The Magazine

A turquoise alpine lake surrounded by evergreen forests and rocky shores, with snow-dusted mountains partially obscured by low clouds in the background.

November 9, 2026

Indigenous Nations Asked for 72 Days to Practice Traditions on Their Ancestral Lands. “British Columbia” Gave Them 29.

A dispute over access to “British Columbia’s Joffre Lakes Park” highlights how Indigenous land stewardship, cultural practices, and sovereignty clash with government control over protected areas.

Two Māori women with long, dark hair stand close together on a black sand beach, with their foreheads gently touching. They are holding hands. In the background, white waves crash against the ocean under a pale, overcast sky.

October 29, 2026

For Māori Filmmaker Taratoa Stappard, Colonialism Is the Real Horror

Māori filmmaker Taratoa Stappard’s Mārama uses Gothic horror to confront colonialism, reclaim Indigenous identity, and bring authentic Māori stories to the screen.

A group of Indigenous people from the Tikuna tribe marches in Brasilía, under a cloudy sky. In the foreground, several members in traditional headdresses and facial markings carry a white banner.

October 26, 2026

Lula’s Victory in “Brazil” Brings Hope for Indigenous Land Rights, but Amazon Extraction Projects Remain a Concern

Luiz Inácio Lula da Silva’s reelection as “Brazil’s” president marks a decisive moment for the future of Indigenous rights, territorial protection, and environmental policy in the Amazon.

Panelists seated at a table draped in red and orange woven textiles during a Sacred Path discussion, with international flags displayed behind them.

October 22, 2026

For Millennia, an Indigenous Route Has Linked the “Atlantic” To the Andes. Now, a Stone Stands in the Way: Political Polarization.

A dispute over the route of the Peabiru Way, an ancestral Indigenous path that crosses “South America,” has become entangled in the political polarization of Brazil.

A close-up of an Indigenous woman’s face with long, dark hair, lying down and looking directly at the camera under green and dark lighting. Photo credit: Kwêskosîw: She Whistles (2021)

October 9, 2026

How to Make Horror: Theo Cuthand’s Tips for Indigenous Filmmakers

For Indigenous filmmakers, horror can be a powerful space to tell stories on our own terms.

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.

A digital illustration depicts the Kichwa celebration of Inti Raymi beneath a dark, moonlit sky. In the foreground, a woman wearing a white embroidered blouse, gold earrings and necklaces, red bracelets, and dark sunglasses plays a harmonica. Beside her stands a dancer wearing a vibrant purple ceremonial mask with yellow features, a long red tongue, and a colorful headdress, wrapped in a deep blue poncho with a long black braid draped over one shoulder. Soft ribbons of green and purple light swirl around the figures, suggesting movement, music, and spiritual energy. In the background, the silhouette of a mountain and tall grasses frame the scene, evoking the Andean landscape and the ceremonial atmosphere of Inti Raymi.

September 2, 2026

Intywan Punllayanchik: We Rise With the Sun

Inti Raymi honors the sun, the winter solstice, and the earth, celebrating the reciprocal relationship between people and the land

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.

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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