#algonquin and other groups beliefs

[oysterie]

oh they're making an until dawn movie alright.

[neechees]

https://www.tumblr.com/baconvonmoose/762184790376136704/thank-you-look-i-know-people-mean-well-i-do-im?source=share

Reading all this and that's the first time ever I've seen someone say this about W*nd***.

Thought to bring this to your attention

I've always said that you'll get differing opinions about the Ice Cannibal because different groups might have differing opinions & protocol on the spirit on who can or can't say it or when, and like I've always specified I prefer it when people dont say it around ME.

But I'm kind of suspicious about this random user coming and saying "well I'm Native American" because of the way they're speaking. They say they're "a subdivision of the Algonquin" like there's no "subdivision" of the Algonquin UNLESS they're claiming to be of the Algonquin TRIBE and trying to talk about their specific community, but they don't specify it, and they seem to be equating Algonquin with Algonquian (a Language FAMILY), which is something a lot of Moniyawak & pretendians do.

Also, there's no "my tribe told the first version of the wend!g0 myth" like they claim they are, because again, multiple tribes believe in this spirit, and it'd be stupid & unfair to try claim authority on it for "the first" because we don't know who was "the first".

This user also claims that "it's a spirit that can possess people so it can look like anyone you know", I've talked with other ndns about this and there's even some debate over whether this "possession" thing is even true, at least for some tribes, because settlers were using this excuse to go and execute multiple Native people under the premise that they were "possessed" by a cannibal spirit (and how often do you think White people back then gave a shit about our spiritualities?). In many tribes, including mine, I know the ice cannibal is a spirit that exists in its own right but that also humans can turn into one.

This person is just acting like a jackass and doesn't seem to hang around other actual Native Americans who believe in our religions, because of the way they're talking, but want to act like an authority on our spiritualites. They don't even want to acknowledge that maybe they heard the "we don't say it" variation because of different beliefs in different tribes. Them calling everything I just mentioned fucking "misinformation" is itself misinformation, and completely fucking unfair of them. And the ice cannibal spirit isn't even the only spirit we do this with. We don't just avoid saying its name out of fear, it's also out of respect and protocol.

I've also never seen this person on ndn tumblr, & they don't seem to have an "ndn" tag. This might be a case of a White person suddenly claiming Native heritage to get in on a conversation that isn't theirs to have. With the way they're acting, talking about Native spirituality, etc, this sounds more like a White person with maybe some Native ancestry who doesn't actually hang around other ndns just trying to be an authority on something they have no fucking clue on & that they got all their information from white websites, because virtually everything they said was wrong.

[velvetvexations]

I don't wish to hide behind a Native friend in voicing my opinions on the matter, but I asked said friend, Trickster Kisses, for permission to quote him so I can give context for why I have the stance that I do.

Here's him explaining it to me for the first time a few years ago:

Here's his tags on that post I reblogged yesterday:

Here's a post he made shortly thereafter:

And from a conversation we had last night:

Doubtlessly some Algonquin people disagree, but I've seen multiple say the controversy is silly, and like. Yeah. Saying "wendigo" is not going to summon evil spirits to possess you and turn you into a cannibal, it was a metaphor for greed. Natives are generally aware that the world doesn't work on Beetlejuice rules. Even if a few may insist on it, others find it deeply condescending to be treated like village peasants who cross themselves and warn the smirking white protagonist about the forest being filled with goblins and ghouls, except without the part where they turn out to be right because these things aren't real.

And it's different from creating images of Mahoumed, because (a) that's about respecting the single most important figure in the Koran short of Allah Himself, not being in fear of one particular mythical creature that got it's name popular with white people, and (b) non-Muslims depicting Mahoumed is literally only ever done purely to spite Muslims.

I even feel, as my friend does, that the necessary accuracy point is debatable, as other cultural beliefs include vampires, elves, and the Greek gods, and those are often distorted far beyond what the people that did or do believe in them would recognize, but in that I'm willing to concede more than my friend and say, yeah, getting something right and not just going with the pop cultural flow is almost literally the least you can do for a still very vulnerable and hurting group that's been done repeated catastrophic damage by your own group. You should, in fact, in my white opinion, just name your deer monster something else, and in that I "disagree" (it's more like a deferring perspective) with Trickster Kisses whose stance is much more relaxed.*

And I think if it were just "name your deer monster something else, be accurate if you actually use the wendigo name" a lot more people would be on board, that was the position of the Algonquin person on that post yesterday, but white people going all "stop it Patrick you're scaring him!" about it is really weird at best.

*from having asked about engaging with the wendigo in my own writing, a sequel to a story by Algernon Blackwood which got it very wrong:

Depends honestly, if you're not worried about backlash you can honestly just be like, whatever, sometimes vampires sparkle, it'd be cool to see more from the original myths but then you have to get into 'okay but like, which tribe's myths' ngl follow your heart in that regard, I personally consider all of them solid & acceptable

my own decision was to take it in a somewhat meta direction and directly address the fact that the Blackwood story was inaccurate

Okay, so like. This is the ask that prompted me to go to Trickster Kisses and ask him for permission to quote him, and in particular I asked if he could give a response to you specifically.

Listen. Anon. I truly did not expect him to be so angry. Like, I'm not kidding, I sincerely feel bad for you right now. This tongue-lashing is not coming from me. All I can tell you is that this is how an Algonquian person feels about it:

@gromlyn

Trickster Kisses, again four years ago:

[whencyclopedia]

Arapaho

The Arapaho are a North American Native nation originally from the Red River Valley in modern-day Manitoba, Canada, and Minnesota, USA. They migrated south in the early 18th century and established themselves in modern-day Colorado, Montana, Nebraska, Wyoming, and points south. They are associated with the Plains Indians culture and have long been allies of the Cheyenne.

The Arapaho adopted an agrarian lifestyle early, which was then modified when they were introduced to the horse by French traders. Able to travel further on hunts now, they gradually became a nomadic people and, pressured by the Ojibwe expansion in the Great Lakes region, moved south. Scholar Adele Nozedar writes:

When the settlers first came upon them, the Arapaho were already expert horsemen and buffalo hunters. Their territory was originally what has become northern Minnesota, but the Arapaho relocated to the eastern Plains areas of Colorado and Wyoming at about the same time as the Cheyenne; because of this, the two people became associated and are also federally recognized as the Cheyenne and Arapaho Tribes.

(25)

The Arapaho speak the Arapaho language (part of the Algonquian language group) and continue to practice their traditional, animistic, religion today as they did in the past, although many now blend the ancient spiritual beliefs with Christian rites and rituals. They were among the Plains Indians who participated in the Sun Dance (which they referred to as the Offerings Lodge) in the 19th century and still observe the ritual today at the Northern Arapaho Reservation of Wind River in Wyoming.

Like other nations of the Great Plains, and elsewhere, the Arapaho clashed with the Euro-American settlers migrating west in the mid-19th century. Allied with the Cheyenne and Sioux, Arapaho warriors took part in the Colorado War (1864-1865), Red Cloud's War (1866-1868), and the Great Sioux War (1876-1877), among other conflicts. The Southern Arapaho were camped with the Southern Cheyenne under Chief Black Kettle (l. c. 1803-1868) when they were attacked by US cavalry in what is now known as the Sand Creek Massacre (29 November 1864), which only strengthened their resolve to defend their ancestral lands against invasion by White settlers from the United States.

Even so, by 1868, both the Northern and Southern Arapaho understood the futility of continuing the fight against overwhelming forces and agreed to move onto reservations (which is one of the reasons so few Arapaho were present at the Battle of the Little Bighorn in 1876). The Southern Arapaho were relocated to Indian Territory (modern-day Oklahoma) while the Northern Arapaho were moved to the reservation of the Shoshone, their traditional enemies, in Wyoming.

Like the Pawnee, the Arapaho were allowed to continue to observe the Ghost Dance, initiated by the Paiute Nation in 1889, after the US government prohibited other nations, notably the Sioux, from doing the same. The songs and rituals that accompany the Ghost Dance enabled the Arapaho to retain much of their culture, and both Northern and Southern Arapaho continue these traditions today.

Name & Nation

The name Arapaho was given to the people by European colonists who mispronounced the name given them by the Crow nation – Alappaho ("Many Tattoos"), which the people then began to apply to themselves. They originally called themselves Hinono'eino ("the people" or "our people"). The Cheyenne referred to them as Hitanwo'iv ("People of the Sky"), but the reason for this is unclear.

In the 18th century, the Arapaho nation consisted of five bands, each with their own dialect of the Algonquin Arapaho language:

Beesowuunenno (Big Lodge People)

Hanahawuuena (Rock People)

Hinanae'inan (Arapaho Proper)

Nawathi'neha (Southern People)

Haa'ninin (White Clay People - better known as Atsina and Gros Ventre)

The Gros Ventre split from the other bands in the early 18th century and were later regarded as inferior by the Arapaho. The Arapaho nation was then defined by the four remaining tribal bands, who separated into the Northern Arapaho and Southern Arapaho with the northern band holding the position of the "mother tribe" responsible for the safekeeping of sacred objects such as the ceremonial flat pipe.

Southern Arapaho Woman's Leggings and Moccasins

Uyvsdi (Public Domain)

Continue reading...

[mecenvs3000w23]

Unit 10

It has felt like this semester has gone by so incredibly fast, and I cannot believe that I am writing my last blog post already. I originally registered for this course for a few reasons. First, because it was offered as an online class, and throughout covid, I realized that I loved the added flexibility you have in online classes. Second, this was one of my restricted elective options and third, I love all things about nature and had been planning on taking this course since my first year. I am incredibly happy that it finally fit into my schedule during my last semester.

Throughout this course, I have learned a lot about interpretation as a whole and have thoroughly enjoyed the opportunities I was given. For example, I found Tumblr blog posts to be much more enjoyable than regular discussion posts on courselink. Likewise, although we did generally have prompts, I loved the weeks when we could write about whatever came to our minds. As well, I loved reading other classmates’ blogs and enjoyed seeing the cool pictures that classmates shared. Additionally, the podcast assignment gave me the opportunity to try something completely different than I had before. It was my first time creating a podcast, and it was an enjoyable experience overall. I would love to hear your thoughts about the course in general and the assignments we were given!

Now, I would like to discuss the beliefs, ethics, and responsibilities that I may carry as a nature interpreter. To begin, I believe that every individual on this earth should have the right to see, enjoy, and immerse themselves in nature. Although this may not happen for every individual due to factors such as privilege, it is something that we should strive for. As a reminder, privilege can be defined as “a right or immunity granted as a peculiar benefit, advantage, or favour” (“Privilege definition & meaning, n.d.). Personally, I would define privilege as an individual or group that has an advantage over another individual or group of people. Privilege is frequently associated with factors such as gender, health, race, and economic status; all these factors play a role in the opportunities provided to specific individuals. Like privilege, it is important to consider the barriers that some people face such as, economic, cultural, communication, lack of knowledge, and fear (Beck et al., 2018). Overall, there are many factors at play that affect what opportunities are given to which individuals, and I believe we should strive for a more even playing field or at the least give children the opportunity to see, enjoy, and immerse themselves in nature. For example, incorporating this into the curriculum and having field trips and activities that are based on the idea of allowing children to see and enjoy nature, regardless of family status. In addition, I believe in respect and kindness when it comes to interpretation. Trying new activities can be scary and intimidating; therefore, I believe that all individuals should be treated with kindness and respect and be given help and guidance when trying new activities in nature. For example, canoeing can be tricky for beginners as can backcountry camping. Throughout my summers living in Algonquin, I have seen many individuals go camping for the first time or try canoeing and oftentimes I watch people tip their boats right at the docks, or leave garbage behind in the backcountry, or something silly like not hanging their food and scented items correctly. It is easy for outsiders to laugh or joke about these beginners’ mistakes, or even be annoyed. But we must remember that it may be their first time and maybe they have no idea what they're supposed to do in the backcountry or how to even sit in a canoe. In these situations, kindness, respect, and a willingness to help and inform beginners could go a long way. This leads to my next belief, which is that I believe in sharing knowledge and experiences. Beck et al. (2018) explained that using a storyline approach while interpreting can be beneficial, as is using the resources and facilities accessible such as visitor centres. Having knowledge about a topic and being passionate about it, as well as having personal stories and experiences to share with an audience is essential.

[kiame-sama]

Hey, I hate to be a bother, but do you think you could maybe take the w*nd*g* (removed vowels: e, i, o) and the skinwalker(s) off of your list of creatures you write for? I know it might seem pedantic of me to ask, but it is something deeply ingrained in native American culture that has been appropriated beyond belief by popular media with no regard for the mythology or cultural significance behind it. In fact, even the use of the word w*nd*g* is a serious offense, as to speak (or in this case type) it's name is considered disrespectful. Both w*nd*g*s and skinwalkers are not cryptids, not are they characters to write about for fun. Of course, creating your own creatures based off of them is perfectly fine; use your imagination however you want, but to use those specific names is a no go. I know you probably didn't know and I'm in no way trying to attack your or anything, I just thought I'd let you know as a sort of heads up PSA about it.

As a person who has distant relatives in both Algonquin and Navajo groups, I am aware of the meaning of these creatures and the history surrounding them.

They ARE cryptids as a cryptid is a creature from mythology or legend (regardless of how old that mythos and legend may be or who believes the mythos to be true). Kelpies of Scottish lore are cryptids. Banshees from Irish legend are cryptids. Djinn from India are cryptids. Succubi are cryptids. Pegasus and unicorns are cryptids. Sea-serpents are cryptids. Bigfoot is a cryptid (though they also appear in various native tribes' lore). Anything from mythos is technically a cryptid.

Though I am too distantly related to be considered a full or true member of these groups, I am fully aware of their stance in mythology. Concerning the taboo of writing out the name of these beasts, I have always staunchly opposed fearing a word as fear of a word is giving that word power over you. There are many taboos in various cultures people commit every day simply because what is considered a taboo to some is not to others. Whistling at night is considered a taboo in various native American tribes lore. You are welcome to block tags that mention them, I will do what I can to tag appropriately so it is not an issue going further.

Appropriation of traditional headdress, dances, rituals, and garb by those who do not share or understand the meaning of such things is a problem. (Redskins football team, I'm looking at you). Lack of fear of a cryptid and mention of that cryptid (along with the history of the creature in question) is not appropriation. Do I claim these creatures as European decent? Hell no (saying Hell is also a taboo as is any cursing). I have researched them in a college setting and have discussed these creatures in length with members and direct descendents of the Ute, Algonquin, Navajo, and Zuni, all of whom have varying opinion on the use of these creatures.

From those I have spoken with about such things and especially about appropriation (as many remains of native peoples from all tribes are still being paraded around in museums) their only issue with the use of these cryptids is in the presence of their elders. They do not say the names of the beasts of their mythos, and I would not force them to. Seeing the name or hearing it means nothing, and those I have spoken with primarily do not care so long as the history of such creatures are understood. The primary problem they had was the homogenized way native americans are viewed as those of one tribe do not share the stories of another.

I recognize these beasts are of Navajo and Algonquin tales respectively. To take and make a new creature based off of them to claim as my own is more appropriation than respecting the history of these beings by calling them what they are. I do appreciate your concern and will make sure to tag things appropriately as various people are bothered by various taboo. (Writing or mentioning sex is also considered a taboo in various cultures). I will recommend that if the mention of these cryptids disturb or bother you, you should put them on a blocked tag list on your Tumblr.

[bestiarium]

The Chenoo [Wabanaki mythology; Native American mythology]

Throughout history, especially cold winters were often devastating events because of cold and starvation. It is no surprise, then, that several cultures and civilizations from around the world have their versions of mythical monsters that are connected to cold and winter. One such example is the Chenoo, the terrible frost giants from Wabanaki (Native American, New England) mythology. Note that the Wabanaki are not a single unified tribe but five separate peoples, each with their own folktales and myths. But all of them have tales of the Chenoo, although some call it the Kiwakwa, Kiwákwa or the Giwakwa. I’m actually not entirely certain whether there are significant differences between a Chinoo and a Kiwakwa, but I have seen the two terms being used interchangeably.

It is my understanding that a person can transform into a Chenoo in two ways: either they become possessed by an eldritch spirit causing their body to grow and change, or they commit a particularly nasty taboo, which literally freezes their heart and causes their body to become ‘corrupted’, becoming a Chenoo in the process. Examples of such a horrible taboo include purposefully withholding nourishment from starving people and eating human flesh. This second taboo, cannibalism, is actually a reoccurring theme in the legends of several Native American groups, such as the well-known Algonquin story of the Wendigo in which a person consumes the flesh of a human being – either out of malice or starvation – and then transforms into a horrible man-eating monster. The Wendigo is closely related to this creature.

Unlike Wendigos, which are generally considered irredeemable fiends, a Chenoo CAN be turned back into a human being. This is very rare though, and once a person transformed, they usually die as a Chenoo.

While Chenoo are humanoid in shape, they are giant and emaciated. Their thin figures tower over the tallest trees. Usually, their mouths are said to be adorned with large dangerous fangs. One description that I’ve seen floating around on the internet, but haven’t been able to back up with a source, is that these creatures do not have lips as they often eat their own lips to satisfy their unending hunger. Sometimes they are described as colossal men with a mop of fur on their face, somewhat resembling the fur of a grizzly bear.

One story from the Algonquin tells how an evil man was rejected by a pretty girl. Heartbroken, he visited her at night and used powerful medicinal herbs to prevent her from waking up. The man placed snow on her neck and so her heart became frozen. When the girl woke up she was bloodlusted and angry, but still conscious, and she begged her family to kill her, because she knew she was becoming a Chenoo. As per her instructions, 7 men each loosed 7 arrows at her, and she dropped dead when the 49th arrow pierced her body. They burned her body but left the place and never returned, out of fear that a small piece of the burnt corpse might become a new Chenoo.

Rarely, you could find two of these monsters fighting each other. If this happened, you should put something in your ear to avoid hearing the roars of the monsters, since their cries were dangerous.

Sources: http://www.native-languages.org/chenoo.htm http://www.native-languages.org/mikmaqstory.htm Speck, F. G., 1935, Penobscot Tales and Religious Beliefs, The Journal of American Folklore, 48(187), pp1-107. (image 1: the Chenoo as it appears in the BPRD comics by Mike Magnola)(image source 2: Chris Meeks, Pernastudios on Deviantart)

[myths-n-legends]

Wendigo.

Wendigo is a mythological creature or evil spirit originating from the folklore of Plains  and Great Lakes Natives as well as some  First Nations.

It is based in and around the East Coast forests of Canada, the Great Plains region of the United States, and the Great Lakes region of the United States and Canada, grouped in modern ethnology as speakers of Algonquian-family languages. The wendigo is often said to be a malevolent spirit, sometimes depicted as a creature with human-like characteristics, which possesses human beings.

The wendigo is said to invoke feelings of insatiable greed/hunger, the desire to cannibalize other humans, and the propensity to commit murder in those that fall under its influence.

In some representations the wendigo is described as a giant humanoid with a heart of ice a foul stench or sudden, unseasonable chill might precede its approach. 

Possibly because of longtime identification by Europeans with their own superstitions about werewolves, for example as mentioned in The Jesuit Relations below, Hollywood film representations often label human/beast hybrids featuring antlers or horns with the "wendigo" name, but such animal features do not appear in the original indigenous stories.

In modern psychiatry the wendigo lends its name to a form of psychosis known as "Wendigo psychosis", which is characterized by symptoms such as an intense craving for human flesh and an intense fear of becoming a cannibal.

Wendigo psychosis is described as a culture-bound syndrome. In some First Nations communities other symptoms such as insatiable greed and destruction of the environment are also thought to be symptoms of Wendigo psychosis.

The wendigo is part of the traditional belief system of a number of Algonquin-speakingpeoples, including the Ojibwe, the Saulteaux, the Cree, the Naskapi, and the Innu.

Although descriptions can vary somewhat, common to all these cultures is the view that the wendigo is a malevolent, cannibalistic, supernatural being. They were strongly associated with winter, the north, coldness, famine, and starvation.

Basil H. Johnston, an Ojibwe teacher and scholar from Ontario, gives a description of a wendigo:

The Wendigo was gaunt to the point of emaciation, its desiccated skin pulled tightly over its bones. With its bones pushing out against its skin, its complexion the ash-gray of death, and its eyes pushed back deep into their sockets, the Wendigo looked like a gaunt skeleton recently disinterred from the grave. What lips it had were tattered and bloody ... Unclean and suffering from suppuration of the flesh, the Wendigo gave off a strange and eerie odor of decay and decomposition, of death and corruption.

A/n: disclaimer, picture is from google, don't come after me for it. Owner of this picture if you want me to take the picture off just let me know.

Anyways That's it for today have a good day/ night. Byeee.

[ckenvs3000]

Final Blog Post

This week’s blog post is very important, as it requires us to reflect on what we have learned in this course and consider how this has shaped our beliefs as a nature interpreter. Writing this final blog post is a bittersweet task. I have thoroughly enjoyed this course because these blog posts have given us the opportunity to communicate our personal opinions on course themes, and they have allowed us to interact with each other and share our views on nature interpretation. Whether you are leading an interpretive hike or discussing ancient artifacts, this course has given us many tools that will be useful in the broad field of nature interpretation.

Brandywine Falls Provincial Park, British Columbia. Photo taken by me.

Ethics are defined as “moral principles that govern a person's behaviour or the conducting of an activity” (Oxford Dictionary, n.d.). Each individual has a set of ethics that influence the decisions that they make in life. One's ethics can change as they mature and encounter different experiences. It is important that nature interpreters acknowledge their personal ethics, and consider how their ethics may influence the delivery of their programs. Personally, I think it is important that my programs are inclusive and accessible to everybody who is interested in them, regardless of what their “invisible backpack” may hold. According to Peggy McIntosh, privilege is an “invisible knapsack of unearned assets” (McIntosh in Noel, 2000, p. 116). In unit three we learned about the role of privilege in achieving environmental education and how interpretative programs aren't always accessible to everyone (Hooykaas, 2021). In the setting of nature interpretation, privilege can govern the experiences you have access to, the destinations you can travel to, and your level of comfort while participating. Thus, it is important to me that everyone who is in my interpretive program has access to the same experiences, regardless of their privilege. The role of a nature interpreter is to share their knowledge of the natural world with their audience, and this experience should not be affected by an individual's age, race, gender, class, education, etc. 

Photo Retrieved from https://hbr.org/2021/03/implementing-inclusive-policies-across-a-global-organization

One way to make nature interpretation more accessible to a wider audience is by using different methods of delivery. For example, someone who does not have the resources to attend an interpretive program at a provincial park may be able to watch a youtube video on the same topic and receive nature education this way. Chapter eight of the textbook discussed how to interpret to the masses and reach a wider audience via radio, social media and other outlets online (Beck et al., 2018). Additionally, the current pandemic has forced interpreters to come up with new ways to reach their audience, which has made the online delivery of nature interpretation more prominent. Thus, alternative methods of delivery (such as social media, podcasts and online videos) have the benefit of being accessible to a bigger audience and being accessed remotely. 

Different methods of delivery are also advantageous because they can cater to different learning styles. In unit two, we learned about the diversity of learning styles and how to cater to audiences with different learning styles (Hooykaas, 2021). Personally, I am an auditory and tactile learner and I benefit from listening to someone explain a concept or idea. However, I think one of the major responsibilities of a nature interpreter is to acknowledge your audience's learning style and adapt your programs to fit their needs (Hooykaas, 2021). In order to achieve this, it is helpful to use multiple learning theories in your programs to make your program suitable to a large diversity of learners (Beck et al., 2018). Approaches that I would include in my programs are items and artifacts that the audience can interact with, visual aids (such as diagrams) , auditory aids (such as a discussion) and activities that the audience can participate in. These approaches cater to auditory, visual and tactile learners (Hooykaas, 2021). According to Beck et al. (2018), multisensory learning is beneficial because it engages more senses which enhances learning. I think it is important to consider these things while developing interpretive programs in order to ensure that all participants can synthesize the information you are presenting. 

My friend and I on a hike in Algonquin Park. Photo taken by me. 

There are many responsibilities that come with being a nature interpreter. Primarily, I think it is important that you have all the first aid and safety qualifications required for your programs. For example, if you are leading a canoe trip it is critical that you have wilderness first aid training, ORCKA training, bear safety training, etc. As the trip leader and guide, you are responsible for the health and safety of your participants and need to be prepared for any situation. It is important that you can act well under pressure and know how to adapt to various dangers that may be encountered. Another major responsibility that interpreters have is to share accurate information with their audience. There is a lot of false information that circulates in the media, online platforms and social media. Thus, it is important that interpreters ensure that their audience is receiving correct information. When collecting information for my programs, I would use primary literature, and peer reviewed journals and have colleagues review my work to prevent the spread of false information. 

A photo of me collecting water samples in Algonquin Park. We are always required to wear PFDs while working near water and we receive extensive training before starting field work (WHMIS, Bear safety training, Workplace health and safety training). Photo taken by my co-worker. 

One of the elements of nature interpretation that I find particularly important is education on environmental conservation. It has been made evident that climate change is progressing, and this involves the simultaneous enhancement of environmental degradation. Therefore, it is critical that we, as interpreters, communicate accurate information regarding climate change to the largest audience possible, regardless of their “invisible backpack”. I have strong beliefs about how anthropogenic activities accelerate climate change, and environmental conservation is a topic that I am passionate about. Due to my beliefs, I will try to incorporate environmental education into my nature interpretation. As climate change proceeds, it becomes progressively important that environmental education and science education are synergistic (Wals et al., 2014). As a marine and freshwater biology student, it is my goal to spread awareness on climate change and how it impacts the health of aquatic ecosystems. This course has taught me how to use social media as an outlet to communicate my knowledge on climate change, and encourage my peers to get involved in making a difference.

My friend and I collecting zooplankton samples from the Woolwich Dam. This was used for our research project on the impact of dams (anthropogenic disturbances) on zooplankton alpha diversity in riverine systems. Photo taken by my group member.

Thank you for reading my post! 

Cassie

References 

Beck, L., Cable, T.T., & Knudson, D.M. (2018). Chapter 6: How people learn. Interpreting cultural and natural heritage for a better world. (pp.105-111). Sagamore Venture.

Beck, L., Cable, T.T., & Knudson, D.M. (2018). Chapter 8: Interpreting to the masses. Interpreting cultural and natural heritage for a better world. (pp.165-182). Sagamore Venture.

Hooykaas, A. (2021). Unit 3: Risk Versus Reward in Interpretation [Course Website]. University of Guelph Courselink. https://courselink.uoguelph.ca/d2l/le/content/666945/viewContent/2590559/View

Hooykaas, A. (2021). Unit 2: Teaching Learners [Course Website]. University of Guelph Courselink. https://courselink.uoguelph.ca/d2l/le/content/666945/viewContent/2583079/View

McIntosh, P. (2000). White privilege: Unpacking the invisible knapsack. In J. Noel's (Ed.). Notable selections in multicultural education (pp. 115-120). Guilford, CT. Dushkin/ McGraw-Hill.

Oxford Dictionary. (n.d.). Retrieved March 28, 2021, from https://languages.oup.com/google-dictionary-en/

Wals, A., Brody, M., Dillon, J., & Stevenson, R. (2014). Science education. Convergence between science and environmental education. Science (American Association for the Advancement of Science), 344(6184), 583–584. https://doi.org/10.1126/science.1250515

[mzenvs3000]

Nature is Musical

I have to say that one of my favourite things while I am up at my cottage, on a camping trip or in the outdoors in general is just to sit in silence and hear the different sounds that nature creates. While lying in my bed at the cottage with my window open, I can hear the calls of the loons across the lake to one another. I listen to the breeze blowing between the leaves, and the bending and creaking of the trees. While in my sleeping bag in my tent, I tune into the waves of the lake on a windy night, or the sounds of fast moving water in a river beside me. These are some things in nature that you can’t get back in the city, the true sounds and music that nature creates.

A rushing river in Bracebridge. Photo taken by myself. 

Typically when you hear the term “music,” most of us and myself included think of a guitar, a drum set, someone on the piano, or a singer in a recording studio. This music that we hear through a speaker or through headphones. Music is so much more than that. Krause et al. (2001) defines music as being “patterns of sound varying in pitch and time produced for emotional, social, cultural, and cognitive purposes.” Even though this typical thought process of music fits this definition, there is a whole other side and so many other uses for music as well, one being the ability to help connect us to nature.

Nature has been making music long before humans ever did, as it is a natural process by which the world creates. Many, and if not most animal species use music and sounds as a way of communication. I’ve personally experienced this listening to red squirrels chatter to one another, the howls of coyotes across a field, and the deep croaking of frogs in their swamps. I think nature can truly teach us valuable lessons and a different appreciation for music as a way of communicating and connecting with nature on a different level. I love how a quote by Katricia Steward explains this stating, “Our emotions are profoundly tied to musical sounds, while we also have a deeply rooted emotional connection with nature” (Stewart 2014).

Nature in music is also huge in culture, especially in Indigenous communities, and traditional folk communities. A lot of their teachings and spiritual beliefs revolve around nature and creation, which acts as the centre in all of their teachings. To teach, they use the tools of story telling, poetry, and music to reflect on the nature around them and how they are connected with nature. In all cultures, folk singers express awareness of the natural powers and the relations man has with nature (Sahi 2012). I love the fact that we can raise awareness and even celebrate the beauty and connectedness nature allows human beings with our environment. Nature truly does allow people, especially traditional folk to maintain tradition, and transfer knowledge and wisdom in communities while also helping us to understand the ways nature has created the a basis and shape for human culture (Sahi 2012).

Myself and friends enjoying each other’s company while having lunch in Algonquin. Photo taken by Kayla Hutchison.

A personal story of mine where music has brought me back to nature, time and time again is listening to the adapted song “Today” used in the movie “If I stay,” which was originally written by The Smashing Pumpkins. Back in high school an assignment my music teacher gave the class was to pick a song that held some kind of meaning to ourselves, and then do a mini presentation of what it meant to us and how it made us feel. I chose this song because in the movie while it is being played, the scene is a group of family and friends sitting around a fire enjoying one another’s company and just enjoying that moment. Now whenever I hear this song, I picture that scene and that moment those people are having together. My favourite lyrics from this song are, “Today is the greatest day I’ve ever known. Can’t live for tomorrow, Tomorrow’s much too long.” To me, this just speaks of the importance of enjoying the day you are in, living in the moment and not thinking about what the next day might bring. When hearing this song, I reflect on the times where I have felt that same enjoyment with friends and family, usually up at the cottage or while camping just being surrounded by nature and enjoying the consecutiveness I feel with those around me.

The campfire scene in “If I Stay.” Photo from Pinterest. 

I am a huge fan of music, and hardly go a day without listening to something. Music is a huge part of my life, and it helps me to understand how music plays such a role in traditional and Indigenous communities, as they use it to connect back to nature and simply is a way of life. As I have never used music to truly interpret nature to others, it has helped me personally connect with nature and recall certain memories and experiences I’ve had with it.

Has anyone used nature in music to help interpret nature to anyone before?

-McKenzie

References:

Gray, P., B, Krause, J. Atema, R. Payne, C. Krumhansl, and L. Baptista. 2001. The Music of Nature and the Nature of Music. Science. 291:52-54.

Pinterest. Movie Still: “If I Stay” Bonfire Scene. https://www.pinterest.ph/pin/497577458804518320/

Sahi, V. 2012. Using folk traditional music to communicate the sacredness of nature in Finland. BFN. 129-132.

Steward, K.D.F. 2014. The Essentialism in Human Life and its Roots in Nature. Senior Theses. 6.

[tlbodine]

A Plea for Some Non-Cringe Native American Representation

There’s something that has bothered me for a real long time, and I haven’t said anything because it didn’t really feel like my place to say it. But if pasty white folks across the country will insist on continuing to make these books and comics and movies, then I guess this pasty white girl can make a plea to do it better. 

So. Here’s the deal. Native American representation in fiction sucks. 

We’re going to talk about why, and then talk about some ways you can do it better. And it’s going to take a while, so join me under the cut. 

PROBLEM #1: Erasure 

The first problem with First Nations people being represented in fiction is that it, uh...doesn’t happen very often. It’s pretty rare for a show or movie or book to have a Native character, and even rarer for that character to exist without being a vehicle/mouthpiece for some kind of hamfisted message. 

And, of course, Native characters who do show up in movies are sometimes played by non-Native actors, which is just. Um. 

somebody fucking kill me I don’t want to live on this planet anymore. 

PROBLEM #2: The Same Stock Character Over and Over and Over 

There’s this weird thing where TV shows have A Very Special Native American Episode(tm) where a Native American character shows up in a storyline designed to, idk, provide a tidy outlet for the viewer’s white guilt or something. I see this a lot in superhero stories for...some reason: 

Batman and Chief Screaming Eagle (ok, it was the 1960s, surely things have gotten better right? oh...) who’s butting heads with a villain over a bad contract for, uh, the chief’s ancestral lands

There was the Buffy episode “Pangs” where a Chumash vengeance spirit is the villain-of-the day after being disturbed by some construction (and this is honestly one of the better treatments of the premise, at least the episode is well-written) 

There was the Smallville episode with Kyla Willowbrook, the Kawatche Skinwalker (I know, I know) who for bonus points dies tragically in Clark’s arms (I KNOW) and who was deeply concerned with...with some construction...disturbing her sacred homesite...(this is starting to sound familiar)

And then there was The Flash episode where Barry is forced to fight with the complicated-yet-tragically-evil Native American activist woman whose crimes involve stealing cultural artifacts that belong to to the museum (yes I’m screaming) and also murdering people...y’know, for vengeance and stuff. 

I could keep going but I really don’t think I have to. When your only representation of a culture is a character (frequently a smoking-hot member of the opposite sex to the hero) who is an ambiguous villain who is motivated by vengeance and/or justice over having their land/cultural artifacts disturbed, and who has a valid claim but is really going about it in the wrong way and whose tragic death and/or defeat really gives the white character something complex to think about for two seconds.... well. That’s more than a little racist. 

PROBLEM #3: These Are Not Your Stories to Tell 

You know what white people love doing? 

They love appropriating Native culture! Seriously! They love it! And who can blame them, really? Native people have so much rich symbolism and mythology and cool clothes and neat aesthetics. Painted war ponies and buckskin dresses and shapeshifters and monsters, oh my! Indian burial grounds and vengeful spirits (oh for fuck sake enough with the vengeful Indian trope)

But here’s the deal: 

The mythology you’re borrowing from belongs to a group of people who are still alive and sometimes practicing the religion you’re liberally reinterpreting 

There is no such thing as a “Native American” myth. You’re talking about literally hundreds of different tribes who are culturally distinct from one another and have their own complex histories of interaction, diplomacy, war, friendship, etc. with one another for centuries before white folk got here. You erase all of that when you treat Native culture as a grab-bag of cool things you can mix and match to your liking. 

Maybe, just a thought, stop it with the oppression narratives about activists and/or vengeful spirits who are real threatened by white people disturbing their homes? It’s not that there isn’t a lot to unpack in that -- I mean, white people really did conduct mass genocide against a race of people, for starters -- it’s just that this isn’t really your oppression narrative to tell. 

It seems to me that folks writing about Native Americans don’t actually have any idea what Native people are like? They either think of them as anachronistic figures, an extinct and ancient group, or they think of them as people really hung up on their cultural past. Because maybe people can’t think of anything to do with a Native character other than use it as a vocal mouthpiece of one very specific part of their cultural oppression.

But please. Please stop. That is every bit as stupid and racist as making a Black character who only talks about slavery, or a Jewish character who only talks about the Holocaust, or giving all of your gay characters AIDS. 

So what do you do instead? 

Writing Native Characters in a Way That Does Not Suck - A Quick Primer 

I can’t write a definitive guide on writing good Native representation, because there is no such guide, and if there were it would take a whole book probably, and I am not in any way even remotely an authority. 

But I can give you some pointers that will help you. 

(And to be honest, Native representation is so awful that the bar here is really super low, even just attempting a tiny bit is a really welcome breath of fresh air)

Choose a Tribe 

Step one: Figure out what kind of Native people you’re writing about. 

Because, as previously noted, Native People Are Not A Monoculture. 

How do you pick a tribe? Well, start with geography. Where do you want the story to take place? Obviously people move around, so you can find folks outside of their ancestral lands, but they all started someplace, and a lot of people live where their parents and grandparents and cousins all live. 

So where does your story take place? Pick a spot. Then find out what tribes live in that region. It’s not a secret. There are maps:

(Source: http://www.emersonkent.com/map_archive/native_american_tribes_map.htm) 

Or maybe you want to go about this in a different way. Maybe you have a specific story idea in mind and you want to write it in a way that would be accurate and respectful. Cool! A good first step on that is to figure out what tribe actually does the thing you’re wanting to write about. 

Skinwalkers, for example, originate in the Navajo Nation (Dine` people), although there are related myths from surrounding tribes in the area. 

If you’re writing a story about Wendigo, then you should know those myths originate with the Algonquin people of Quebec and Ontario.

If you’re writing something with spiritually significant buffalo, you should probably choose a culture that actually interacted with buffalo -- ie, a Plains Indian tribe like the Lakota-Sioux people. 

And so on and so forth. 

(Note that this is only the first step. You still have to do a lot of research after this to be sure you’re doing everything properly and respectfully. And, y’know, maybe reconsider if you actually want to tell a story respecting that mythology, or if you just want to sound cool and exotic) 

Also, personal preference: Please don’t make your characters Cherokee if you’re just going for “character with Native ancestry.” Please choose a different tribe. For a lot of complicated (and sometimes surprisingly racist) reasons, white people have been claiming Cherokee heritage for a long time, and even when it’s true, it feels cheap and cringey in fiction. If you want to tell a story about the Trail of Tears or something set in Tahlequa, Oklahoma, great! Write Cherokee characters! But if you just want a Native American character for other reasons...pick a different tribe. 

Choose a Name 

Fun fact: Modern Native people that you meet out on the street don’t have names like “Stands With Fists” or “Running Bear.”  

If you have an impulse to name your character any kind of descriptive “adjective + animal” name...just don’t. Please. And don’t go to BehindTheName or some other random site to pick out something that “sounds” Native. 

Names in other cultures are tricky. Some (but not all!) Native people may have a cultural tradition of having multiple names, including naming ceremonies (often as a rite of passage in adolescence). Some tribes have clan names. Everybody’s different. But these special names are culturally sensitive, often sacred, and are not a thing readily accessible to white people. White folks spent centuries trying to wipe out Indigenous people’s belief systems; they deserve to have some things kept private and sacred. 

So what I’m getting at here is that white writers really, really should not touch on the “Indian naming ceremony” trope at all if they can help it, because it’s gonna be real hard to get the details right, and getting the details wrong is going to make you sound like an ignorant racist. And most of the time, it’s not really that important to a story. 

Most contemporary Native people have regular English names. They may also have tribal names and clan names (that they may or may not share with outsiders). But lots of tribal members don’t, and that doesn’t make them any less Native. 

My recommendation for naming your Native characters? Find real people from the time period, tribe, and region you’re writing in. Find a phone book or newspaper from a town on or near a reservation for your chosen tribe. Look at names of participants in powwows. Look at the sports rosters for Native schools. Look at historical records like census data from the year you’re writing about. Don’t just make things up. 

** One Note: You know how “black” names are a thing? You encounter a similar sort of thing in some contemporary Native Americans. I grew up with a lot of kids who had “weird” names like Kirby, Sheriden, Baskerville, Sterling and Precious. (and by “weird” I mean “names middle-class white people don’t tend to use”). There’s also a lot of black-sounding names in Native populations. There’s some complex reasons behind this, and a lot of sociology of naming, and I won’t spend too much time on it right now but just...so you know. It’s a thing. 

Write a Human Being 

This really is the biggest thing, and it’s true of every writing you do, all the time, no matter what: Write a real person and not a caricature. 

Native people are people first. Their cultural heritage affects them the way anyone else’s culture does. The things they eat, wear, do, believe, the stories they know, etc. are all affected. But Native people don’t have a responsibility to be walking representatives of their tribes. And they definitely shouldn’t be a vessel for white guilt. 

(Fun fact: “Iron Eyes Cody,” maybe best known for the “Crying Indian” role in a commercial about pollution, was an Italian-American born  Espera Oscar de Corti) 

Here’s a really, really good article I found while working on this rant that might be of interest to you as wellas you set out on this quest:  https://mashable.com/2015/03/24/american-indians-tv/

I still have so much to say on this topic, and maybe I’ll write more in the future, but this is already very long so I’ll stop. I hope this has been at least a little bit helpful for y’all. Go forth and write non-terrible characters, I beg of you. 

*Disclaimer: I am not a Native person and do not claim any special knowledge or ownership of Native culture, and I beg you to please listen to Native voices when possible in your creative endeavors. I’m just a gal who happened to have spent most of my life living near reservations and growing up around Native people and having Native friends and being taught about historical cultures by my mother who has a degree in Southwest Studies and has done a lot of formal and informal research due to her own interests in the topic. 

If you found this article helpful at all, please consider dropping a tip in my tip jar.

I also have a book coming out! You can pre-order it now! It features a main character of mixed heritage, New Mexico reservation border towns, and zombies trying to get by like everybody else. 

Pre-Order now on B&N: https://www.barnesandnoble.com/w/river-of-souls-t-l-bodine/1131956124

Or on Amazon: https://www.amazon.com/River-Souls-T-L-Bodine/dp/1950305015

Or from the publisher: http://journalstone.com/bookstore/river-of-souls/?fbclid=IwAR14Qna5tMgWBV0We2uGSLreBkmyvZ5SoDAzPQpTKeFn4JR4PWSyKGl0VEo

Or add it to your Goodreads library: https://www.goodreads.com/book/show/46183381-river-of-souls

[69rumours]

Cardinal is a Canadian crime drama television series. The series adapts the novels of crime writer Giles Blunt, focusing on police detective John Cardinal and his partner Lise Delorme, who investigate crimes in the fictional city of Algonquin Bay.

Season 1: Forty Words for Sorrow John Cardinal is a troubled and brooding police officer in Algonquin Bay, who was removed from the homicide squad as a result of chief Noelle Dyson's belief that he had become obsessed with his investigation of a missing Native Canadian girl. When the girl's body finally turns up, he is reassigned to the case with new partner Lise Delorme; what he does not know is that Delorme is being assigned to investigate him, as part of a federal police corruption probe which has identified Cardinal as possibly collaborating with a local drug dealer who has repeatedly managed to elude arrest. However, the investigation soon widens, when a new missing persons case with some similar patterns leads Cardinal to believe that a serial killer may be active in the area.

Season 2: Blackfly Season A young woman, suffering from amnesia after having been shot in the head, appears in Algonquin Bay. Soon mutilated bodies, in accordance to some occult religious rituals, are discovered. The bodies are members of a local group of bikers known for trafficking drugs. John Cardinal and the team suspect that someone is trying to replace the gang in the drug trade. Meanwhile the mental health of his wife still worries Cardinal and Musgrave thinks he has finally found the evidence he is looking for against Cardinal.

Season 3: By the Time You Read This The suspicious death of Cardinal's wife Catherine coincides with a double murder, and Delorme is ordered to take the lead in the latter investigation. Reluctant to believe that Catherine committed suicide, Cardinal begins investigating other possibilities, whilst dealing with a succession of anonymous letters blaming him for the event. Meanwhile, Noelle Dyson, recovering from the death of her sister, tries to reason with another prospective suicide and is devastated when she fails to prevent him killing himself.

Season 4: Until the Night After a prominent politician's husband is abducted and then left to die from exposure, Cardinal and Delorme begin to suspect that a hired killer is targeting those close to four people, out of revenge for a cover-up in their past. As Cardinal and Delorme grow closer, though, this case will be their last together, with Delorme taking a new job in Toronto.

[wellntruly]

I am betraying how far back in your archives I am reading, but, at one point when watching TNG, you encountered Q and learned that he was what was being parodied by “an all-powerful space ~entity~ in this brilliant radio play I listened to, which always did a ton of homaging to old TV shows,” which sounds like my jam. I could probably google it but I don’t think I would get good results from “k q radio.” Do you happen to remember what the show was?? Thanks!

a) Thank you so much for so clearly describing what you are referring to, that is LOVELY ask etiquette

b) The Thrilling Adventure Hour!! And now I will need to further explain, because while Thrilling does somewhat exist as a podcast again these days in a sporadic, piecemeal “Treasury” form, the TEN YEARS of material from 2005-2015 that make up the original show is now only available to $5/month supporters on their new Patreon. Which is fair, that is an absolutely massive amount of high quality work that should be paid for. And it’s not like you would need to pay for it forever, just however as long as you’d be working your way through the archives, if the rest of my description continues to pique your interest.

The conceit of The Thrilling Adventure Hour is that for, again, ten years, two writers and a core group of actors in Los Angeles, along with very good musicians and a rotating cast of special guest stars, would do a monthly stage show in which they would perform an old timey-style radio play (but with very modern sensibilities) at microphones in front of a live audience. Like a staged play reading, basically. Each show would be composed of three segments, always beginning with ‘Sparks Nevada: Marshall on Mars’ (self explanatory) and concluding with ‘Beyond Belief’, which is basically if Nick & Nora Charles were mediums. The middle segment would be filled by one of a bunch of other stories, from the old Batman cartoon-style ‘Captain Laserbeam’ to the old Doctor Who-style ‘Colonel Tick-Tock’, or something like ‘Jefferson Reid: Ace American’ which spun off into the adventures of ‘Amelia Earhart: Fearless Flyer’, who is now a time-traveler who fights Nazis and flirts with ladies. The recording of the live monthly show would be split into each of its three segments, and released each week in podcast form, with the fourth week some sort of bonus episode. Some of the segments were more serialized than others, particularly ‘Sparks’, but all are really best listened to in order, as I did, for many, many hours of enjoyment on my commute in NYC years ago.

What’s wild about TAH is that for something that seems fairly under-the-radar online, the star power behind this thing is pretty huge. The main players include Actors You May Know like Marc Evan Jackson, Busy Phillips, Paul F. Tompkins, Paget Brewster, Joshua Malina, and so, so many goddamn guest stars. I can’t even start to list some of the guest stars. Besides it’s more fun when they just pop up unexpectedly, and you’re like wait shit it’s Retta!

Anyway, K was a character played with manic whimsy by Paul F. Tompkins, and I think they were originally on ‘Colonel Tick-Tock’ and then spilled over into ‘The Algonquin Four’? That’s the one where Dorothy Parker, Harry Houdini, Woodrow Wilson, and Robert Benchley have superpowers, like the 1920s wits version of the Fantastic Four.

[mountain-man-witch-blog]

Southern Folk Magic

 Pow-Wow Magic of the Penn/Dutch

The term Pow-Wow Magic relates to the spiritual traditions of the Pennsylvanian Dutch practices of faith healing. This term is now to be confused with Powwow, meaning a Native American gathering to honor the traditions of their ancestors... We will discuss thw difference later on. Pow-wow is also commonly called brauche or braicherei, depending on which practicioner you ask, amd what traditions they follow. Pow-wow practices have grown to be quite popular and can be seen practiced in both rural and urban communities nation wide today.

Cultural and Historical Influences

Pow-Wow rituals and Penn/Dutch folk practices originate from the German/Dutch immigrants who fled the Palatine of Rhine, a region of The Holy Roman Empire, in the seventeenth and eighteenth century. They relocated to the American colony of Pennsylvania as a result of William Penn's promise of religious tollerence. Though mostly Catholic or Lutheran; many other German reformed faiths such as the Anabaptist (Amish, Mennonites, and Quakers) took refuge in the colony of Pennsylvania. The multiple faiths/cultures within that region became a melting pot, mixing together to form the practices of Pow-Wow we see today. 

The term Powwow, however; is not Dutch or English in origin at all (go figure). To the best of today’s historian knowledge, the word is derived from the northeastern part of the colonies from the Algonquin National Language meaning along the lines of “to trance” or “Dazed”... most likely appropriated (shocker!) due to the similar ritual practices of the two very different peoples.

German Dutch practitioners would refer to themselves and their practice use a couple different words depending on their language of origin or practiced traditions... as we discussed in my last “Southern Folk Magic” post about Granny Magic and other forms of Appalachian Magic, each community would have its own traditions and historical link to the tradition in one way or another. The Dutch word used to describe the craft is brauche or braucherei. brauche meaning “to do”, and braucherei meaning something like “to have [knowledge]”. none the less powwow has been the term adopted and used by the most current group of practitioners. 

Common Practices and Traditions

practicing powwow magic is seen more times than not- as a Holistic Medical practice. the practitioner (braucher) often will see him/herself as mediator between God and the inflicted individual(s), Livestock, or area. The practitioners see it as their calling to aid or protect others around them from the Malice working of witches, the wrath of God, and other various ailments, both physical and supernatural.

the most common and well known book of magic among workers of powwow is the Christian bible. Most incantations used in rituals can be found in the Psalms and other places in the Bible. Combining both Biblical teaching and the remnants of pre-reform charms, literature, talismans, and superstitions; a braucher  can be known to cure most any ailment and conjure any possibility as long as it is in accordance to Gods will for it to be done. listed below are a few common beliefs among powwowers:

Eggs laid on Good Friday are concealed in the attic for protection of the house and farm.

Warts can be cured with a potato and an invocation to the Holy Trinity by the light of the waxing moon.

Verses of scripture are employed to stop bleeding from serious injuries. Burns are treated by blowing three times between cycles of religious invocations to dispel the heat from the body. 

A smooth stone from the barnyard can heal illnesses that prevent draft horses from working.

Written inscriptions are fed to cattle to prevent parasites. 

The proper placement of a broom by the front door will protect from malicious people and spirits.

Pinch of dust from the four corners of the house when stirred into coffee will prevent homesickness.

The ash from the woodstove sprinkled over the livestock on Ash Wednesday will prevent lice.

Hex signs or barn stars may be painted on the front of a barn above the entrance to dispel disease, famine, or any kind of general bad luck

Ending Notes

After researching into these traditions I realized how frequently I see connections to the Penn/Dutch culture in my little corner of south central Kentucky, and though I have always hailed more towards my Scotts/Irish ancestry… I see now that I have been passing up such a rich opportunity to experience a culture that has been deeply rooted, like a tree in my own back yard

[lockhartandlych]

Is it alright if someone who isn't Anishinaabe actively believes in W*ndigoag? I'm pretty fucking white and I like to get into the mythologies and religions of other cultures, especially those of the cultures that originally lived on the land that I now live (which, in this case, comprises the Algonquin cultural group). Being pagan I find myself believing in entities such as faeries, nuckelavee, and, in this case, W*ndigoag. Even if I don't entirely believe in them, I still believe in their spirits, if that makes any sense. Is this cultural appropriation? I don't want my pseudo-religious beliefs to impact others (considering that's literally a tenant of paganism).

I just got an ask about a Native spirit that many Natives have asked monsterfuckers to not use.

It starts with a W.

People from the culture it’s from do not say its name because in their culture, saying the name summons the spirit. Out of respect for my friends from that culture, I do not say/type the name either.

I would kindly ask you not put that creature in my ask box in the future. I know the person that submitted it likely didn’t know so there’s no hard feelings. It’s alright. I’m not upset.

I’m not really the best person to educate folks on this topic and I wish I had some resources on why that’s not a good thing for non-Native people to use for their fiction.

I’m sure even my wording here isn’t great. I know the spirit is from a specific Native culture (there’s a lot of them, for those that didn’t know lol) and I can’t remember which one(s) and my brain is still fuzzy from being sick.

So if any of my followers are familiar with this issue, please feel free to share the info of why this isn’t good.

Again, I understand the person that sent the ask likely didn’t know all this. I’m not upset. I just think it’s worth mentioning.

[malenvs3000-2018-blog]

My Life as a Nature Interpreter

I believe that nature should be respected because nature has intrinsic value and we (humans) do not have any ownership over it that entitles us to destroy it for our own personal gains.

Before I took this class, I knew that I had responsibilities as a steward of the earth from my Catholic school education. I may have gone through Catholic education, but at this point in my life, I do not consider myself a religious person. What I do consider myself is a steward of the earth. Stewardship in Catholicism comes from the belief that we are created by God who created the universe. Looking after earth is the responsibility of the Christian steward. I have had a spark instilled in me at several stages in my life: through my visits to Guelph Lake, through a presentation in my elementary school about the horror of plastic water bottles, through a TERRA program as well as an Environmental Sciences SHSM, and through classes I have taken at the University of Guelph. As I grew and took classes in high school, my thinking evolved that my responsibility to protect nature stemmed from my responsibility as an environmental scientist. Now, after taking this class, I realize that my responsibility to the earth is as not only an environmental scientist, but also as a nature interpreter.

(A picture of the TERRA group in Algonquin Park, February of 2012. I’m 5th from the right)

I discovered last year that my greatest interest in nature is insects. I did not discover my immense interest for them until I took a class with Morgan Jackson. Morgan teaches ENVS 3090 (Insect Diversity and Biology) at the University of Guelph and his background comes from fly research rather than nature interpretation. That course has to be one of my favourite courses that I have ever taken at University of Guelph because I found all of the tests fairly easy owing to Morgan’s ability to frame each insect group as a story in his class. If I did not take ENVS 3090, I am positive that I would not have even considered applying for the field entomology trip I went on (which was one of the best experiences I’ve had at the University of Guelph) and that I’m going on again this Spring. I know that I want to do my masters in Environmental Sciences at University of Guelph next year and if I ever become a teaching assistant, I’d like to be able to command my audience’s attention and leave them with stories that they’d be able to remember long after they take the course (Like I have with ENVS 3090). After taking this class, I am confident that I can do that and that I can also add importance to each story.

(2018 Field Entomology Trip Class, May 2018) 

That is the responsibility of a nature interpreter. To give their audience gifts such as the 15 that our class learned from The Gifts of Interpretation. I believe the most important gifts that a nature interpreter can give their audience are the gifts of spark, story, provocation, personalizing the past, relationship, beauty, joy, and passion. The gift of a spark inspires people to continue with nature and spread what they’ve learned to other people. It’s probably the most important gift a nature interpreter can give anyone because it makes more nature interpreters. We are all human and we have a limited time on this planet so encouraging the next generation to continue with an idea is essential because they’ll do the same and the cycle will (hopefully) never end. Nature interpreters can give their audience the spark through giving them gifts of story, personalizing the past, beauty, and joy. Gifts of provocation, relationship, and passion follow because if you can make someone care about something, they’ll be inspired to protect it through their actions, perhaps they’ll be able to give financial/volunteer support, and they’ll bring their passion to the table to accomplish protection goals.

(My boyfriend practicing his interpretation skills as a Cambridge Butterfly Conservatory Volunteer, June 2018)

I have a young niece. Her name is Luna and she is two years old on December 4th this year. I bring her up because I believe that my responsibility is not just in academia. I have responsibilities to her and to the rest of my family and friends to show them the beauty of all things in nature and make them realize how important nature is and educate them on how their actions impact nature. Already Luna is interested in the outdoors because my family has taken her outside and have shown her things in our backyard such as flowers, leaves, bugs, birds, squirrels, and trees. She loves to bring in leaves from outside and just the other day she learned how to say turtle. Her mother, my sister Mary, is afraid of spiders. Mary and I have had a few chats about her bias against spiders and she knows that she has a responsibility not to bring that bias into Luna’s life. One of Luna’s favourite toys is a stuffed animal that’s a spider. 

(A picture of Luna! Taken July 2018)

I know it’s easier to get young children interested in the outdoors because they have lots of energy, but the challenge will be getting older adults more interested in the outdoors because they have more ‘closed’ minds and are set in their ways. It will also be a challenge to have them release their bias’s and preconceived notions about certain organisms such as spiders. I believe that I can do make adults more interested in the outdoors by noting what is in their invisible backpacks, and illustrating the importance of nature to younger generations and that the actions of adults will impact the future of natural areas. I’ve only come to this conclusion by taking this nature interpretation course. My nature interpretation ideas have shifted from how I would communicate cool facts to how I can pull at peoples’ heart strings and make them care about aspects of nature. The approaches that are most suitable for me as a nature interpreter are through telling stories right now to my family about nature facts and volunteering for organizations like the arboretum and in the future, as a teacher, a parent, and a donor.

(A picture of a scarab beetle - included just for fun, April 2018)

I just want to end my final blog post by thanking our instructor, Amanda Hooykaas for an amazing and eye opening semester. I would not have considered nature interpretation as a career choice and responsibility if I did not take this course. Thank you :)