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natlacentral · 2 months

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Kiawentiio grew up loving ‘Avatar: The Last Airbender,’ and now she’s bringing the cartoon to life: ‘I did my best’

Kiawentiio is starring in a Netflix show. It's a sentence she's still processing.

"Growing up as a little native girl on my reservation, I never thought that this was something I’d even be able to do," she tells TODAY.com. "It was completely out of reach in my mind. So when I got the role, when we were filming and even now, it’s hard to wrap my head around the fact that it’s all real."

Kiawentiio, a 17-year-old actor and singer from the Mohawk people, plays Katara, a beloved character from “Avatar: The Last Airbender,” in Netflix's live-action remake. The show hit the streaming platform Feb. 22 and quickly soared to No. 1 on Netflix's list of top TV shows in the U.S.

Before this, Kiawentiio appeared in "Beans" and guest-starred in Season Three of "Anne with an E." Now, she's adapting a cult classic cartoon and faces a fandom that's hesitant to trust a remake, still sensitive about the previous attempt, a film released in 2010.

"Avatar: The Last Airbender" ran for three seasons on Nickelodeon, from 2005 to 2008. The show achieved worldwide success and a cult following that only grew once the show was added to Netflix in May 2020. Like the live-action show, it became the most popular show in the U.S. on the streaming platform within days.

In a world full of "benders," people who can manipulate one of four elements — water, earth, fire and air — a group of friends embark on an adventure to save the world from impending war and destruction.

The story begins as Katara and her brother Sokka (played in the new live action by Ian Ousley) find a boy named Aang (Gordon Cormier) frozen in an iceberg. Aang turns out to be the long-hidden "Avatar," a bender with power over all four elements who's been promised to bring stability to the world.

Kiawentiio is a longtime fan of the original series and never thought she'd get to play one of the characters she grew up watching.

"The fact that I do get to play her, I cherish these moments, even the rough ones," she says. "When we were filming, there was a lot that I was trying to deal with at the same time. But even in all those moments, I do my best to stay grateful because of how lucky and blessed I actually am to to be in this situation."

Friendship is a core component to the series, and Kiawentiio says the focus on community in the show translated to set. She says she first met the rest of the cast at a boot camp, and was initially intimidated by some of the others — including Dallas Liu, who plays one of the main antagonists, Zuko. But the cast quickly found a close bond that she says will last long after production wrapped.

"With playing Katara, meeting the other cast members and becoming family with them, that is something that we are locked in for life," she says. "We’ve talked about this before, we’re gonna be at each other’s weddings type thing. I’m so grateful to have that, a second family formed for ever."

The whole cast had the difficult task of portraying existing, beloved characters, in addition to trying to translate a two-dimensional character to the screen.

“To have other people who are going through the exact same thing that you’re going through, it really strengthens our bond as a crew." she says.

There will always be differences watching something live action compared to a cartoon, Kiawentiio notes — but they can actually be for the better.

“So much more emotion comes, I mean, just seeing an actual face compared to a drawing of a face is so different on its own. So I’d like to think that the emotion of Katara and her backstory is more amplified or zoomed in on,” she says.

Another difference stemmed from turning a cartoon world into a physical set — which as a fan of the original show, Kiawentiio calls surreal.

In the original cartoon, the core trio travel across terrains, cities and oceans on the back of Aang’s flying pet bison, Appa.

“All these new things that kept coming up, it was just crazy to see it unfold in front of me,” she says. “And for that to be my job, that’s just incredible. Especially as a fan of the show, I was really almost in tears once a week, or more than once a week if we’re being honest.”

Critics of live-action remakes often point to both the lack of new aspects to the story they bring, as well as some seemingly unnecessary differences from the original story.

The series is the second attempt at a live-action remake of "Avatar: The Last Airbender." The first was M. Night Shyamalan's 2010 movie, "The Last Airbender," that released to overwhelmingly negative reviews. The film has a 5% score on Rotten Tomatoes, and Roger Ebert, who gave the film a half star out of four, wrote that the film "is an agonizing experience in every category I can think of and others still waiting to be invented."

The live-action precedent set up Netflix's new series in a unique spot, where returning fans are simultaneously hoping for a more accurate remake while tentatively extending their trust.

Kiawentiio says balancing the appeal to both old and new fans was a through line during production.

“That was in all of our minds — how to appeal to existing fans from the original show and also bring in new fans that have never seen the show before,” she says.

It's a weighty task for a young actor.

“For me, in the back of my mind was always ‘I’m just doing my best.’ As a person, you can do only as much as you can," she shares. "But I am open to opinions, and I know there’s going to be a whole variety of different opinions. And I did my best that I could at the time.”

Buzz around the eight-episode first season of "Avatar: The Last Airbender" continues to grow. Kiawentiio is looking to relish in any quiet she can find.

"As of right now, I’m trying to enjoy whatever quiet that I can," she says. "It’s hard for me to plan stuff because I don’t know where I’m going to be then. But I’m just trying to soak up the nice quiet, and I’ll be there when I’ll be there.”

#today #article #kiawentiio #natla #atla #netflix avatar #netflix atla #avatar the last airbender #avatar netflix #atla netflix

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radiofreederry · 2 years

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Happy birthday, Richard Oakes! (May 22, 1942)

An activist and organizer of the Mohawk people, Richard Oakes was born in the St. Regis Mohawk Reservation before traveling to San Francisco and studying at San Francisco State University. Disappointed with the courses offered at SFSU, Oakes worked with Lakota anthropologist Beatrice Medicine to create one of the first departments for Native American Studies in the country. Oakes became an active champion and fighter for the cultural and political rights of indigenous people, helping to lead a year-and-a-half long occupation of Alcatraz Island. The occupation had a direct impact on US government policy, resulting in the end of the assimilationist doctrine of tribal termination. After the occupation, Oakes continued to fight for indigenous peoples’ rights before being shot and killed at the age of 30.

#birthdays #richard oakes

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angryrdpanda · 6 months

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Banned Native-Authored Children's Books (because of MAGA zealots)

Firekeeper's Daughter written by Angeline Boulley (Sault Ste. Marie Tribe of Chippewa Indians)

Unstoppable: How Jim Thorpe and the Carlisle Indian School Football Team Defeated Army written by Art Coulson (Cherokee); illustrated by Nick Hardcastle (not Native)

Look, Grandma! Ni, Elisi! written by Art Coulson (Cherokee), illustrated by Madelyn Goodnight (Chickasaw)

Fishing on Thin Ice written by Art Coulson (Cherokee)

Lure of the Lake written by Art Coulson (Cherokee)

Sharice's Big Voice: A Native Kid Becomes a Congresswoman by Sharice Davids (Ho-Chunk); illustrated by Joshua Mangeshig Pawis-Steckley (Wasauksing)

We Still Belong by Christine Day (Upper Skagit); cover art by Madelyn Goodnight (Chickasaw)

The Marrow Thieves by Cherie Dimaline (Metis Nation of Ontario)

Forever Cousins by Laurel Goodluck (Mandan, Hidatsa and Tsimshian member); illustrated by Jonathan Nelson (Diné)

The Storyteller by Brandon Hobson (Cherokee)

We Are Water Protectors by Michaela Goade (Turtle Mountain Ojibwe); illustrated by Michaela Goade (Tlingit)

A Snake Falls to Earth by Darcie Little Badger (Lipan Apache)

Indian No More by Charlene Willing McManis (Confederated Tribes of Grande Ronde); cover art by Marlena Myles (Spirit Lake Dakota/Mohegan/Muscogee)

Fry Bread: A Native American Family Story by Kevin Maillard (Seminole); illustrated by Juana Martinez-Neal (not Native)

The People Shall Continue written by Simon Ortiz (Acoma Pueblo), illustrated by Sharol Graves (Absentee Shawnee Tribe of Oklahoma).

An Indigenous Peoples' History of the United States, for Young People by Debbie Reese (Nambé Owingeh) and Jean Mendoza (not Native), adapted from the original edition written by Roxanne Dunbar Ortiz (not Native)

Fatty Legs written by Margaret-Olemaun Pokiak-Fenton (Inuvialiut)

Hiawatha and the Peacemaker written by Robbie Robertson (Mohawk), illustrated by David Shannon (not Native)

Mary and the Trail of Tears by Andrea Rogers (Cherokee)

You Hold Me Up by Monique Gray Smith (Cree), illustrated by Danielle Daniel

Jingle Dancer by Cynthia Leitich Smith (Mvskoke), illustrated by Cornelius Van Wright (not Native) and Ying-Hwa Hu (not Native).

Sisters of the Neversea by Cynthia Leitich Smith (Mvskoke), cover illustration by Floyd Cooper (Mvskoke)

Thunderous written by M. L. Smoker (Assiniboine and Sioux tribes of Montana's Fort Peck Reservation) and Natalie Peeterse (not Native); illustrated by Dale Ray DeForest (Diné)

We Are Grateful written by by Traci Sorell (Cherokee Nation), illustrated by Frane Lessac (not Native)

At the Mountains Base written by Traci Sorell (Cherokee Nation), illustrated by Weshoyot Alvitre (Tongva, Cahuilla, Chumash, Spanish & Scottish)

"The Way of the Anigiduwagi" written by Traci Sorell (Cherokee Nation), illustrated by MaryBeth Timothy (Cherokee) in The Talk: Conversations about Race, Love and Truth edited by Cheryl and Wade Hudson

Classified: The Secret Career of Mary Golda Ross, Cherokee Aerospace Engineer written by Traci Sorell (Cherokee); illustrated by Natasha Donovan (Metis)

Powwow Day written by Traci Sorell (Cherokee); illustrated by Madelyn Goodnight (Chickasaw)

Kapaemahu written by Hinaleimoana Wong-Kalu (Kanaka Maoli), Dean Hamer (not Native), and Joe Wilson (not Native); illustrated by Daniel Sousa

[Full List by Debbie Reese]

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power-chords · 11 months

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“I don’t mind a little turmoil, I have to tell you. I didn’t then, and I don’t now.”

That, in two short sentences, tells you pretty much everything you need to know about Richard Buxbaum, lawyer and activist.

At 88 93, Buxbaum is among the oldest professors still teaching at UC Berkeley, a place where turmoil has made some inroads over the years.

Do you remember the Free Speech Movement? Buxbaum does. He defended 773 activists arrested during the FSM between 1964 and 1965. Do you remember the Vietnam War? Buxbaum does. He schooled dozens of young Berkeleyans anxious to avoid conscription in how to claim conscientious objector status. Do you remember the Third World Liberation Front strike in 1969? Buxbaum does. He spent weeks helping to bail many arrestees out of jail and was lead co-counsel for 150 of them.

And, frankly, that doesn’t begin to encompass the turmoil Buxbaum, the Jackson H. Ralston Professor of International Law at Berkeley Law, has seen. He was born in Germany, and remembers the horrors of November 9 and 10, 1938, that accompanied Kristallnacht, when Nazis there went on a rampage, torching synagogues and vandalizing homes, business and schools of persons suspected of being Jews. At least 91 died.

Not long after that, the Buxbaum family packed up and headed for the United States. They would wind up in upstate New York, where his father, a doctor, worked on the St. Regis Mohawk Reservation. Buxbaum would go on to nearby Cornell University to get a law degree and then to Berkeley, where he earned an advanced law degree.

From there, at the very end of the Korean War, he was drafted into the U.S. Army where, once again, turmoil found him. As a native speaker of German, he was detached as a junior counsel to Heidelberg, where not much was happening — just the finalization of the treaty that ended the 10-year occupation of Germany by the allied nations of World War II. Buxbaum was on hand as his native country earned equal status among western nations.

“All I had to do,” he says, “was to make sure both sides understood what their treaty obligations were.”

Piece of cake.

Buxbaum came to Berkeley in 1961 to teach law. Over the next half-century, he would do that and more. He would live through history.

“Berkeley invited me back, and I got involved,” Buxbaum says. “I was teaching, but with the Free Speech Movement, Vietnam and the Third World Liberation Front, I wasn’t doing the kind of research I thought I’d be doing. But as an old lefty, I had a fair amount of sympathy for what the students were trying to do.”

#cannot rightly call him my favorite cousin because all my cousins are my favorite BUT #he is the terrifying intellectual juggernaut whom I shall be emailing today to answer all my questions about everything #because he knows everything!!! about everything!!!! lol

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kitthomasart · 4 months

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She:kon Hello, I am a two spirit Mohawk. I am female bodied, tomboy, gender-fluid, genderqueer, non binary, queer and pansexual. Boxes are always nice to help along our journeys but they define us and matter a fact I can testify that sexuality is fluid and can change through time. On that note…

I am in the beginning stages of a podcast. I need some content to write about. My main themes will cover mental health, lgbtq2sia, Native American, and stories on and off the reservation.

What are some topics that could strike up a convo or subjects we need to discuss as a community?

#two spirit #indigenous #haudenosaunee #native american #mental health #mental illness #depression #borderline personality disorder #anxiety #self development #podcast ideas #lgbtqia #nonbinary #genderqueer

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ms-hells-bells · 1 year

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had my first day of the driving test course and i have no clue if i'm supposed to be there because it's on iwi grounds near main city marae, every other participant was maori, the teacher said a kiakara at the start, end, and before lunch. he asked what some people's iwi are. he explains that the programme started with maori drivers getting fines for having no licence since they couldn't afford the test, and then not being able to pay the fines.

so, i'm just like '....are they just doing this because the course runners are iwi and we're on marae grounds, but the course is for anyone, it just happens to cater mostly to maori because of the context, or is this a course specially for maori, and my work training programme and WINZ have made a terrible mistake'. i missed the window of time to ask, and it's too late now after day one, so i'm just not gonna say anything?? because what would i even ask??

like, for comparison, imagine being american and with a work training manager and you need to get your learners licence, and they're like 'oh, we know some people, i'll book you in for the three day training course' and you go, and it's on a reservation and the teacher is native american and all the other students are native american, and they're saying greetings in iroquios and asking 'who here is mohawk :D' and talking about the police traffic targeting of native americans, and you are NONE OF THAT. and you're just sitting there like 😶

of course, it's different since maori is far more integrated into new zealand, using the language is common, and the government is especially pushing for wider use of maori language and culture everywhere. but just all the little signs put together have me going 'uhhh am i allowed on this course??' lmaoo

#i'm just going to trust my work training course i guess #she had their contacts on file and confidently contacted them to book me in #and surely they would have said something by now if they were meant to be solely for maori and she kept sending them pakeha lmao

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artcgirl · 10 months

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This was a hard movie to watch. But so necessary. I hope it will be used to further the conversation and to teach the children Canadas true history. And at the end of the day bring justice to the survivors and there families.

I'm Mohawk, Irish and Dutch. My fathers mother came off the reserve in Ohsweken Ontario. Six Nations of The Grand River. She married and Irish man. His family disowned him. She was banned from the reserve. They had 8 children will little support. The children's aid was called because my grandpa had turned to drinking, and my grandma became abusive. The children where taken. and my grandmas sisters and brothers thought they would get custody of the children. But the government placed them in white household all over Canada. They eventual found each other later in life. But the damage had been done. I often wonder if my grandma married someone not native to protect her children from residential school. But they became part of the sixties scoop (60s Scoop). Their culture and community were still taken away from them.

#bones of crows #Bones of Crows #residential schools #Native #Canadian History #Six Nations #Mohawk #60s scoop

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mybeingthere · 2 years

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Shelley Niro, From the "FLYING WOMAN SERIES" , 1993 , Silver Gelatin Prints.

Consisting of ten black and white silver gelatin prints, the "Flying Woman Series" is loosely based on the Iroquois creation myth of Sky Woman who helped create the earth, its plants and animals, and the precarious balance between the forces of creation and destruction, and good and evil. Niro portrays Sky Woman in modern garb wearing cut off shorts and a t-shirt. She is a long-haired, limber acrobat who soars and swoops over a kaleidoscope of photographic images and decorative motifs, which Niro created by laboriously hand cutting and gluing down imagery. In this whimsical series Niro informs us that Sky Woman is still a very active principal in the affairs and imaginations of contemporary Native people.

Shelley Niro is a member of the Mohawk Nation, Iroquois Confederacy, Turtle Clan, and Six Nations Reserve.   or her Masters of Fine Art degree at the University of Western Ontario, Niro wrote a thesis about the rediscovery and readdressing of basic myths, legends and history of the Iroquois people, research that resulted in an intensive study of the Diaspora of the Mohawk Nation.

https://www.andrewsmithgallery.com/.../hiawatha/index.html

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openingnightposts · 5 months

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#EastVillage #EdwardAKliszus #Manhattan #NativeAmerican #TheaterfortheNewCity

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islanderscaper · 10 months

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Check out this listing I just added to my Poshmark closet: 📖 Mohawk Interruptus by Audra Simpson (Duke University Press).

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leam1983 · 1 year

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Kahnawake

Picked up a list from the old place after clearing out our usual suspects for Audi, Mercedes and the like, and I'm getting the sense that most of everyone who lives outside of the local reservations has no freaking idea of how hard it is for Mohawk natives to adequately budget on a day-to-day basis.

Their tax exemptions make certain expenses easier, but most of them have low-paying jobs and very little purchasing power; and here comes another hopeful who's just repurchased the reservation's flagging Nissan dealership and who's asked us to sort out hopefuls from potential no-shows.

Some of these people can barely afford Higher Education for their kids and cut back on multiple fronts to give them a better chance at life, which results in multi-generational cars that sort of remind me of the docent-worthy vehicles you'd find in Cuba. Welp, some ignorant Nissan jackass figures these are the people who could shoulder 4,9% APR on a brand-spankin' new Murano 2023, if not a freaking Nissan Ariya.

At this point, it's just an indirect form of insult levied at people stuck with various degree of income-related precariousness. No fucking wonder that dealership's changed hands three times in six years!

#work post #ethics #Native Americans in Quebec

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proud-and-prejudiced1100 · 1 year

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BEANS, Tracey Deer

Directed by Mohawk-Canadian filmmaker Tracey Deer, BEANS(2020) explores the 1990 Oka Crisis at Kanesatake through the eyes of Tekehentahkhwa (nicknamed "Beans"), a 12 year old Mohawk girl. The movie offers a deeply intimate and personal approach to the conflict between non-Natives and the Mohawk community. The events are shown in a way that is honest and real, highlighting the struggles and hatred that the community had to endure. Even though most people in Quebec are aware of the Oka Crisis up to a certain extent, we (as a country, a province, a government, a culture) have a tendency to sweep these types of events under the rug, hiding the ugly truth in order to preserve our image. The movie doesn't shy away from showing the truth, instead it fully embraces the reality of racism and violence the Mohawk community survived through.

I think the scene in the movie that stood out the most to me was the one in the car, as Beans, her mother, and her sister, are driving out of the reserve. It is definitely one of the more brutal scenes in the movie. There is a real sense of fear and panic as they're driving through a sea of people, most of them throwing rocks at the passing cars. The camera moves from one face to the other, alternating between the crying women and children, and the angry mob. The policemen are standing there, doing absolutely nothing, and it is the most infuriating thing. This is a scene that makes you angry. It is full of emotion, pain, fear, and anger. The violence pictured is not faceless or anonymous or distant, like it usually is. It confronts you directly, leaves no space for doubt of excuses. There is a right and a wrong and this scene makes you aware of it (if you weren't already from watching the rest of the film).

I think this is why this scene has stood out so much to me. It is challenging to watch but it is necessary in order to understand what happened to the Mohawk people. It was not just a small fight over a golf-course. It is a shameful moment in our province's history and it should be remembered as such.

#ang1100

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smerichd · 1 year

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Indigenous Voices of Today

After attending the exhibit on indigenous communities at the McCord Museum, I decided to research which nation previously occupied the land we currently know as Montreal. I was intrigued because even though I have learned about indigenous nations in Quebec, I never knew precisely where each nation had initially prospered, before Native reserves. I find out that two indigenous communities had settled roots in the Montreal area or surroundings. The Mohawks of Kahnawá:ke and the Mohawks of Kanesatake. I learned that the Kahnawakehró:non played a major role in the war of 1812 when the Americans tried to invade Canada. Joining forces with the British and French troops, the Kahnawakehró:non people pushed back the Americans and greatly influenced the course of events that led to Canada as we know it today. I was sad to learn this because I don't recall ever hearing about the contributions any indigenous nation made to the war. The most memorable part of the exhibition for me was the video footage of testimonies from indigenous children. I was especially touched by the story of the surgeon who had grown up in a native reserve and had to deal with an alcoholic mother whom he resented for being that way. He only learned later in life that her alcoholism was a coping mechanism for the sexual abuse she had been the victim of in her youth. It was heartbreaking to learn about the generational trauma passed onto these people in addition to cultural misrepresentation and prejudice.

#ang1100

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gonzalezmaclean · 2 years

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Possession For Sale Marijuana Charges Mcelfresh Law

Possession On The Market Marijuana Costs Mcelfresh Law

Many of these retailers are small and much from massive cities, and there is an internal dispute over the legality of a couple of dozen operations on the St. Regis Mohawk Reservation. But the gross sales present how Native Americans have been in a position to faucet early into what is predicted to be a multibillion-dollar statewide market. Native Americans name it an expression of their sovereignty and a way to deliver much-needed economic activity to their territory. She has used her status as a state lawmaker and co-patron of the state’s marijuana legalization invoice to advertise the business in television information interviews and, more recently on Twitter. Even if the merchandise have been accurately labeled and contained just delta-8 THC, state officials don't think about them legal.

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indigenouswomenandqueerness · 2 years

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Queer Indigenous Representation in Modern-Day Life, Media, and the Arts

(Image Description: Geronimo Louie [he/him, Nádleehí], Kawennáhere Devery Jacobs [she/her, queer], Storme Webber [she/her, Two-Spirit, Lesbian], and Susan Allen [she/her, Two-Spirit, Lesbian])

Within the past 20 years or so, technology and media has become significantly more accessible for people around the globe. One is able to watch war happen on livestream, access scholarly articles and papers without a library card, listen to podcast essays discussing important socio-political topics, and even "like" their high-school best-friend's sister's dog's pregnancy announcement efficiently and, potentially, all at once. While this non-stop flow of information has its many drawbacks, this connectedness is being utilized as a great tool to support education and decolonization efforts while also putting the power of being seen and heard into the hands of marginalized peoples. In these case studies, we will meet four individuals contributing to queer Indigenous representation in modern-day life, media, and the arts.

TikTok educator Geronimo Louie describes his experiences as a Two-Spirit influencer and how TikTok helped him further explore his own identity while also educating his followers on Indigenous cultures, traditions, identities, and decolonization. Before becoming a TikTok creator and educator, Geronimo was a clothing designer and activist; Now he has 164.6k followers and millions of viewers learning from his content. Geronimo talks about his self-realization that he needed to decolonize himself and his mindset surrounding his identity, and that TikTok provides a platform where queer Indigenous peoples and Two-Spirit individuals are finally being represented in the right way. Geronimo comes from a Navajo community in New Mexico and specifically identifies as Nádleehí (a Navajo term for "Masculine/Feminine") and discusses how colonial tactics contributed to the erasure of many other traditional identities, including the Navajo identities that would colonially be described as "Masculine/Masculine", "Feminine/Feminine", and "Feminine/Masculine". He also brings attention to the gap in education of Two-Spirit identity (an umbrella term coined in the 1990s to identify third and/or other traditional Indigenous genders), as growing up he never knew nor was taught about it and attributes this to systemic racism and colonization. Geronimo feels that by sharing educational and entertainment content on TikTok, 2SLGBTQIA+ Indigenous creators are reclaiming their narratives and fighting back against erasure and misrepresentation.

Kawennáhere Devery Jacobs is a Canadian actress from Kahnawake Mohawk Territory, and you may recognize her most recently from the show Reservation Dogs on Disney+. Devery, as she is known professionally, identifies as a queer woman and specifies that she does not identify as Two-Spirit: "I identify as queer, but because I’m Mohawk, we didn’t have that term historically" (Damshenas, 2019). In her interview with Sam Damshenas, Devery talks about the misrepresentation of Indigenous peoples as well as queer Indigenous peoples in film, Hollywood "catching up" with accurate representation in mainstream media, and the importance of her identifying as queer instead of Two-Spirit and what that means for further education. When asked about the importance of studios hiring actors that reflect their roles, Devery said "Anybody can play an idea of what they think a queer person might be like, they can create an idea of an Indigenous person’s experience, but unless they’ve been through it first-hand, they’ll lack that authenticity and truth...Now is the time to actually hear from these perspectives and not just appropriate from queer and Native culture" (Damshenas, 2019). Hearings stories coming directly from communities, portrayed by members of the communities they originate from, is powerful for those who have never seen an accurate representation of themselves in media beyond a two-dimensional character, a tired stereotype, or historical characters that further perpetuate the idea that the peoples from that community are long gone. On the same note of representation, Devery explains that she does not identify as Two-Spirit because it is not an identity traditional to the Mohawk community. She clarifies that traditionally there were third and/or other Mohawk genders that don't fall under the Pan-Indigenous Two-Spirit definition, and that it feels wrong to identify with an identity that attempts but does not fully encapsulate who she is. Devery hopes that the roles she plays helps support and uplift stories from the marginalized communities she identifies as, as well as promotes further accurate representation and education of Indigenous peoples in mainstream media.

Storme Webber is a writer, poet, interdisciplinary artist, and educator from Seattle, Washington, who in 2019 was named a Seattle Living Legacy. She identifies as a mixed, Alutiiq/Black/Choctaw, Two-Spirit individual who creates at varying intersections of identity. In 2007, Storme established "Voices Rising: Northwest LGBTQ Artists of Color" as a space for 2SLGBTQ+ people of colour to "...empower them to strengthen the whole LGBTQ POC community as they raise awareness of the community and its issues within the entire LGBTQ community and beyond to the majority community/society ... showcase and nurture LGBTQ people of color in arts and culture" (Voices Rising Seattle, 2013). Storme's work within the community, as well as within her art, focuses heavily on queer Indigenous identity in urban settings and within underground queer communities dating back to the 1980's. The context surrounding Storme's earlier anthologies and multimedia collections are reminiscent of a time where bandana code was unwritten yet understood, and queer erotica zines were only found if you knew the right people. She explores decolonization and queer Indigenous identity prior to the term Two-Spirit being originated, and opens the eyes of younger generations to the history of late 1900's havens in Seattle's Skid Row for "poor folks, lesbian mothers, urban and displaced Natives, gay servicemen, working girls, hustlers, achnucek (two spirits), butches, femmes, drag queens, and the city's working class" (Webber, 2017). Through revitalization and decolonization within all forms of media and multimedia, we are able to learn about the queer Indigenous stories and lives that were forced into hiding by colonial-settler mindsets and further connect with our queer elders.

Some may not view politics as an aspect of media or arts, however politicians are often voted for based on who they are by the communities they represent and are often seen on television or in news-media. Susan Allen is an American politician and former member of the Minnesota House of Representatives, and was both the first Indigenous woman to serve the Minnesota Legislature and the first openly lesbian Indigenous woman to win a state legislature in the USA. Susan also identifies as a Two-Spirit individual, and is very open in sharing her personal experiences with poverty, homophobia, racism, and sexism. In an interview with Slate magazine, Susan talks about the affects of assimilation on Indigenous communities, her Two-Spirit identity and what it means to her, and the importance of queer Indigenous representation in the fight for equality (Weber, 2016). Susan talks about how she knew she was Two-Spirit around the age 4 or 5, and that when she came out both as lesbian and Two-Spirit she was accepted and welcomed by her family and community. She also talks about the impact of colonial assimilation and how while her community was accepting and viewed her as having a special link to their ancestors, many other queer Indigenous individuals may not have been so welcomed in their own communities. Colonial assimilation attacked all aspects of Indigenous ways of life, and many Indigenous peoples were forced to change their world-views and customs as a way to survive; In doing so, queer Indigenous identities were suppressed and hidden. Susan says that both her work as a politician and as an attorney are motivated by the fight to resist colonial assimilation in all parts of life and to decolonize politics. She is quoted as saying "I don’t want to be assimilated and that comes both as a Native American and a two-spirit person and then as LGBTQ...I resist the motivation that I can somehow only be accepted if I assimilate" (Weber, 2016). Decolonization must occur universally, including within politics and legislation, which is why queer Indigenous representation in law and politics is so important for future generations to come.

References:

Sai, J. (2021, October 11). How Two-spirit TikToker Geronimo Louie is amplifying indigenous representation. Very Good Light. https://www.verygoodlight.com/2021/10/11/geronimo-louie-tiktok/

Damshenas, S. (2019, July 11). Devery Jacobs on her groundbreaking two-spirit indigenous character on American gods. GAY TIMES. https://www.gaytimes.co.uk/culture/devery-jacobs-on-her-groundbreaking-two-spirit-indigenous-character-on-american-gods/

Voices Rising Seattle (2013). Our Mission. Voices Rising QTPOC Artists. https://www.voicesrisingseattle.org/

Webber, Storme (2017). Casino: A Palimpsest. Storme Webber | Writer. Performer. Curator. Interdisciplinary Artist. https://www.stormewebber.com/casino-a-palimpsest

Weber, S. (2016, December 21). Minnesota rep. Susan Allen is two-spirit, a lesbian, and she won't be assimilated. Slate Magazine. https://slate.com/human-interest/2016/12/susan-allen-minnesota-state-representative-is-lesbian-and-two-spirit-and-won-t-be-assimilated.html

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