The Magazine

October 1, 2026

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.

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.

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

An elderly man sits in the living room of his home, dressed in traditional attire and surrounded by family heirlooms and decorative objects. On a wooden table in front of him are two pairs of handcrafted silver footwear—a pair of silver nagras and a pair of ornate silver wedding sandals—highlighting the enduring cultural significance of these traditional crafts. A glass display cabinet filled with ceramics and antiques stands behind him, while patterned cushions and floral curtains frame the warmly decorated room.

September 2, 2026

The Last Keepers of a Silver Legacy

Nagra, or chandi ke paposh, the Urdu term for silver footwear, is one of the most distinctive yet rapidly vanishing artisanal traditions in “Lucknow”

Indigenous Ulama player known as “Nu” stands barefoot on the bleachers beside a playing field, holding a heavy rubber ball. He wears traditional playing attire, including a protective hip wrap and loincloth, and looks directly at the camera as a chain-link fence and the Ulama field stretch out behind him.

September 2, 2026

Ullamaliztli: The Hip Ball Game Indigenous Sports as Refuge

For Indigenous peoples, games like ullamaliztli carry history, ceremony, and community traditions from one generation to the next

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.

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

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.

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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