with the ways that Native cultures and religions are presented in children's books.

If you find yourself thinking that a critique of one of your favorite (or a popular) children's book is "nit-picky," you will gain important insight by spending time with this book. It costs little ($13) and is available from Oyate.

Joseph Bruchac's HIDDEN ROOTS

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

[Note: This review is by Beverly Slapin of Oyate. I am grateful to her for sending me her reviews. Early in my graduate work, I read Through Indian Eyes: The Native Perspective in Books for Children, edited by Slapin and Seale. It marked an important moment in my work. In the field of children's literature, it is a touchstone, and its sequel A Broken Flute: The Native Perspective in Books for Children is equally important. As is clear to regular readers of my blog, I link to Oyate often, suggesting you order books like Hidden Roots from there. I would not do that if Oyate was a for-profit bookseller. Oyate is a not-for-profit organization that is doing very important and necessary work on a shoestring. ---Debbie]

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Bruchac, Joseph (Abenaki), Hidden Roots. Scholastic Press, 2004. 136 pages, grades 5-up

Living with his family in a tiny town in upstate New York, 11-year-old Sonny is surrounded by secrets. His parents live in solitude, and so does he. Questions are forbidden, and silence is enforced by his father, who explodes into violence without warning. His only friend is Uncle Louis, who comes around mostly after Sonny’s father has left for work. The old man is tied to the land in ways that Sonny is just beginning to know. As they walk in the woods together, make camp and do a lot of listening, Uncle Louis shows Sonny the relationship among all things. “Is it all right, us praying like Indians that way?” Sonny asks. “Long as no one sees us,” Louis answers.

Taking place in the early 1960s, Hidden Roots is rooted in the Vermont Eugenics Program that began some thirty years before and left the Abenaki people, for generations, “hiding in plain sight.”

Slowly, Sonny begins to understand how a Jewish librarian’s parents’ secret saved her life and how Indians had to pretend they weren’t Indian: “Sometimes people jes have to do the hardest things for their children,” Louis says. The hardest things, such as giving your children away so they can survive.

When Louis can no longer contribute to the silence and shame, Sonny begins to understand the “whys” of having to leave your home in the middle of the night, having secrets hanging heavily in the air, having to keep your head down and not bring attention to yourself, having to watch your father’s self-hatred turn to violence, having been told your grandfather is your “uncle” because he still lives in the Indian way. And Sonny begins to come to know that roots—even hidden roots—run deep.

Hidden Roots is for all those Indian families whose lives were interrupted by the eugenicists and for all the elderly mothers who still whisper to their adult daughters, “You better get your hair cut, or everybody’ll know you’re an Indian.” For all those who see their lives in this story, and for all those who never knew and now bear the responsibility to bring about change.

In a poem called “Rez Kid” (in Above the Line, West End Press, 2003), Joe Bruchac writes,

…hidden roots still give you strength.

There will always be another day.

The wind will always remember our name.

No matter how many roads they build,

the earth under our feet is our mother.

Joe Bruchac has written an honest, truth-telling story that may well be the most important book this prolific writer has ever produced. Thank you, Joe. You have done a good thing.

—Beverly Slapin