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Ravens in native American culture Raven is a Native American god called by many different names by many different tribes. The symbolic meaning of the Raven in Native American lore describes the raven as a creature of metamorphosis, and symbolizes change/transformation. In some tribes, the Raven is considered a trickster because of its transforming/changing attributes. This is especially true for the Haida tribe, who claim he discovered the first humans hiding in a clam shell and brought them berries and salmon. Each tribe had a name for the bird and because of its non-secretive habits, it is one of the most familiar birds to the casual observer. The Sioux tell the story of how a white raven used to warn buffalo of approaching hunting parties. The buffalo would then stampede, and the hunters would be left hungry. Eventually, an angry shaman threw the bird into the fire which turned it black. Often honored among medicine & holy men of tribes for its shape-shifting qualities, the Raven was called upon in ritual so that visions could be clarified.  Native holy men understood that what the physical eye sees, is not necessarily the truth, and he would call upon the Raven for clarity in these matters. Foremost, the Raven is the Native American bearer of magic, and a harbinger of messages from the cosmos. Messages that are beyond space and time are nestled in the midnight wings of the Raven and come to only those within the tribe who are worthy of the knowledge. The Raven is also a keeper of secrets, and can assist us in determining answers to our own â€oehiddenâ thoughts.  Areas in our lives that we are unwilling to face, or secrets we keep that harm us †" the Raven can help us expose the truth behind these (often distorted) secrets and wing us back to health and harmony. Although there is no evidence that Raven was ever worshiped, as such, it is said by some that the Northwest peoples did used to leave food out on the beaches for ravens. In this form he is capable of inspiring awe and terror, although always there is that twinkle in the eye and
I think that every person, and every living creature, though not always consciously and not all the time, is a trickster. Every niche of existence has its "tricks of the trade." Every surviving creature has the need to be crafty. We are often unaware of the extent of our own trickiness, and oblivious to the misdirection going on around us. To consider some examples of trickster activities in American history, culture and contemporary life can be eye-opening. To explore the ways and means of trickster maneuvers, reflecting on specific examples, can alert us to pitfalls, help us appreciate skillful tricks that are entertaining, and aid us in fending off exploitative ploys which drain our resources and ruin our lives. Knowing more about the Trickster archetype in our psyches can also help us become more self-aware.
Standard genealogies of knowledge posit the circulation of modernity in one direction, from the West to “the rest.” This history reveals the waves of influence flowing the opposite way, from nonstate people to the state. The essay introduces a new method for the history of knowledge that traces the travel of narratives, packets of media containing messages. Masks long viewed as objects of collection are seen here anew as subjects of recollection, mnemonic devices that archive the global propagation of knowledge. One set of masks is reunited with the narratives they encode: stories employed as a survival strategy by the Kwakwa̱ka̱’wakw, a network of peoples who utilized the anthropologist Franz Boas as a host body to enter and alter the world that came to colonize them. The efforts of the Indigenous intellectual George Hunt to disseminate the masks—and, with the masks, his family message of transformation—directly shaped the concept of culture. Using the masks as teaching tools, Kwakwa̱ka̱’wakw thinkers civilized Boas into a new modernity, shifting him from categorization to communication, from signs to messages, and from a Self/Other perception to a global consciousness of Host–Guest relations. The masks recollect a profound yet long suppressed Indigenous influence on modern thought.
The stories of language revitalization are often shared with small audiences, and often result in one of two outcomes: continuous struggle and survival, or the loss of a language despite the ferocious work of what becomes too few among too many who have become complicit in language shift and death. In the aftermath of American Genocide, sometimes the resources are too few and the efforts too isolated to reverse the trends of language loss. Haida is one of the most endangered languages in Alaska, and the actions—or lack thereof—over the next ten years will likely determine whether language shift can be reversed, or if we are witnessing the loss of one of the oldest and least understood languages in Alaska. After talking with members of the Alaskan Haida language revitalization movement, it seems that Haida will survive another generation, and if their strategies are successful and their numbers increase, then we may begin to see a reversal of language shift.
Ethno-ornithology: birds, …
What the Locals Know: Comparing Traditional and Scientific Knowledge of Megapodes in Melanesia2010 •
American Journal of Physical Anthropology
Clan, language, and migration history has shaped genetic diversity in Haida and Tlingit populations from Southeast Alaska2012 •
Decolonization: Indigeneity, Education & Society
Beasts of Burden: How Literary Animals Remap the Aesthetics of Removal2014 •
This essay explores three genres of Native storytelling and their echoes in contemporary literatures of removal. The Five “Civilized” Tribes—the Choctaw, Seminole, Creek (Muscogee), Chickasaw, and Cherokee Nations—have not only been shaped by the memory of removal but also by the process of telling it as history, of feeding an American appetite for tragedy, which maps their displacement on its material, cultural, and political axes. In the U.S. historical imagination, removal thus exceeds the bounds of event and condition to form an aesthetic within the larger arena of trauma discourse. By invoking each genre and its alter-species figures, Five Tribes authors enact a decolonization strategy that takes aim at this removal aesthetic as well as the colonial Eurowestern cartographic consciousness that undergirds it, which construes Indigenous people and non-human animals as lacking any sovereignty in a U.S. landscape. By articulating Native ecologies and place-making practices, authors unravel Eurowestern models and attend to what Linda Tuhiwai Smith (1999) calls “a long-term process involving the bureaucratic, cultural, linguistic and psychological divesting of colonial power” (p. 98) as reflected in popular representations of removal, specifically the Trail of Tears. At stake in contemporary stories for Five Tribes communities is a process of remapping home spaces under the historical and present condition of removal, a cartographic act that expresses Indigenous knowledge, thereby countering aesthetics of removal.