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GchiMiighwech --Chapter 1.Nishnaabeg Resurgence: Stories from within --Gaawiin Nda-gajsii, We Are Not Shameful --A Flourishment of the Indigenous Inside --Aanji Maajitaawin, the Art of Starting Over --Chapter 2.Theorizing Resurgence from within Nishnaabeg Thought --Gwiinmaagemi Gdi-dbaajimowinaanin, We Tell Stories --Grandmother Teachings --Our Theory is Personal --Embodied Knowledge, Unlimited Intelligence --Chapter 3.Gdi-Nweninnaa: Our Sound, Our Voice --Biskaabiiyang --Aanjigone --Naakgonige --Debwewin --Gdi-nweninaa --Chapter 4.Niimtoowaad Mikinaag Gijiying Bakonaan (Dancing on Our Turtle's Back): Aandisokaanan and Resurgence --Chibimoodaywin --Re-creation: Niimtoowaad Mikinaag Gijiying Bakonaan (Dancing on Our Turtle's Back) --Waynabozhoo and the Great Flood --Resurgence, Wiindigo and Gezhizhwazh --Nanabush Stories --Ninaatigoog --Chapter 5.Building Like a Beating Heart: A Society of Presence --Transmotion, Emergence and Mobilization --Nishnaabeg Society: A Society of Presence --Bubbling Like a Beating Heart --Creating Decolonized Time and Space --Chapter 6.Resurgence in Our Political Relationships --Echoes from the Past --Breastfeeding and Treaties --Gchi-dbaakgonigewin --Dewe'igan, the Heartbeat of the Nation --Gdoo-naaganinaa, Our Dish --Gdoo-naaganinaa in Contemporary Times --Chapter 7.Protecting the First Hill: Nurturing Eniigaanzid in Children --Aabawaadiziiwin --The Four Hills of Life --Kokum Dibaajimowinan --Leading by Following: The Seven Stages of Life --Protecting the First Hills of Life --Nengaajgchigewin in Parenting --Zhinoomoowin: Modeling and Learning by Doing --Aanjigone in Parenting --Nurturing Leaders for Resurgence --Chapter 8.Shi-Kiin: New Worlds --Stone's Throw --Shki-kiin: New Worlds --Grounding Resurgence in Our Hearts --Index.

"Published through the Recovering Languages and Literacies of the Americas initiative, supported by the Andrew W. Mellon Foundation. The rich storytelling traditions of the Ashéninka Perené Arawaks of eastern Peru are showcased in this bilingual collection of traditional narratives, ethnographic accounts, women's autobiographical stories, songs, chants, and ritual speeches. The Ashéninkas are located in the colonization frontier at the foot of the eastern Andes and the western fringe of the Amazonian jungle. Unfortunately, their language has a slim chance of surviving because only about three hundred fluent speakers remain. This volume collects and preserves the power and vitality of Ashéninka oral and linguistic traditions, as told by thirty members of the Native community. Upper Perene Arawak Narratives of History, Landscape, and Ritual covers a range of themes in the Ashéninka oral tradition, through genres such as myths, folk tales, autobiographical accounts, and ethnographic texts about customs and rituals, as well as songs, chants, and oratory. Transcribed and translated by a specialist in Ashéninka language varieties, Elena Mihas, and grounded in the actual performances of Asheninka speakers, this collection makes these stories available in English for the first time. Each original text in Ashéninka is accompanied by an English translation and each theme is introduced with an essay providing biographical, cultural, and linguistic information. The result is a masterful, authoritative, yet entertaining and provocative collection of oral literature that vividly testifies to the power of Ashéninka storytelling"--

Huni kuin xenipabu hiwenibuki = Como viviam os antepassados Caxinauás = Cómo vivían los antepasados Cashinahuas -- Huni kuin yami nawaki nukuniki = Caxinauás encontrando Iaminauás = Cashinahuas encontrando a Yaminahuas -- Huni kuinen nawa kayabiki nukunibukiaki = Os Caxinauás e os Nauás verdadeiro = Los Cashinahuas y los Nahuas verdaderos -- Nawa anua = Na terra dos Nauás = En la terra de los Nahuas -- Paxkanibudan = Dispersão = Dispersión -- Hakatxu heneadan = Anexos = Anexos

"Members of Eli Baxter's generation are the last of the hunting and gathering societies living on Turtle Island. They are also among the last fluent speakers of the Anishinaabay language known as Anishinaabaymowin. Aki-wayn-zih is a story about the land and its spiritual relationship with the Anishinaabayg, from the beginning of their life on Miss-koh-tay-sih Minis (Turtle Island) to the present day. Baxter writes about Anishinaabay life before European contact, his childhood memories of trapping, hunting, and fishing with his family on traditional lands in Treaty 9 territory, and his personal experience surviving the residential school system. Examining how Anishinaabay Kih-kayn-daa-soh-win (knowledge) is an elemental concept embedded in the Anishinaabay language, Aki-wayn-zih explores history, science, math, education, philosophy, law, and spiritual teachings, outlining the cultural significance of language to Anishinaabay identity. Recounting traditional Ojibway legends in their original language, fables in which moral virtues double as survival techniques, and detailed guidelines for expertly trapping or ensnaring animals, Baxter reveals how the residential school system shaped him as an individual, transformed his family, and forever disrupted his reserve community and those like it. Through spiritual teachings, historical accounts, and autobiographical anecdotes, Aki-wayn-zih offers a new form of storytelling from the Anishinaabay point of view."--

"Moving the museum : indigenous & Canadian Art at the AGO documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation to nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history. Lavishly illustrated with more than 100 reproductions, Indigenous & Canadian Art at the AGO features the work of First Nations artists--including Carl Beam, Rebecca Belmore, and Kent Monkman--along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic representation of Indigenous and Canadian art in museums. Contains a list of works at the back."--

1. The Chronicle of Bone in Bugis historiography -- 2. The definition of the work -- 3. The manuscript -- 4. The choice of this version of the work -- 5. Principles of transcription -- 6. Principles of translation -- 7. The nature of the work -- 8. The date of the work and the problem of the end -- 9. Early Western-language comment on the events of the chronicle -- 10. Previous editions and published translations of the chronicle -- 11. Commentary on the chronicle -- Appendix 1: Other manuscript versions of the chronicle -- Appendix 2: Absolute reign dates -- Appendix 3: Placenames in the chronicle -- The Bugis Chronicle of Bone: English text -- The Bugis Chronicle of Bone: Bugis text.