Native American Vows to Decolonize Native Burials

Robert Gill of Buffalo, Minnesota is a member of the Sisseton-Wahpeton Oyate tribe and among only a few Native American morticians in the country. A hero to many tribal members, Gill has made it his life's mission to restore Native burial customs and to "decolonize," as he calls it, the process of honoring and burying those who die on Indian reservations. Since the arrival of the pandemic, death has become an all-encompassing specter of Gill's daily life, consuming his days and even his nights. He travels hundreds of miles each week to remote tribal communities as far west as the Crow Indian Reservation in Montana and as far north as the Turtle Mountain Indian Reservation near the Canadian border. 

 

Before the pandemic, Gill arranged three to four burials a month for Native families. Now he is receiving that many funeral requests every week. Even with a punishing work schedule, he sometimes struggles with guilt over his inability to meet the surging demand for traditional burial services. He knows that many tribal families are being left with no choice but to turn to white-owned funeral homes with morticians who do not understand their language and customs. Without ceremonies rooted in their culture, Gill argues, tribal members are disconnected from their history and unable to mourn properly.
 

The dearth of funeral options, some tribal leaders argue, is a legacy of America's dark history of racial subjugation of American Indians and their religious practices. Until 1978, when Congress passed the American Indian Religious Freedom Act, spiritual ceremonies like the sweat lodge and drum dances were still technically illegal. The prohibitions enabled Christian churches to establish deep footholds on reservations and further restrict Indigenous customs--including their ceremonies for honoring the deceased.
 

Determined to bring more dignity to the burial process, Gill enrolled in the Worsham College of Mortuary Science in Chicago, where he graduated in 2012. He is believed to be the only licensed mortician of Dakota heritage in the country. Today Gill is virtually alone in the funeral business for his willingness to make long-distance house visits--sometimes driving entire days, through sleet and snow, to meet with tribal families in their homes. Each visit carries the risk that he will contract the virus still raging through Indian Country. Gill is the only one of five morticians who work at Chilson Funeral Chapel in central Minnesota who has not been sickened by COVID-19.
 

"You've got to have nerves of steel to do this work in a pandemic," Gill said.

 

A version of this article first appeared in the "Minneapolis Star Tribune."

New Ayahuasca Documentary: "The Medicine"

A recent documentary feature, "The Medicine," reveals the hidden mysteries of one of nature's most powerful and controversial healing remedies -- Ayahuasca. It is a documentary about Amazonian shamanism, introducing Taita ("shaman") Juanito Guerillmo Chindoy Chindoy, both a teacher and student of the sacred plant medicine. As Ayahuasca gains popularity in the West, the film explores the science as well as the lore behind the plant and why it is used to heal. Use of the Ayahuasca brew is both a tradition in Amazonian shamanism and a promising new focus of mental health research.
 

The film follows former NFL Safety, Kerry Rhodes (NY Jets, AZ Cardinals), and actress, AnnaLynne McCord (Power, 90210, Nip/Tuck), as they drink with the Taita experiencing Ayahuasca for the first time -- in its true tradition. Taita Juanito guides them through an authentic ceremonial practice, and they emerge with new insights about their health, their pasts, and their emotional wellbeing. "The Medicine" is narrated by actor Stuart Townsend.
 

"The Medicine" also features leading scholars and authors from around the world exploring the cultural and scientific significance of Ayahuasca, including Daniel Pinchbeck, Rachel Harris, Graham Hancock, Mauricio Diazgranados, Ph.D., and others. This ancient medicine may be a solution to modern problems of addiction, depression, trauma, and disease. The video is now streaming on digital and on-demand platforms including AppleTV, Amazon, Google Play and others. Watch the trailer.

Native Americans Welcome Shutdown of KXL Pipeline

The newly inaugurated US president has issued an executive order to cancel the Canadian pipeline project approved by his predecessor. Joe Biden has said climate change will be a big focus of his presidency. Biden's executive order reverses former President Donald Trump's revival of the pipeline. Trump in 2017 reduced regulations that would otherwise slow building projects. Former President Barack Obama rejected the pipeline in 2015 saying it would "undercut" American leadership in the fight against global climate change. The completed segment of pipeline was to cover a 1,179-mile route from the province of Alberta, Canada, to Nebraska where it would have connected with the existing pipelines leading to the coast. It would have transported up to 830,000 barrels of heavy crude oil a day. 

Montana tribal members, fearing water contamination, are relieved as the Keystone XL pipeline is blocked. When Cheyenne Foote heard that President Joe Biden blocked the Keystone XL pipeline permit on his first day in office, she cried. Foote, 68, is an elder of the Fort Peck Assiniboine and Sioux Tribes, and she feared the pipeline, which passes through a portion of Montana near the Fort Peck Reservation, would contaminate the tribes' water supply. "Water is life," she said. "You can't live without water. The Creator gave it to us, and it's our job to take care of it."

Tribes in South Dakota have been opposed to and protesting the pipeline's construction for more than a decade. President of the Oglala Lakota Nation, Kevin Killer, said Wednesday night the cancellation of the pipeline permit "sends a strong message to tribal nations, and symbolizes a willingness to build on government-to-government relationships established through our treaties," referencing the 1851 and 1868 Fort Laramie treaties of the Great Sioux Nation.

Chairman of the Cheyenne River Sioux Tribe, Harold Frazier, said the project posed a danger to tribal land and people. "This project has scarred our territorial and treaty lands with its presence and threatened our people like a dagger to our throats," Frazier wrote Wednesday night. "We have witnessed the invasion of our land and the genocide of our families -- this project is an extension of the racial, environmental and social injustices we have suffered." 

Indigenous justice organizer for the South Dakota chapter of the American Civil Liberties Union, Candi Brings Plenty, said Wednesday night Indigenous people have been at the forefront of the "fight for environmental justice and protection." The ACLU South Dakota intervened in a "riot boosting" bill last year. In March, Gov. Kristi Noem signed a revised version, which revived the state's criminal and civil penalties for rioting and inciting a riot. A federal judge said part of the state's laws were unconstitutional because they targeted those protesting the Keystone XL Pipeline. 

The Lakota People's Law Project said Wednesday the decision to cancel the pipeline is a "pivot point" to recognize "the health of our Earth." Rescinding KXL's permit is a promising early signal that the new administration is listening to Native American concerns and will take issues of climate and Indigenous justice seriously. We have to insist that it not stop there. It's also high time to shut down the Dakota Access pipeline (DAPL). Tell president-elect Joe Biden to stop DAPL once and for all. Protect the planet and the Lakota people. No destruction of the earth. No endangering our water. Mni wiconi -- water is life. Sign the petition.

Jim Pepper's Classic Peyote Song "Witchi Tai To"

Jim Pepper (1941-1992) was a jazz saxophonist, composer, and singer of Native American descent. Born in Salem, Oregon, Pepper grew up in Portland. He moved to New York City in 1964, where he came to prominence in the late 1960s as a member of The Free Spirits, an early jazz-rock fusion group that also featured Larry Coryell and Bob Moses. His primary instrument was the tenor saxophone (he also played flute and soprano saxophone), and his characteristic incisive, penetrating tone and soulful delivery was unique for its time. A similar timbre was taken up by later players such as Jan Garbarek, Michael Brecker, and David Sanborn.

Of Kaw and Muscogee Creek heritage, Pepper also achieved notoriety for his compositions combining elements of jazz and Native American music. Jazz trumpeter Don Cherry and saxophonist Ornette Coleman encouraged Pepper to reflect his roots and heritage and incorporate it into his jazz playing and composition. His "Witchi Tai To" (derived from a peyote healing chant of the Native American Church which he had learned from his grandfather) is the most famous example of this hybrid style. The song first turned up in 1969 on an album by the band he was playing with at the time, Everything Is Everything. But it's the 1971 version from his own solo album Pepper's Pow Wow that's the definitive version. The song has gone on to be covered by numerous artists including Harper's Bizarre, Ralph Towner, Jan Garbarek, and Brewer & Shipley.

 
Over seven minutes in length, "Witchi Tai To" is beautiful, powerful, and very moving. Assisting Pepper in the recording studio were guitarist Larry Coryell, bassist Chuck Rainey, pianist Tom Grant, drummers Spider Rice and Billy Cobham, and then wife Ravie Pepper on flute, shakers, and vocals. The song begins with the peyote chant plain and unadorned, and slowly segues into Pepper's beautiful, flowing sax line that sets the tone for the rest of the tune. When Pepper begins to blow his sax, there is so much raw emotion and power packed into his delivery it can still bring chills decades later. Pepper died on February 10, 1992 of lymphoma. Listen to Jim Pepper's "Witchi Tai To".

"Witchi Tai To" Lyrics:

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-to, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Water spirit feelin'
Springin' round my head
Makes me feel glad
That I'm not dead

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Witchi-tie-tie, gimee rah
Whoa rah neeko, whoa rah neeko
Hey ney, hey ney, no way

Shamanic Dreaming

Humans have always looked beyond the factual world of ordinary reality for something solid on which to ground their lives. The models of the mystery of life have always been based on the myths of an immemorial imagination. According to Joseph Campbell, one of the great mythologists of the 20th century, "Mythological cosmologies do not correspond to the world of gross facts, but are functions of dreams and visions." Dreams and visions have always been, and will always be, the creative forces that shape our understanding of the fundamental nature of reality. It is an inherent product of the psyche, a symbolic language of metaphysics recognized by shamans and seers.

Dreams are a doorway to the spirit world. In dreams we experience the shamanic world. Everything is alive; everything is connected. We can fly. Ancestors come to us. Animals talk to us. In his book, Honoring the Medicine: The Essential Guide to Native American Healing, Kenneth Cohen writes that John Trehero, a Shoshone Sun Dance chief, derived his healing power from frequent dreams about the beaver. He described his spirit helper thus: "I dreamed about the beaver. The beaver said here is my power, and then he showed me his front paws. If a person has pain I feel with my hand on him, and that pain comes in my hand. I use my own hands for beaver paws."

The accumulation of shamanic power and knowledge comes primarily through journeys, visions and dreams. Dreams are a doorway through which the shamanic practitioner can travel to the inner realms and interact with helping spirits. Shamanic dreaming is different from modern lucid dreaming: in the latter there tends to be an emphasis on controlling your dreams. In shamanic dreaming the spirits are in charge, not the humans. Spirit teachers or guardian animals come to us in nightly encounters and we can receive teachings and guidance. In other words, the spirits begin to train us in the dream state, and we may receive certain initiations along the way. This is one of the classical ways of being called onto the shamanic path.

Dream interpretation is an important skill that shamanic practitioners should develop. However, you can't interpret your dreams if you can't remember them. Dreams tend to fade quickly from conscious awareness upon awakening. To help me remember my dreams, I repeat the affirmation that I will remember all that occurs during sleep. On awakening, I note all of my dreams in a dream journal. Keeping a journal provides a record of your spiritual growth and allows you to reflect upon and better interpret dreams.

Journaling is a contemplative practice that can help you become more aware of your inner life and feel more connected to your experiences and the world around you. This process engages the subjective mind and intuitive awareness. In some cases, your dreams will be clear and easy to understand. At other times, your dreams will be full of symbolism. Interpret such dreams by looking for possible associations related to each symbol or image. Don't overanalyze the dream, for its meaning will become clear at the appropriate time.

When you are first starting out with dream interpretation, you would do well to invest in a dream dictionary as this can suggest common meanings for certain symbols. But as you continue recording your dreams, you may notice certain patterns repeat and your personal connection to certain symbols doesn't match the collective meaning. Both are valid.

There are a number of ways you can encourage and enhance shamanic dreaming. You can begin by asking your spirit helpers or guardian animals when you go to sleep to bring you a shamanic dream. Remember to thank your helping spirits when they bring you a dream. It also helps to smudge your bedroom before going to sleep each night. Smudging clarifies the mind and cleanses the environment by dispelling any stagnant or unwanted energy. The ability to have shamanic dreams on a regular basis requires energy. If you feel exhausted when you go to bed, and collapse into sleep every night, you don't have sufficient energy for this kind of dreaming. Eating well, exercising and meditating are some basic steps to build up your energy. With more energy new doorways may open up.

You can also put ritual objects into a dream bundle to open up the doorway to shamanic dreaming. According to Nicholas Breeze Wood, editor of "Sacred Hoop Magazine" -- a leading international magazine about shamanism, "The use of ritual objects to encourage and enhance dreaming is quite widespread within the Native American traditions -- everyone is probably familiar with the dreamcatcher... Dreams have always been an important channel through which to receive instruction and communication from Spirit, and not surprisingly there is a wealth of rich folklore and tradition concerning it." Read more about dream bundles.

Beau Dick: The Legendary Indigenous Woodcarver

Beau Dick was a Canadian art legend and enigmatic carver from Alert Bay, a small remote village on the Northwest Coast of British Columbia. The Kwakwaka'wakw artist was a heredity chief and cultural activist whose generous and prolific nature exemplified the spirit of potlatch (a gift-giving feast). His remarkable masks have been celebrated across the global art scene as vibrant expressions of West Coast Indigenous culture and a sophisticated crossover into the contemporary art world. Dick had an unprecedented ability to tap into the collective memory of his people and breathe new life into age-old traditions.

Born Benjamin Kerry Dick in Kingcome Inlet, British Columbia in 1955, he first learned the art of traditional woodcarving from his father and grandfather at the age of six. While his carving career began as an assistant to his family in creating totem poles, one of which remains among the world's tallest, Dick's calling lay in making masks. His talent for combining traditional Indigenous techniques with contemporary influences, such as Japanese anime and Mexican art, makes him a standout in the art world, with critics citing him as "one of the most important artists since contact."

The late carver is the subject of the acclaimed 2017 documentary film "Maker of Monsters: The Extraordinary Life of Beau Dick," which follows his life, career and activism. Written, directed, and produced by curator, author, and filmmaker LaTiesha Fazakas and Natalie Boll, the film gives an intimate look into the life of one of Canada's greatest artists. Beau Dick worked within an ancient tradition and rose to the ranks of international success within the world of contemporary art while never forgetting his roots. This moving film captures the essence of Beau Dick and his mysterious enigma as an artist who symbolized Canada's history with the First Nations and the ethical dilemmas faced in reconciling with that colonialist history. Beau was able to use his celebrity to call attention to the injustices done to his people and the environment. 

Even in his activism, Beau relied on his culture to inform him on how to be political. He didn't simply stage protests; he enacted ancient ceremonies, creating a public display infused with spirituality. He challenged the Canadian government on his own terms by using traditional Kwakwaka'wakw political protocol, with slight adjustments for the contemporary situation. He performed a traditional copper-breaking ceremony to shame the Canadian government on two occasions. First, on the steps of the Parliament Building in Victoria, BC, and then one year later on the steps of Parliament Hill in Ottawa. Striking stone against metal, Dick and his entourage broke large copper shields into pieces. They placed the copper fragments in a folded piece of canvas artwork and left it on the steps.

The copper-breaking ceremony is a spiritual and political act that had not been performed in over 100 years. The ritual was a call to action in dialogue with the Indigenous grassroots movement, Idle No More, and a revival of a shaming rite prohibited for over 60 years under the Indian Act. Copper-breaking was once practiced by First Nations across the Pacific Northwest. Endowed with supernatural power, copper occupies a central position within potlatch ceremonies. Since copper was highly valuable and expensive, breaking it represented an act of shaming someone after a breach of law or protocol. 

"Maker of Monsters" illuminates a man whose art and life continue to transcend expectations and boundaries. Beau was more than an artist. He was a leader, an activist, a teacher, a humanitarian and a virtuoso who was larger than life. When he was asked what gets him excited in the world, he thought for a moment, then answered, "Creating an opportunity for somebody else to do something." Watch "Maker of Monsters" on Tubi TV.