Environmental Victory for Alaska Natives

On January 8th, the U.S. Supreme Court rejected the State of Alaska's bid to fast-track the legal process, overrule the Environmental Protection Agency (EPA), and gain approval for the Pebble Mine -- slated to extract enormous amounts of copper, gold, and molybdenum from the pristine and sensitive ecosystem known as Bristol Bay. Located in a remote, wild, and generally uninhabited part of Southwest Alaska, Pebble is the largest known undeveloped copper ore body in the world.
 

The populations in the area rely heavily on wild resources for subsistence, harvesting moose, caribou and salmon. Wild resources play an important part in the region's cultural heritage. There are more than 30 Alaskan native tribes in the region that depend on salmon to support their traditional subsistence ways of life, in addition to other inhabitants and tourists in the area. A diverse coalition led by Alaska Natives has consistently fought against the proposed mine for more than two decades. It eventually gained support from the EPA, which ultimately blocked the mine proposal in January 2023 over concerns it would threaten an aquatic ecosystem supporting the world's most prolific sockeye salmon fishery.
 

This decision is significant, particularly considering the current High Court's tendency to support states' rights, limits on regulation -- especially of the environmental variety -- and corporate concerns. Alaska's request, filed in June, was unusual in that it sought to skip lower appeals courts to challenge the EPA's decision on the basis that it violated Alaska's state sovereignty.
 

Under the law, alleged violations of state sovereignty are one of the few categories of cases that grant the Supreme Court original jurisdiction -- meaning a state can bypass the usual state/federal court appeals process and file straight with the High Court. The justices could easily have decided to hear the case and decide in favor of the mining company, which has shown no qualms about engaging in some shady business practices over the years.
 

As the single most productive sockeye salmon fishery in the world, Bristol Bay contains biodiversity and abundant wild fish populations which present a stark contrast to many other fisheries in the Pacific Northwest (and worldwide). All five Eastern Pacific salmon species spawn in Bristol Bay's freshwater tributaries. Most have experienced severe depletion over the last few decades. Sockeye salmon, like all Pacific Salmon, are a keystone species, vital to the health of an entire ecosystem. Of course, salmon also provide a sacred food source for Indigenous communities up and down the West Coast.
 

Kudos to the United Tribes of Bristol Bay, a consortium of Alaska Native tribes fighting to preserve the traditional Yup'ik, Dena'ina, and Alutiiq ways of life in Southwest Alaska, for leading the charge. The Supreme Court's decision confirms all the hard work put in by tribes and allies, including the Save Bristol Bay Coalition. It remains to be seen whether Alaska's conservative leadership will continue with legal challenges at a lower court level -- but, for now, Indigenous People have won a big battle in this decades-long fight to protect their homelands.

Native Actor Lily Gladstone Makes History

Today, I share with you some great news! On January 7, in case you missed it, Blackfeet and Nez Perce actor Lily Gladstone made history as the Golden Globes' first Indigenous winner in the category of Best Actress in a Motion Picture Drama. Gladstone, who goes by both she/they pronouns, brought an understated power to their portrayal of Mollie Burkhardt, an Osage woman struggling amid the murders of her family and community by greedy settlers, in Martin Scorcese's "Killers of the Flower Moon."
 

After beginning their acceptance speech with a traditional Blackfeet introduction and a round of thank-yous, Gladstone said something important and inspiring: "This is a historic win, but it doesn't belong to just me. I'm holding it with all of my beautiful sisters. And this is for every rez kid, every little urban kid, every little Native kid out there who has a dream, who is seeing themselves represented and our stories, told by ourselves in our own words, with tremendous allies and tremendous trust from with and from each other."
 

That last statement is filled with both truth and nuance. It's a beautiful sentiment, but Gladstone may also be acknowledging that Hollywood remains a place with rich and powerful gatekeepers. Even in 2024, non-Native filmmakers (allies or not) like James Cameron (the "Avatar" franchise) and Scorcese are most often still the ones helming stories featuring Indigenous People and perspectives.
 

This needs to change. Allies are important, and representation is wonderful. Still, even the most positive representation on-screen is not the same thing as agency -- the ability to tell their own stories, centering their own narratives. And agency, particularly for the Native women without whom this story does not exist and the movie could not function, is largely missing for much of "Killers of the Flower Moon." When Native actors occupy the screen, the movie seems to vibrate at a different frequency. I'm left wondering what could have been had their characters' arcs been less peripheral.
 

Much has been written about the movie by Indigenous People across the nation. From a glowing review by Vincent Schilling, founder and editor of NativeViewpoint.com, to a scathing indictment from "Reservation Dogs" star Devery Jacobs, opinions on the movie vary widely -- and understandably so. The three-hour-plus epic, based on true events, is ambitious, messy, and devastating. Critics praise the movie's effort to highlight Osage history with Indigenous actors in prominent roles but express reservations about its graphic violence and lack of historical context, foregrounding of white characters and lack of an Indigenous screenwriter or director. One thing everyone seems to agree upon, though, is the powerful performances given by Gladstone and other Native People in supporting roles. I, for one, look forward to seeing more from all of them, especially in movies and shows written and directed by Indigenous storytellers.

Ritual Use of the Shamanic Drum

The shamanic drum, namely the single-headed frame drum, originated in Siberia, together with shamanism itself thousands of years ago. Shamanic drumming is considered one of the oldest methods for healing and accessing inner wisdom. Practiced cross-culturally, this technique is strikingly similar the world over. Shamanic drumming uses a repetitive rhythm that begins slowly and then gradually builds in intensity to a tempo of three to seven beats per second. The ascending tempo will induce light to deep trance states. Shamans use intention and discipline to control the nature, depth and qualities of their trance experiences. They may progress through a range of ecstatic trance states until they reach the level that is necessary for healing to occur. 

The act of entering an ecstatic trance state is called the soul flight or shamanic journey. During shamanic flight, the sound of the drum serves as a guidance system, indicating where the shaman is at any moment or where they might need to go. The drumbeat also serves as an anchor, or lifeline, that the shaman follows to return to his or her body and/or exit the trance state when the trance work is complete. When ready to exit the trance state, the practitioner simply slows the tempo of drumming, drawing consciousness back to normal. 

The sound of the shamanic drum is very important. A shamanic ritual often begins with heating the drum head over a fire to bring it up to the desired pitch. It is the subtle variations in timbre and ever-changing overtones of the drum that allow the shaman to communicate with the spiritual realm. Part of the shaman's training involves learning to hear and interpret a larger range of frequencies than the normal person can. The shaman listens and finds the right tone, the right sound to which the spirits will respond. Through the many tones, pitches, and harmonics of the drum, the shaman communes with the subtle and normally unseen energies of the spirit world. 

Tuvan shamans believe that the spirits of nature create their own sound world, and it is possible for humans to communicate with them through the sound of the drum. According to Tuvan ethnographer and former shaman Mongush Kenin-Lopsan, "We understand the spirits answers mostly from the tangible results of the communication, in terms of benefit or harm. But some people actually hear the spirits singing." Tuvan shamans use the drum to convey to the spirits of a place their greetings, any requests, and thanks. It is a spiritual practice designed to help human beings relate to all of nature. Tuva (southern Siberia) is one of the few places in the world where the shamanic heritage has remained unbroken. 

Drumming opens the shaman's inner, spiritual ears and eyes and also calls the helping spirits. As Tuvan musicologist Valentina Suzukei explains, "By changing and listening to the frequencies and overtones of the drum, the shaman is able to send messages to, and receive them from, both the spirit world and the patient. For example, the shaman might use the overtones to send signals to the sky, where they provoke a voice from the cosmos; in turn, the cosmic signals are caught on the drum and reflected to the shaman through the creation of subsequent overtones." 

The shamanic drum is a time-tested vehicle for healing and self-expression. A shaman may use the drum to address any number of health issues including trauma, addiction, depression, and chronic pain. Additionally, the shamanic techniques of extraction, soul retrieval, and journeying, can all be performed with the drum. According to Mariko Namba Walter and Eva Jane Neumann Fridman, authors of Shamanism: An Encyclopedia of World Beliefs, Practices, and Culture, "The drum is used in a variety of ways in shamanist rituals; it may serve as (1) a rhythm instrument, (2) a divination table, (3) a "speaker" for communicating with the spirits, (4) a spirit-catcher, (5) a spirit boat, (6) a purifying device, (7) the shaman's mount."