Dec 30, 2018
Native Opinion Episode 154
THE CHILD’S TANTRUMS CAUSES SUFFERING.
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This episode is not safe for home or work (NSFW) without headphones due to some language in one segment starting at Approx 01:24:15. (However, no F-Bombs) Just wanted to give fair warning for anyone listening at home with small children.
In This Episode:
Native News stories include: Native Americans see Trump’s move to reduce Bears Ears monument as an assault on their culture…
The Violence Against Women Act Expires Because Of Government Shutdown…how will this affect Indian Country’s fight for budget dollars for Missing and Murdered Indigenous Women?
We present a story about the Rape, Genocide and a Cover-up of How Britain Tortured and Killed 300,000 Kenyans…
Co-host Michael Kickingbear is very emotional over a Historian’s re-creation of the events of the Pequot War of 1637. Should historians be speaking for Indigenous Ancestors? He presents his deconstruction of the Historian’s presentation of the events of the War.
Plus Listener feedback and our usual discussions.
The Native Opinion theme song “Honor The People” is by Casper Loma Da Wa.
FIND THE SONG AND MORE OF HIS MUSIC HERE:
ARTICLES DISCUSSED IN THIS EPISODE:
Listener suggested reads:
NATIVE NEWS ARTICLES
From Michael Kickingbear…
Episode 1: Sword of the Wilderness Part One… (A TRIBAL DECONSTRUCTION)
This segment is very emotional for me. The reason that I am giving this history podcast episode attention is to point out that the producer of this podcast, Sam Davis, launched his podcast by choosing as his first episode to talk about a part of my tribal history that I consider part of our historical trauma… that of the Pequot war of 1637.
Since the release of this episode, Mr. Davis has responded to my request to come on our show, and he has accepted. This makes me happy to be able to discuss further my concerns and (possibly) help him reproduce the first episode of his podcast to include an indigenous perspective on that war.
Historical trauma is a very real thing that many Indigenous people suffer with. One modern example of this is…well….simply living in the United States. Balancing a traditional tribal life with that of a colonial one. When someone from outside of a tribal community discusses sad or horrific events of that community’s history without consulting them, it can bring back (in my tribes' case) centuries of hurt.
However, Sam Davis didn’t intend to hurt the Mashantucket Pequot Tribal Nation. He explained in a very nice E-mail back to me that:
“I was deeply passionate about history but had only taken a couple of college-level classes. I didn’t really know how to research a topic, especially one as rich, complex, and contested as the one I chose for my first episode. On top of that, I was working entirely by myself, without a fact-checker or proofreader. The work that came out was that of a passionate amateur who didn’t know what he was doing.”
I appreciated his honesty. MANY others in his field usually would duck and cover when their conclusions are challenged. I do thank Sam Davis for responding to me. I hope that we can work together to balance out “Episode 1: Sword of the Wilderness (Part One)” with Indigenous input.
The following is a link to his original episode for which I took excerpts from in my deconstruction. I encourage you to listen to both episode 1 & 2 of part one and part two of “Sword of the Wilderness” because what Sam has done an excellent job in, was conveying the horrific attitudes, prejudices, misunderstandings, of the Puritan English people of the time. He uses (in essence) their own words against them by conveying the truth of that time. A Truth, that is not taught in American high schools and MANY Colleges.
This country needs to acknowledge it’s true violent history when it comes to its indigenous peoples. Only then can true meaningful healing begin…
MUSIC IN THIS EPISODE*
ARTIST: Robert Mirabal TRACK: Medicine Man ALBUM: Music From A Painted Cave
Two-time GRAMMY winner, Robert Mirabal, lives with his family at the foot of sacred Taos Mountain in northern New Mexico.
Maintaining a traditional life, keeping the centuries-old customs of the Taos Pueblo people, Robert has been described as a Native American “Renaissance man” - musician, composer, painter, master craftsman, poet, actor, screenwriter, horseman, and farmer - and travels extensively playing his music all over the world.
If you live a traditional life you see things differently—spiritually and musically.
His first flute came when he was 18 with money he borrowed from his grandmother, and shortly afterward he had the opportunity to meet Native American flute player R. Carlos Nakai who greatly influenced him.
When we met he looked at my hands and laughed. He said "I have that same scar. It’s the scar of the flute maker". In the years since Robert has continued the evolution of his flute making and has also become a concert performer and recording artist. His dozen albums of traditional music, rock and roll, and spoken word present a contemporary view of American Indian life that is unequaled. My music is informed by the ceremonial music that I’ve heard all my life. What I create comes out of my body and soul in a desire to take care of the spirits of the earth.
A leading proponent of world music, Robert has merged his indigenous American sound with those of Africa, Asia, the Caribbean, tapping into a planetary pulse with a style that defies categorization.
Whether as a composer, songwriter or musician, Robert has won many honors including two-time Native American Artist of the Year, three-time Songwriter of the Year, a 2006 GRAMMY Award for Sacred Ground, and his 2008 GRAMMY for Johnny Whitehorse Totemic Flute Chants, blending all of Robert’s influences into a musical landscape that conjures up both the historic and contemporary West.
You can find robert’s music on apple itunes: Link To Music from a Painted Cave.
Kutupitush! (Thank You!) for listening!