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Before explorers arrived, thriving nations already called this land home. They built communities, systems of leadership,...
03/06/2026

Before explorers arrived, thriving nations already called this land home. They built communities, systems of leadership, trade networks, and strong cultural traditions.
History should tell the whole story — not just where one group arrived, but who was already here. When we include every chapter, we create a clearer and more honest understanding of the past.
Respecting history means recognizing depth, culture, and legacy. A complete story helps build awareness, respect, and connection between communities.

02/05/2026
01/26/2026
Should Native American man be allowed to wear their hair long at school! Traditionally, long hair was always a symbol of...
01/14/2026

Should Native American man be allowed to wear their hair long at school! Traditionally, long hair was always a symbol of masculinity.

Samuel Pack Elliott (born August 9, 1944) is an American actor. He is the recipient of several accolades, including a Sc...
01/02/2026

Samuel Pack Elliott (born August 9, 1944) is an American actor. He is the recipient of several accolades, including a Screen Actors Guild Award and a National Board of Review Award.
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He has been nominated for an Academy Award, two Golden Globe Awards, and two Emmy Awards. Elliott was cast in the musical drama A Star Is Born (2018), for which he was nominated for the Academy Award for Best Supporting Actor and the corresponding prizes at the Critics' Choice Movie Awards, Screen Actors Guild Awards. He also won a National Board of Review Award. Elliott starred as Shea Brennan in the American drama miniseries 1883 (2021–2022), for which he won the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Miniseries or Television Movie.
Elliott is known for his distinctive lanky physique, full mustache, and deep, sonorous voice. He began his acting career with minor appearances in The Way West (1967), Butch Cassidy and the Sundance Kid (1969), season five of Mission: Impossible, and guest-starred on television in the Western Gunsmoke (1972) before landing his first lead film role in Frogs (1972). His film breakthrough was in the drama Lifeguard (1976). Elliott co-starred in the box office hit Mask (1985) and went on to star in several Louis L'Amour adaptations such as The Quick and the Dead (1987) and Conagher (1991), the latter of which earned him a Golden Globe nomination for Best Actor – Miniseries or Television Film. He received his second Golden Globe and first Primetime Emmy Award nominations for Buffalo Girls (1995). His other film credits from the early 1990s include as John Buford in the historical drama Gettysburg (1993) and as Virgil Earp in the Western Tombstone (also 1993). In 1998, he played the Stranger in The Big Lebowski.
In the 2000s, Elliott appeared in supporting roles in the drama We Were Soldiers (2002) and the superhero films Hulk (2003) and Ghost Rider (2007). In 2015, he guest-starred on the series Justified, which earned him a Critics' Choice Television Award, and in 2016 began starring in the Netflix series The Ranch. Elliott subsequently had a lead role in the comedy-drama The Hero.
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Zahn Tokiya-ku McClarnon is an American actor of Native American descent, born on October 24, 1966, in Denver, Colorado,...
01/01/2026

Zahn Tokiya-ku McClarnon is an American actor of Native American descent, born on October 24, 1966, in Denver, Colorado, USA. He is of Hunkpapa Lakota heritage, a Native American tribe within the Lakota lineage. McClarnon has had a diverse and successful acting career, appearing in films, television shows, and on stage.
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One of McClarnon's most notable roles is as Mathias in the A&E television series "Longmire." This role helped him gain attention from the public and marked his presence in the film industry. McClarnon has also participated in other film and television projects such as "Fargo," "Westworld," "Barkskins," and "Doctor Sleep."
Beyond his acting career, McClarnon has contributed to Native American culture by portraying characters and stories of the Native American community on screen. His roles often carry a humanitarian aspect and reflect the issues and experiences of Native Americans in modern society. He has worked diligently to portray diversity and depth in his roles, helping to increase awareness and understanding of Native American culture and life.
By engaging in film and television projects and portraying Native American characters with sensitivity and authenticity, Zahn Tokiya-ku McClarnon has contributed to the diversification and development of the entertainment industry while honoring and respecting the culture of the Native American community. Additionally, McClarnon has been actively involved in social and political activities within the Native American community, using his influence to advocate for the rights and fairness of his people. Through his career and activism, he has become a symbol of pride and dedication to the Native American community, dedicating his life to shedding light on and contributing to the development and progress of this community.
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12/30/2025

No One Is Illegal On Stolen Land. We Walk On Native Land

Joseph White Cow Bull (Cheyenne) being painted by Artist David Humphreys Miller. Circa 1938. White Cow Bull was a surviv...
12/29/2025

Joseph White Cow Bull (Cheyenne) being painted by Artist David Humphreys Miller. Circa 1938. White Cow Bull was a survivor of the Battle of a Little Big Horn.
Mr Miller found 72 survivors of the battle. He learned their language, 13 in all, and ended up painting all 72. He also collected their stories and wrote a book, “Custer’s Fall, The Indian side of the Story.”
He also wrote a book called “Ghost Dance” about Wounded Knee.
While talking to Joseph White Cow Bull, he was told what happened during the battle. White Cow Bull never said he shot Custer, but from the description of the battle, the Horse the rider was on and corroboration from the others he spoke to, he determined it was Joseph White Cow Bull that shot Custer early in the fight. The horse the rider was on had 4 white stockings and Custer’s horse was the only horse with those markings.

Sitting Bull was a celebrated Native American leader who guided his people in resistance against United States governmen...
12/29/2025

Sitting Bull was a celebrated Native American leader who guided his people in resistance against United States government policies. He is particularly famous for his role in the Battle of Little Bighorn in 1876, where Lakota and Cheyenne forces decisively defeated Lieutenant Colonel George Armstrong Custer’s 7th Cavalry. Known for his courage and vision, Sitting Bull once sat calmly between battle lines, sharing a pipe as bullets flew around him. His legacy as a fierce protector of his people and a symbol of Native American resistance remains significant today.
Captured here in an 1881 cabinet card, Sitting Bull exudes the quiet authority and unyielding presence that made him a towering figure among the Lakota. By this time, he was already celebrated for his leadership at the Battle of Little Bighorn, where, alongside Crazy Horse, he orchestrated a decisive victory against General Custer and the U.S. Army.
The photograph reveals more than a man it reflects a symbol of resilience and resistance. His steady, commanding gaze hints at the years of struggle, negotiation, and battle that defined his life. Sitting Bull’s reputation was built not only on his combat skills but also on his ability to inspire and unify diverse tribes facing relentless pressure from encroaching settlers and military forces.
Even decades later, the image endures as a testament to his legacy. Sitting Bull’s role at Little Bighorn was only one chapter in a life defined by vision, courage, and defiance. In this moment, captured on a cabinet card, he embodies the spirit of a people determined to defend their land, culture, and freedom against overwhelming odds.

The Mysterious Beauty: Native AmericanNative American women were depicted as attractive, desirable, and pious. Interesti...
12/27/2025

The Mysterious Beauty: Native American
Native American women were depicted as attractive, desirable, and pious. Interestingly, that beauty was one that matched nineteenth-century beauty ideals for white women: light skin, carefully groomed hair, a thin and shapely body dressed in popular colors.
In some tribes, there is a belief that a person is composed of four things: a physical, an emotional, a mental and a spirit part. Together, these four elements make a person who must bring positivity to these elements to have a balanced life.
This fictitious Native American woman was also morally upstanding. Narratives focused on her superior housekeeping, her fierce devotion to her children, her piety and self-sacrifice. There are 2 conflicting theories on how she gained these: speculation that Native American women learned their values from their natural surroundings, another that they were transmitted through contact with missionaries and white settlers.
With recent movements for Native American rights, women tend to show themselves as they are: descendants of a persecuted nation. And their history, the one of their tribe and families, is sometimes quite enough to show their beauty.
Native American men were another story. Repeatedly portrayed as violent, ruthless, and cruel, they reflected nineteenth-century sexual, racial, and colonial fears. These portrayals reflected popular values by suggesting that ruthless Native American men could only be tamed by civilization or the tempering influence of a woman.
It would be easy to cast these gendered portrayals of indigenous women in a positive light, but they ended up hurting Native Americans more than they helped.
While the articles portrayed women in a positive light according to the criteria of the day, they simultaneously created a fictional Native-American woman, divorced from her
cultural heritage and male counterparts and dependent on the white population for her identity.
But the Native American community is still evolving in a society which abandoned them. Popular beauty standards in America don’t fit with their culture and traditions. Therefore, a lot of Native American women feel like outcasts.

She was fifteen when soldiers rode into the canyon, rifles glinting in the noon sun, orders in their pockets telling her...
12/12/2025

She was fifteen when soldiers rode into the canyon, rifles glinting in the noon sun, orders in their pockets telling her people they no longer belonged on the land that had cradled them for centuries.
By sundown, they expected the Chiricahua Apache to be gone—marched, chained, relocated like cattle.
They did not expect **Nayeli Doshee**.
She was small, quiet, careful with her words—
the kind of girl who listened more than she spoke,
who could track a deer across bare stone,
who knew every hidden waterhole, every shadowed pass.
But the day the soldiers came, she stepped forward with a fire no one had seen before.
Her people called her *Little Wind* because she moved softly.
That day, she became a storm.
---
Nayeli grew up in the red canyons of Arizona, wrapped in a world older than any map.
Her mother taught her the songs of the mountains.
Her grandfather taught her to read the sky, to find direction from the stars.
Her father taught her the truth every Apache child knew:
“This land is not where we live.
It is who we are.”
But the world outside the canyons was changing.
Whispers carried through traders and scouts:
Forts. Treaties. Soldiers.
Removal.
Her people tried to stay invisible.
The land kept them hidden—until it couldn’t anymore.
---
The soldiers claimed the Apache had to relocate “for their own good.”
They claimed the land belonged to someone else now.
They claimed the government had spoken.
But Nayeli had watched enough broken promises to know:
Those claims were lies wrapped in paper and signatures.
When her chief met with the officer in charge, she stood in the back of the council circle, listening.
The officer assured them no violence would occur—
just obedience.
Nayeli saw the truth in the set of his jaw.
He didn’t come to talk.
He came to take.
That night she did not sleep.
She climbed to the ridge above the camp, feeling the cold wind sting her face, and made a decision that would change her people’s fate:
She would not let the soldiers march them away.
---
Before dawn, she slipped into the soldiers’ camp.
She moved through shadows like a whisper.
She counted horses. Counted rifles. Counted men.
They were too many to fight head-on.
But they were blind to the land.
Nayeli smiled—
the first smile she’d had in days.
She didn’t need to defeat the soldiers.
She just needed to outthink them.
---
She led her people into the high canyons before sunrise, guiding them through a maze only she fully understood.
She blocked trails with boulders.
Covered tracks with brush.
Used the echoing walls to send false signals—footsteps bouncing in every direction.
When the soldiers followed, she was already two steps ahead.
One moment she lured them into dry washes that collapsed under their horses.
Another moment she led them into a dead-end ravine where the sun baked them until they turned back.
Every time they thought they had her trapped, she vanished into stone and silence.
For three days she led the chase.
For three nights she kept her people moving, feeding them, calming them, protecting them.
It wasn’t war.
It wasn’t violence.
It was survival sharpened into brilliance.
---
By the fourth morning, the soldiers gave up.
They returned to the fort with nothing—not a prisoner, not a clue, not a victory.
Nayeli stood on the canyon rim, watching them disappear into the distance.
Her legs trembled.
Her chest burned.
But she didn’t fall.
Her people gathered behind her, silent.
Not because she was a warrior.
But because she had become something even rarer:
A protector who refused to spill blood,
a strategist born from the land itself,
a girl who outsmarted an empire.
---
Years later, when forced removal swept across tribes like a dust storm, old stories resurfaced around campfires:
Stories of a young Apache girl who carved safety out of stone,
who used the land as her shield,
who refused to let her people be erased.
They never wrote her name in army reports.
They never recorded her in government files.
But her people remembered.
Nayeli Doshee—*Little Wind*, the girl who became a storm.
She kept her homeland alive long after the soldiers rode away.
Because sometimes the strongest warrior
is the one who fights to keep her family together—
not with arrows,
not with rifles,
but with courage
and the land beneath her feet.

Congratulations - Lily Gladstone for being the first Native Indigenous Blackfeet/Nimíipuu Female in its eighty one year ...
11/29/2025

Congratulations - Lily Gladstone for being the first Native Indigenous Blackfeet/Nimíipuu Female in its eighty one year history, to win the Best Actress at the Golden Globe Awards for her role in "Killers of the Flower Moon!"
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"The villains are fairly obvious in “Flower Moon,” but Scorsese asks audiences to take a wider look at systemic racism, historical injustice and the corruptive influence of power and money, intriguingly tying together our past and present." ~ Brian Truitt,
"Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it's her face that stays etched in our memory."
~ Jocelyn Noveck
“This is for every little Rez kid, every little urban kid, every little Native kid out there who has a dream and is seeing themselves represented in our stories told by ourselves, in our own words..." ~ Lily Gladstone
"We Are Still Here!"
Top : Mollie Kyle (Burkhart, Cobb) Osage, (1886-1937)
Bottom: Lily Gladstone, (Blackfeet-Nez Perce
Thank you for reading and liking the article
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Proud to be a Native American.
Very worth reading

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