Discover and read the best of Twitter Threads about #AllMyRelationsPodcast
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1/19👇🏽 
Dancing On Our Turtle's Back: Stories of Nishnaabeg
by Leanne Betasamosake Simpson
Decolonizing Education: Nourishing the Learning Spirit
by Marie Battiste
Indigenous Writes: A Guide to First Nations, MĂ©tis, and Inuit Issues in Canada by @apihtawikosisan
by Leanne Betasamosake Simpson
Decolonizing Education: Nourishing the Learning Spirit
by Marie Battiste
Indigenous Writes: A Guide to First Nations, MĂ©tis, and Inuit Issues in Canada by @apihtawikosisan
A Two-Spirit Journey: The Autobiography of a Lesbian Ojibwa-Cree Elder by Ma-Nee Chacaby
This Place: 150 years Retold. A graphic novel anthology by Various
The Clay We are Made Of: Haudenosaunee Land Tenure on the Grand River by Susan M. Hill
This Place: 150 years Retold. A graphic novel anthology by Various
The Clay We are Made Of: Haudenosaunee Land Tenure on the Grand River by Susan M. Hill
ᏏᏲ @CantorArts, @Stanford alum/ former Cantor intern (2006?) here. I helped redo your Native gallery. I think my name is on the wall still. Anyway. This is a bad tweet and here’s why.
(There are lots of Native folks in your mentions saying this too but just my two cents)
(There are lots of Native folks in your mentions saying this too but just my two cents)
Curtis has a complicated and painful legacy in Native communities. He set out to capture what he termed “the vanishing race,” believing that Native folks were going extinct and needed to be documented before their disappearance.
But he also had very strong beliefs about what constituted a “real” Native person, and would choose costumes, poses, and locations to capture his stereotype-laden aesthetic. He would mix regalia from tribes and physically manipulated negatives to erase signs of “modernity.”
