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  • Home
  • Dispatches From Our Relatives
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Horror Week
What Makes Indigenous Horror Different?
October 1, 2026
What Makes Indigenous Horror Different?

Our Founding Executive Director, Jen Deerinwater, kicks off this year’s Indigenous horror special in The Magazine with three recommendations and a look at why Indigenous storytelling matters in horror.

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Winona Nelson, an Indigenous artist, carefully stitches beadwork onto an embroidery hoop while holding a needle and thread. Wearing glasses and concentrating on the piece, the artist works on a floral design that combines painted imagery with intricate beadwork, highlighting the precision and craftsmanship of the process.
Beading My Way Home
September 2, 2026
Beading My Way Home

Beadwork, or beading, is a longstanding artistic tradition of the Ojibwe people, who call glass beads manidoominens, or little spirit berries.

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A turquoise beaded belt featuring colorful geometric Kiowa-inspired designs and a rainbow-striped center is displayed on a white table. Below it are the artist registration form and a blue First Place ribbon from the Hunting Horse Kiowa Art Show, recognizing the belt in the Contemporary Style category.
Joy Tonepahhote: Carrying On the Kiowa Beadwork Tradition
September 2, 2026
Joy Tonepahhote: Carrying On the Kiowa Beadwork Tradition

A Crushing Colonialism interview with award-winning bead artist Joy Tonepahhote on continuing the beading tradition and preserving Kiowa culture

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An Elder Maasai woman sits outdoors on the red earth of Northern Tanzania creating traditional Maasai beadwork called Engoti. She wears traditional Maasai clothing while carefully threading beads by hand. Small containers of beads and tools are placed beside her.
Growing Up Maasai in a Changing World
September 2, 2026
Growing Up Maasai in a Changing World

Naomi Lemunga tells the story of being born and raised in Maasai land on the plains beneath Mount Kilimanjaro in Northern Tanzania

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A woman stands smiling to the right of her open closet, displaying a selection of colorful vintage dresses. She is wearing a two-tone turquoise Muʻumuʻu with darker blue flowers printed on a light blue base. The dress has puffed sleeves and buttons down the front. She is wearing a necklace made of purple sea urchin spikes, a woven brown hat with a brown and blue feathered lei wrapped around the brim, and a mix of gold, jade, pearl, and lauhala bracelets down her arms. Her hair is pinned up, and she is wearing button earrings made of Niʻihau shells. There is a lamp on the other side of the closet covered in a bright pinkish-red crochet. A circular mirror hangs behind, with hooks under it, displaying her necklace collection.
Lole o ka Lā: Hawaiian Resilience Through Fashion
September 2, 2026
Lole o ka Lā: Hawaiian Resilience Through Fashion

“…and this is my lole o ka lā!” The refrain echoes throughout Hawaiʻi’s expanding social media presence as more and more young Native Hawaiians take to Instagram and TikTok to show off their #LoleOKaLā (outfit of the day) for the annual Merrie Monarch Festival

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Ombligada Palenque
Midwives: The Craft of Birth
June 28, 2026
Midwives: The Craft of Birth

Midwifery in Indigenous communities in “Colombia” has historically been a practice sustained mainly by women, though not limited to them. “In the past, there wasn’t a specific figure responsible for attending births; rather, it was shared knowledge within the community.

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Lune stands outdoors at dusk, adjusting a red and yellow headscarf while wearing traditional clothing inspired by Muisca symbols, including a handwoven belt at her waist and a patterned wool mantle draped over her shoulders. Behind her, the open landscape and fading light frame a quiet moment of preparation and cultural reconnection.
Autism: Between Ancestral Care and Imposed Survival
June 28, 2026
Autism: Between Ancestral Care and Imposed Survival

Not all minds are made to survive colonialism. Being Indigenous and neurodivergent is not a sum of vulnerabilities. It is an intersection of structural violences—on territory, knowledge, and the body. You cannot separate health from history, nor the mind from the land.

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Residents of Langbin community gather in the waiting area as Mr. Adeboye coordinates the flow of patients during the medical outreach in the community. His role was central to managing the high volume of over 250 people, ensuring that each individual moved efficiently from the initial briefing to their clinical consultations and pharmacy pick-ups. Photo credit: Bukunmi Oyewole, December 11, 2020.
River of Survival
June 28, 2026
River of Survival

With no lasting support from local authorities and packaged water too costly for many families, residents have little choice but to keep relying on untreated water from the open, exposed river. Over time, troubling health problems have emerged.

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A man in a blue checkered shirt, jeans, rubber boots, and gloves bends over while working the soil in a small garden plot with green plants growing in rows. A stone border and banana trees are visible in the background.
SOW. HOE. GROW.
March 10, 2026
SOW. HOE. GROW.

Mr. Seun Opadare, a Yoruba man living in Ibadan, transformed part of his compound into a small garden. Using only what he had at home, he learned how to grow food for himself and his neighbors, building the garden from the ground up.  His garden is modest in size and wasn’t created through any program or external support. It is a daily practice that he maintains, guided by what he can cultivate with his own hands.  I started documenting him to understand how a simple daily practice can become a form of care that is steady and rooted in place.  

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CrushingColonialism1
A Forest of the Gods
March 10, 2026
A Forest of the Gods

A poem by Tunji Offeyi

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CrushingColonialism1
Reclaiming the Grove
March 10, 2026
Reclaiming the Grove

Heritage in Nigeria is both tangible and intangible, shaped by landscapes that sustain society through vital ecosystem services. This creates responsibility for those who inhabit the land, yet breakdowns lead to deforestation, polluted rivers, and threatened livelihoods. Such degradation exposes how ecological integrity and community well‑being are inseparable. International frameworks like UNESCO’s affirm sacred landscapes as cultural heritage, where nature and identity are jointly protected.

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Nataanii Means, Omaha, Oglala Lakota, Diné artist, reflects on how hip hop is reshaping the conversation around Indigenous justice, identity, and sovereignty. Photo credit: Nataanii Means, December 2025
Voices of Change: Nataanii Means on Hip Hop, Resistance, and Reclaiming Power
November 30, 2025
Voices of Change: Nataanii Means on Hip Hop, Resistance, and Reclaiming Power

As part of The Magazine’s Changemakers issue, Diné, Omaha, and Oglala Lakota rapper and activist Nataanii Means shares how hip hop has become a force for transformation—challenging colonial legacies, rebuilding community, and inspiring a new generation to rise with purpose.

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Wide view of the Pangoyi artisanal gold mining site in the Mangurujiba landscape, deep in the Congo Basin, where dozens of mostly young miners work across muddy, earth-toned pits carved into the forest floor. Makeshift wooden structures, blue and orange tarps, and small fuel-powered machines dot the site as miners dig, carry soil, and wash sediment, with dense green rainforest and surrounding hills rising in the background. Photo by Joseph Tsongo, July 30, 2025.
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