An illustrated glossary by Zhaawano Giizhik*

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The Universe of The Ojibwe Anishinaabeg by Zhaawano Giizhik - 2014 been told before. He became a popular guest at each festival or wedding where Anishinaabeg gathered to wed, sing and dance; his storytelling became so popular that it even exceeded the singing and dancing. However, as he pretended to know everything about life and the nature of things and about what was lying ahead in the future – which, in fact, he did - , his stories sounded more and more fantastic, so that in the end no one believed him anymore. Even when he tried to warn his people that men with pale skins and hair on their faces would one day cross the big salty sea and arrive in Waabanakiing, the land in the East, and eventually bring the Anishinaabeg adversity and death, he was met with unbelief and sneers. This was DIBAAJIMOOD’s tragedy: he knew too much. His omniscience and wisdom became the root of the envy and hatred that other famous Anishinaabeg – and even certain aadizookanaag, NOOKOMIS’ grandsons who approached to listen in at the storyteller sessions - started to feel for him. Increasingly blackened and slandered by jealous humans and aadizookaanag alike, DIBAAJIMOOD became extremely disappointed and decided to advise the young not to make the same mistake he had made. He told them: “In order to gain credibility – and, more importantly, keep your credibility - you’d better make sure never to talk too much, or exaggerate, or brag, or – the worst sin of all: to show you know everything. Do not give others a reason to envy or hate you. It’s better to hold your cards against your chest!” Despite the bad treatment DIBAAJIMOOD received from his fellow Anishinaabeg, he is remembered as a masterful storyteller who taught his People the wonderful virtues of imagination, allurement, and poetry. So, in order to honor their first artist-storyteller, the Anishinaabeg from the North Country still call a true story DIBAAJIMOWIN and a truestory teller DIBAAJIMOOD. “The Voice For The Children”, 2012, acrylic on canvas by Cree/Ojibwe Medicine painter Simone McLeod/Earth Blanket Well into the 20th century, Ojibwe children were sent away from their families on the reservation to live at strict government or church-run boarding schools. Here, in these strange and hostile surroundings, their own language and culture were totally wiped out. The Universe of The Ojibwe Anishinaabeg by Zhaawano Giizhik - 2014 12
The Universe of The Ojibwe Anishinaabeg by Zhaawano Giizhik - 2014 When the children, if they were lucky, finally returned to their families, they no longer knew the old language and could not communicate with or learn from the elders. Needless to say that in the visually oriented, modern-day society we live in today, children’s imagination gets far less exercise than in the old days when children’s minds were still well-tuned to imagining characters and actions in the story world. Not being able to speak or understand the old language with its highly expressive nature doesn’t help either. Many weshkiig (youngsters), however, are today showing renewed interest and pride in ANISHINAABE BIMAADIZIWIN, the road that leads them back to the customs and values of their ancestors – and at the same time forward into, hopefully, a brighter future. But also an increasing number of folks who aren’t so young anymore ask the elders who are still around – or consult books, or blogs like this one – to teach them how to derive meaning from the stories and from Anishinaabemowin, their native language. Although it is certainly true that most of the formal storytelling traditions have gone with the skilled storytellers who have passed on to the spirit world, what is promising and encouraging is that nowadays more and more Ojibwe folks, who want to use the art of storytelling to revive community tradition, return to the ancient practices of sharing human and spiritual experience. Thus, new practices of storytelling, adapted to modern living, are taking place within Anishinaabe families, even with those who live in urban areas; like their ancestors of long ago they share stories around the kitchen table, or even revive the old communal fireside ritual by gathering around the fireplace with family and friends. Furthermore, the fact that more and more ‘tribal’ schools and colleges combine academics with Anishinaabe language and culture might also prove helpful in creating a new generation of storytellers – who, in their turn, by building new practices of storytelling, can motivate, inspire, empower and heal those who come after… The above image shows a painting by the late Anishinini Anishinaabe artist Carl Ray depicting an Aadizokaanaa Giigoonh (a legendary Spirit Fish) called “Snake Sturgeon” AJIJAAK: Ajijaak, the Sandhill Crane, also called Baswenaazhi, the Echo Maker, is responsible for leadership and external communication because of his loud and clear voice. Members of the AJIJAAK (Crane clan) are traditionally noted for giving direction and for their oratory skills. The WAABAJIJAAK or White Crane clan provided for The Universe of The Ojibwe Anishinaabeg by Zhaawano Giizhik - 2014 13
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An illustrated glossary by Zhaawano Giizhik*

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