Anishinaabe Literature - Essay Example

Anishinaabe Literature Introduction Learning about the Anishinaabe has been one of the interesting topical issues in the term’s work. This hasactually made me personalize the discussion of these people, making their experiences to be mine. This meant that there is not a single moment, in my viewpoint, that I could imply the Anishinaabe as ‘other’. This paper is geared towards availing detailed information as well as activities about the Anishinaabe, an American Indian nation in the United States of America in terms of its history are more specifically, its myths of the sacred stories. Besides highlighting some of the past cultures of this nation, this paper also avails the meanings of the people’s mythical stories (Pheasant 1). Thesis Statement The myths of the Anishinaabe are greatly helping each and every one of us to uphold a discrete identity and by persisting to narrate of the people’s sacred stories and at the same time governing the way these stories are told. In so doing, this aids us in nourishing our cultural autonomy. This is solely broad on board in a clear manner through storytelling and songs that characterize this community (Bird and Vetter 14). Nevertheless, the general consensus- that the Anishinaabe myths do teach about morality, and more especially environmental ethics, still stands. Resultantly, this culminates into an insightful conclusion. On the other hand, in the event that the same is viewed from a different perspective, a totally different understanding of the sacred stories in the Anishinaabe community is resulted at. Anishinaabe Literature The Anishinaabeg people of the United States consist of the Nipissing/Algonquin, Ojibwa, Sauleteaux, Chippewa, Odawa, Mississaugas, Oji-cree and Potawatomi. These communities have basically inhabited the Great Lakes region of Canada and the U.S. as noted above, the myths of the Anishinaabe are great facilitating the way forward in upholding an identity which is distinct. Notably, the Anishinaabe stories are not only sacred, but also wide ranging. The way these stories are told is also funny and humorous- an element which is shared in all stories. A good example of these stories is the myth about the history of the Anishinaabeg (Pheasant 1). According to this myth, Gizhemanidoo, in the very beginning created the universe, including the creation of the Grandfather Sun, Grandmother Moon, Father Sky and Mother Earth. He is also believed to have created all the things on earth- both the living and the non-living. It is after he had created all that is within the surface of the earth, in the seas and in the sky that Gizhemanidoo created the four seasons. According to the Anishinaabeg, these seasons were geared towards bringing both balance and harmony to all. Besides, these people held these seasons to be one of the greatest mysteries to have ever existed (Cavender 8). Man was later created after all other creations. Gizhemanidoo appeared to the first Anishinaabe in a dream- where he (Gizhemanidoo) instructed the first Anishinaabe to give names to all other creature according to the language given to him. This story brings us to the knowledge that the first Anishinaabe gave names to all insects, animals, fish and bird. On completing the work, he made it known to the Gizhemanidoo that he had accomplished all that he was to do through a dream. It is after this that he was given the name Nanabozho (Sugarhead 6). Markedly, storytellinf among the Anishinaabeg remains to be a means through which members of the indigenous communities get to be taught and learn. In the manner in which these stories are being told, it is crystal clear that the cultural processes present in the society are being emphasized. The same stories are actually being used as cultural dimensions of the old to present the past, thus facilitating the viewing of life history as part and parcel of the principal contributory explanations of cultural processes instead of simply making illustrations or even augmenting ethnographic descriptions. Ordinarily, practitioners of the oral traditional do transfer knowledge form one generation to the other through traditional story telling (Van der Wey 53). For example, among the Anishinaabeg, storytelling is being used as a means through which the young in the Anishinaabe community as well as outsiders get to comprehend and appreciate both the values and the principles of the Anishinaabeg. It is thus evident that stories remain a principal component of passing knowledge as well as conveying and Anishinaabe global view. Community history, land surrender, treaty rights, the ways of the old and gender roles are being taught to subsequent generations through story telling (Wilde 192). It can therefore be argued out that traditional stories are offering us a lens to see the past. In addition, it is availing a context on which interpretation of the experiences of the people can be made. This therefore indicates that there is a need to be well acquainted with the cultural rules regulating the oral tradition. Besides, these rules ought to be put into practice in the event of interpretation of the stories. It is also worth noting that among the Anishinaabe people, there are different types of stories. These include such as the anecdotes- commonly referred to as the narrative concerning exceptional experiences- and the sacred stories- about the history of the people just like the one highlighted above (Chartrand 5). Through the Anishinaabe storytelling tradition and the humor involved in the same, one may wonder what the outcome would have been in the event that seriousness in taken in the humorous nature of the storytelling process. A good illustration of this is when we take on a key mythical character like Nanabush or Wenabozho engaging in slapstick antics. This to a great extent does influence the manner in which each and every one of us is viewing the world and at the same time impact on the way we live in the same world. In simple terms, these myths and the way they are being narrated or told greatly affects the worldview (Browner 7). As it comes to public knowledge, the global view of the Anishinaabe perfectly fits the definition of the comic vision. This fitting is not only cocooned to humor, but also involves numerous elements including equality, sophisticated conceptual schemes and forgiveness. The notion of this comic vision is also fitting to the worldview of the Anishinaabe and their sacred stories. In the event that the worldview of this community is well understood as comic, the same comic vision can be utilized in demonstrating the existent continuity between the traditional culture and the modern culture (Cherubini 34). In addition, the same detailed understanding of the comic vision can be of great importance in explaining the ways in which the culture of the Anishinaabe is getting its strength back in the wake of what can be referred to as the post-apocalypse stress syndrome. Along with a majority of the American peoples, who are natives, the Anishinaabe have seen the end of the world and this has borne incredible social stresses. Factually therefore, the comic vision of the Anishinaabe can be understood as assisting individuals to overwhelm the aforementioned trauma. Furthermore, the same helps explain the ways in which individuals are lining through survival (Gross 437). In their storytelling, the Anishinaabe include the aspect of dreaming. From this Aboriginal group, it is quite evident that both dreaming and visioning are used in the transmission of knowledge from that which is considered to belong to the spiritual world to human beings. From their stories, it is clear that the physical and the dreamed world are one and the same thing to the Anishinaabe. If this is not the case, these two worlds are equally real. To the Anishinaabe, dreaming is and ought to be taken with the seriousness it so deserves. Their experience of the world, be it in dream or awake, is an experience of a world that is under the control of the actions taken by individuals, human beings or otherwise (Gross 439). In the creation story, for example, the first Anishinaabe is instructed by Gizhemanidoo to name all things an alanguage given to him through a dream. It is also through a dream that the first Anishinaabe informs the creator that he is through with this responsibility of naming. Though a dream, the Creator acknowledges the accomplishment of the naming task and now declares the maturity of the time that the first Anishinaabe is to be given his name- Nanabozho. In this dream, Nanabozho is instructed that his name will be mentioned each and every other time the other Anishinaabe members meet or even greet one another. Since then, the word Bozhoo has been mentioned whenever the Anishinaabe people are greeting each other (Warner 150). In one of the Anishinaabe communities’ life-world, the Ojibwe, the directions and levels are not anthropomorphized or animated by human beings who hypothesize souls and spirits and resultantly impute the same to worldly things. In its stead, the cosmos is experienced to be a placed that has literally been crowded with people. According to the explanations of one of the Anishinaabe sweat lodge leaders from Hollow Water First Nation, Garry Raven, an individual’s dreams ought to be remembered since they are there to tell the individual what he or she needs to do. He also urges everybody to consult the elders on the meaning of our dreams so that we can learn more about the meaning of life, choices in life, and the contribution and individual ought to make (Raven and Prince 53) In the Anishinaabe community and it storytelling, dreams are repeatedly shared, construed as well as embarked on in the making of decisions concern work in the community. Leaders of the Anishinaabe have equally come forward to attest to the teachings of Raven that dreams ought to be sought after. According to the culture of the Anishinaabek, people are under obligation to understand their dream, live their dream and push forward with their dream. This is because these dreams are the ones which do determine the way people live their lives from one generation to the other. They play the role of reminding people different incidences in life (Kinew 34). Storytelling among the Anisinaabek is also characterized with songs. These songs did paly a very significant role in introducing an individual, even an outsider, to the extended cultural community of the Anishinaabe. Additionally, these songs were used for purposes of preserving or revitalizing the traditional practices of the Anishinaabeg. These songs were customarily accompanied with drums, which were being taught to individuals at a tender age of even seventeen. The hand drums used are used for purposes of setting members of the community to a path that will best connect them to learning the culture of the Anishinaabe. Among the famous songs is the Anishinaabe prophecy song (Hart 1). In elaboration, this is not a mere song; it is a slice of a larger story; a message and a detailed account of the history of the Anishinaabe. In addition, this is a song that is speaking of the different epochs that the Anishinaabe people will live through; right from the prophecy that ignited a migration from the eastern part of Turtle Island in North America. The song also highlights the role of the youthful generation. It is crystal clear from the story and the prophecy song that the youth were to pick up that which was left behind by the Anishinaabe ancestors and which will make the Anishinaabe nation as strong as it were (Pheasant 1). The larger story talked of in this prophecy is introduced by “The Morning Song”. This song is just but a piece of the Seven Fires of the Anishinaabe prophecy. Through the persistent singing, one gets to better learn about the prophecy and other cultural events among the Anishinaabe. The song is actually calling from the community’s ancestors, pleading with them to wake up from the deep sleep they are in (Raven and Prince 54). With respect to storytelling in the Anishinaabe community, it is evident that this is a relevant activity especially among the Aboriginal children as a means for both the story teller and those listening to better comprehend orator. Generally and from the perspective of the Anishinaabe, it can be argued out storytelling- and more particularly personal event stories- ordinarily opens the window for better heightened creation and understanding of shared knowledge. Through the skill and experience of the orator, further enquiry is enhanced through the deeper understanding so facilitated by the orator (Van der Wey 57). What ought to be noted is that in storytelling is that the perspective of the storyteller or the orator with respect to the context and purpose of the storytelling equally impacts what is being told. A great percentage of what an individual considers to be told, accentuated and/or elaborated on is a function of the cultural assumptions about the ability to report any narrative information as well as the assumed role of the audience in the storytelling activity in ensuring the realization of unstated meanings (Simpson 26). As a result, analyzing narratives on the basis of discrete informational story constituents or units may proof to be not a worthwhile indicator of the capability of the narrative across linguistic or cultural groups. However, there is a need to accommodate cultural differences in narratives. For instance, among the Anishinaabe people, the stories make a reflection survival against all odds and the foreseen endurance into the future. Among the Anishinaabe people and in their view, the very ultimate essence life is unity- the unanimity of all things (Bird and Vetter 28). Through storytelling, the Anishinaabe people have not only come to the realization of where they have come from, but also to the realization that they can hardly be separated from the land in which they inhabit and its cycle of seasons. Storytelling grows deep roots in the heart of the people. The same has also been told to an equivalent degree in the community’s dances, legends, in symbols and dreams. Illustratively, in the song that a grandmother sings to a child in her arms as well as in the network of family stories, names and memories, the children get to learn as they grow and develop (Cavender 11). This falls under the category of individual and collective spirit stories. The story of the Ojibway, on the other hand, brings of focus how the European nations characterized with overwhelming power and numbers were able to swam the land, leading to its subsequent reshaping it and resultantly, disturbing the earlier existent natural balance within which the Anishinaabe people had been known to live with. This story is told in a way that we get to understand wars, trade, laws, treaties, governments and the obstinate struggle through which the Anishinaabe people had channeled their efforts in order to preserve their own ways and identity (Chartrand 20). The stories sourced from the Anishinaabe people presents me with a lens facilitating my interpretation of the world around me, which undeniably significantly impacts my life. A perfect illustration of this is the interpretation of the Meech Lake Accord- which had been geared towards bringing about change in the Canadian constitution. At issue was the undeniable fact that the Aboriginals- and in this sense the Anishinaabe were being overlooked in the same negotiations and as a result demanded the rejection of the Accord on the same basis. What remained noticeable in this incident is the reaffirmation of the movement of the Canadian Aboriginal people being brought together. Another noticeable thing is a people rising to sound their voices in collective actions- which are seemingly louder than their words. This incidence can be termed to be a re-awakening call (Gross 445). My experience with the Anishinaabe also widened my sight to the outstanding and belligerent relationship of this Aboriginal group of individuals. Through the new lens, the Anishinaabe prophecy song was clear to me. Following their every now and then reorganization, these people have now awaken. Moreover, it can be argued out that the collectiveness of the stories and teachings have a number of interconnections and at the same time buttress each other though in different learning situations and contexts. Storytelling in this community plays the role or reconnecting the umbilical cord that had earlier been severed as a result of oppressive policies and laws, which had seen the prohibition of the Anishinaabe people from passing on their culture, traditions and language (Gross 453). Conclusion In can thus be resolved that as the Nishinaabe people continue to learn more about their surrounding and themselves through storytelling and songs, it may therefore be a crucial thing for Anishinaabe scholars, communities and teachers to make use of them in their study and education projects. The decolonization of the Anishinaabe processes- which entails going back to their ways of the old- has been found to be among the way of upholding an outstanding cultural identity in the face of the increasingly globalizing world (Gross 457). On the contrary, some of these processes may not actually be appropriate for use by all academicians or in educational and research situations. The communities happen to be the ones which are better positioned to make a decision on the same. Works Cited Bird, Elizabeth and Vetter, Delores. Storytelling in Chippewa-Cree Children. Journal of Speech and Hearing Research, 37(6), pp.13-54. 1994 Browner, Tara. Heartbeat of the People: Music and Dance of the Northern Pow-wow. Chicago: University of Illinois Press. 2004 Cavender, Angela.W. Grandmother to Granddaughter: Generations of Oral History in Dakota Family. The American Indian Quarterly, 20(1), pp.7-14. 1996 Chartrand, Rebecca. Anishinaabe Pedagogy: Deconstructing the Notion of Aboriginal Education by Illuminating local Anishinaabe Pedagogy. Urban Aboriginal Economic Development Nation Network. University of Manitoba. 2010 (1-23) Cherubini, Lorenzo. New Aboriginal Teachers’ Experiences: An Undiscovered Landscape. Canadian Journal of Native Education, 31(2), pp. 34. 2008 Gross, Lawrence, W. The Comic Vision of Anishinaabe Culture and Religion. The American Indian Quarterly, 26(3), pp.436-459. 2002 Hart, Lyna. (1991-1998 Personal Communication). The Anishinaabe Prophecy Song, retrieved from community sings. Kinew, Tobasonakwut. Let Them Burn the Sky: Overcoming Repression of the Sacred Use of Anishinaabe Lands. In J.Oakes, R. Riewe, K. Kinew & E. Maloney (Eds.) Sacred Lands: Aboriginal Worldviews, Claims and Conflicts (pp.33-39). Occasional Publication No.43. Edmonton: University of Alberta, Canadian Circumpolar Institute. 1998 Pheasant, Kenny. History of the Anishinaabek. 2012. Viewed 16 October 2012 Raven, Gary and Prince, Betson. Role of the Elders: Yesterday and Today. In Issues in the North, vol. 1, pp.51-55. Winnipeg: university of Manitoba. 1996 Simpson, Leanne. Stories, Dreams and ceremonies- Anishinaabe Ways of Learning. Tribal College Journal, 11(4): pp. 26. 2000. Canadian Reference Centre. EBSCO Sugarhead, Cecilia. Ojibwe Stories from Landsdowne House. Written by Cecilia Sugarhead (J.D. Nichols Ed.). Winnipeg, MB: Albonquian and Iroquoian Linguistics. 1996 Van der Wey, D. exploring Multiple Serendipitous Experiences in a First Nation’s Setting as the Impetus for Meaningful Literacy Development. Canadian Journal of Native Education, 25(1), pp. 51-67. 2001 Warner, Linda.S. Native Ways of Knowing: Let me Count the Ways. Canadian Journal of Native Education, 29(2), pp. 149-164. 2006 Wilde, Kimberley. Storytelling as a Methodology. In J.Oakes, R. Riewe, A.Edmunds, A, Dubois & K.Wilde (Eds.), Native Voices in Research (pp.191-198). Winnipeg: Aboriginal Issues Press. 2003 Read More