Digital games can uniquely express Indigenous teachings by merging design, code, art, and sound. ... more Digital games can uniquely express Indigenous teachings by merging design, code, art, and sound. Inspired by Anishinaabe grandmothers leading ceremonial walks known as Nibi Walks, Honour Water (http://www.honourwater.com/) is a singing game that aims to bring awareness to threats to the waters and offer pathways to healing through song. The game was developed with game company Pinnguaq and welcomes people from all over to sing with good intentions for the waters. The hope is to pass on songs through gameplay that encourages comfort with singing and learning Anishinaabemowin. Songs were gifted by Sharon M. Day and the Oshkii Giizhik Singers. Sharon M. Day, who is Bois Forte Band of Ojibwe and one of the founders of the Indigenous Peoples Task Force, has been a leading voice using singing to revitalize the waters. The Oshkii Giizhik Singers, a community of Anishinaabekwe who gather at Fond du Lac reservation, contribute to the healing for singers, communities, and the waters. Water teachings are infused in art and writing by Anishinaabe and Métis game designer, artist, and writer Elizabeth LaPensée. From development to distribution, Honour Water draws on Indigenous ways of knowing to reinforce Anishinaabeg teachings with hope for healing the water
Scientific study of issues at the nexus of food–energy–water systems (FEWS) requires grappling wi... more Scientific study of issues at the nexus of food–energy–water systems (FEWS) requires grappling with multifaceted, “wicked” problems. FEWS involve interactions occurring directly and indirectly across complex and overlapping spatial and temporal scales; they are also imbued with diverse and sometimes conflicting meanings for the human and more-than-human beings that live within them. In this paper, we consider the role of language in the dynamics of boundary work, recognizing that the language often used in stakeholder and community engagement intended to address FEWS science and decision-making constructs boundaries and limits diverse and inclusive participation. In contrast, some language systems provide opportunities to build bridges rather than boundaries in engagement. Based on our experiences with engagement in FEWS science and with Indigenous knowledges and languages, we consider examples of the role of language in reflecting worldviews, values, practices, and interactions in ...
Anishinaabe culture, which has been located for more than five thousand years in the Great Lakes ... more Anishinaabe culture, which has been located for more than five thousand years in the Great Lakes region of North America, defines harmony as a state of peaceful existence described by the terms, bizaanate and bangan, which relate to harmonious ways of being in the world often referred to as minobimaadizi and waanaki. This chapter introduces the culture and language of the Anishinaabe people, proposes a linguistic methodology for examining philosophic concepts, and offers narrative examples of the terms related to Anishinaabe harmony. Framed by poetry and constructed through linguistic analysis, the argument in this chapter demonstrates the value of blending modes of disciplinary inquiry while adding Anishinaabe concepts to global philosophical knowledge.
This essay is a digression Gertrude Stein might have enjoyed if an Anishinaabe poet had joined he... more This essay is a digression Gertrude Stein might have enjoyed if an Anishinaabe poet had joined her Saturday salons in Paris with Pablo Picasso, Ezra Pound, Mildred Aldrich and others who practiced modern ways of fastening and unfastening words and images. The act of translating Stein’s English into Anishinaabemowin serves as a method of linguistic and artistic analysis. The Anishinaabemowin lines offered here are experimental word play in response to the spirit of her work, not definitive equivalents. Stein evokes the senses in writing. She centers identity around angles and dimensions not often included in verse. She offers social commentary in the form of images that can benefit from a range of diverse readings. Anishinaabe-based explorations of the way she combines sensation, location, and history are not lessons in grammar or explication; they are ventures into a territory co-created by Stein’s imagination and the over-arching aesthetics of Anishinaabemowin. The essay is an exam...
Digital games can uniquely express Indigenous teachings by merging design, code, art, and sound. ... more Digital games can uniquely express Indigenous teachings by merging design, code, art, and sound. Inspired by Anishinaabe grandmothers leading ceremonial walks known as Nibi Walks, Honour Water (http://www.honourwater.com/) is a singing game that aims to bring awareness to threats to the waters and offer pathways to healing through song. The game was developed with game company Pinnguaq and welcomes people from all over to sing with good intentions for the waters. The hope is to pass on songs through gameplay that encourages comfort with singing and learning Anishinaabemowin. Songs were gifted by Sharon M. Day and the Oshkii Giizhik Singers. Sharon M. Day, who is Bois Forte Band of Ojibwe and one of the founders of the Indigenous Peoples Task Force, has been a leading voice using singing to revitalize the waters. The Oshkii Giizhik Singers, a community of Anishinaabekwe who gather at Fond du Lac reservation, contribute to the healing for singers, communities, and the waters. Water teachings are infused in art and writing by Anishinaabe and Métis game designer, artist, and writer Elizabeth LaPensée. From development to distribution, Honour Water draws on Indigenous ways of knowing to reinforce Anishinaabeg teachings with hope for healing the water
Scientific study of issues at the nexus of food–energy–water systems (FEWS) requires grappling wi... more Scientific study of issues at the nexus of food–energy–water systems (FEWS) requires grappling with multifaceted, “wicked” problems. FEWS involve interactions occurring directly and indirectly across complex and overlapping spatial and temporal scales; they are also imbued with diverse and sometimes conflicting meanings for the human and more-than-human beings that live within them. In this paper, we consider the role of language in the dynamics of boundary work, recognizing that the language often used in stakeholder and community engagement intended to address FEWS science and decision-making constructs boundaries and limits diverse and inclusive participation. In contrast, some language systems provide opportunities to build bridges rather than boundaries in engagement. Based on our experiences with engagement in FEWS science and with Indigenous knowledges and languages, we consider examples of the role of language in reflecting worldviews, values, practices, and interactions in ...
Anishinaabe culture, which has been located for more than five thousand years in the Great Lakes ... more Anishinaabe culture, which has been located for more than five thousand years in the Great Lakes region of North America, defines harmony as a state of peaceful existence described by the terms, bizaanate and bangan, which relate to harmonious ways of being in the world often referred to as minobimaadizi and waanaki. This chapter introduces the culture and language of the Anishinaabe people, proposes a linguistic methodology for examining philosophic concepts, and offers narrative examples of the terms related to Anishinaabe harmony. Framed by poetry and constructed through linguistic analysis, the argument in this chapter demonstrates the value of blending modes of disciplinary inquiry while adding Anishinaabe concepts to global philosophical knowledge.
This essay is a digression Gertrude Stein might have enjoyed if an Anishinaabe poet had joined he... more This essay is a digression Gertrude Stein might have enjoyed if an Anishinaabe poet had joined her Saturday salons in Paris with Pablo Picasso, Ezra Pound, Mildred Aldrich and others who practiced modern ways of fastening and unfastening words and images. The act of translating Stein’s English into Anishinaabemowin serves as a method of linguistic and artistic analysis. The Anishinaabemowin lines offered here are experimental word play in response to the spirit of her work, not definitive equivalents. Stein evokes the senses in writing. She centers identity around angles and dimensions not often included in verse. She offers social commentary in the form of images that can benefit from a range of diverse readings. Anishinaabe-based explorations of the way she combines sensation, location, and history are not lessons in grammar or explication; they are ventures into a territory co-created by Stein’s imagination and the over-arching aesthetics of Anishinaabemowin. The essay is an exam...
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