Barbara Derrick About the Artwork In my artwork, I depict Tsilhqot’in stories, myths, beliefs, and culture as they are, life as it is for my people. I was born an artist, a dreamer, and a storyteller. The grandmothers say that women hold the genetic ties to the DNA of our mother’s mother. I am my

Daniel Henryk Rasolt with artwork by Vannessa Circe   Traditional Indigenous territories are complex, adaptable, and resilient socio-ecological systems that contain the majority of the world’s biocultural diversity. But can Indigenous Peoples play a leading role in both combating climate change and preventing the next pandemic? Right now, there is a fair amount of rhetoric

Sylvia Pozeg About the Artwork My painting was created in gratitude to Croatia and as a meditation on reclaiming my heritage, from my own personal connection; no longer filtered through hazy childhood memories, not assimilated into some synthetic norm. I finally got to feel the storied land that shaped my ancestors, as strangely familiar as

Chonon Bensho with Pedro Favaron When I was born, my parents registered my birth in the town of Yarinacocha, giving me the name Astrith Gonzales Agustín. But in Shipibo-Konibo, my mother tongue, my name is Chonon Bensho, which means “the swallow from medicine orchards.” I am heir to the knowledge of my ancestors. My husband’s

Vova Iadne (Nenets, Russian Federation), interviewed by Galya Morrell I started carving when I was five. But even before that, I saw mammoth tusks in our Nenets tundra and played with them: they were my toys. I watched my father carving. I saw plain bones magically transforming into animals, humans, and spirits. I was intrigued

Khadry Okotetto (Nenets, Russian Federation), interviewed by Galya Morrell I was born in the tundra and grew up with the animals. My first language was the language of reindeer and of Arctic birds. I was raised by my grandparents, like everybody else here. I was a lucky guy. As an artist, I see my main mission

Katrina Trofimova (Even, Russian Federation), interviewed by Galya Morrell For me, art is a mere instrument of survival. I was born in an Arctic village, where fathers and brothers were vanishing faster than ice. I was running away from violence, hiding in nature, and dreaming of a beautiful world where I could live one day.

Story by Eusebia (Chevy) Flores, age 36, Yaqui (Mexico)   I am a founding member of the Indigenous Yaqui and Comcaac film collective, La Marabunta Filmadora, practicing participatory video (PV) across Mexico and beyond. Since learning PV from InsightShare in 2010, we have been using it to preserve our culture and territories. Our name, translated

Interview by Luisa Maffi, Editor of Langscape Magazine, Co-founder and Director, Terralingua In June of 2019, I was very fortunate to attend a unique event: the HELISET TŦE SḰÁL “Let the Languages Live” conference in Victoria, British Columbia, Canada (June 24–26, 2019). Organized by the First Peoples’ Cultural Council and the First Peoples’ Cultural Foundation,

Dely Roy Nalo and Thomas Dick Traditional: Habits and ways built over the years that are flexible and change in relation to new circumstances and situations Entertainment: An opportunity for the people to express and adjust, to adapt, safeguard kastom music and acts using contemporary arts in the face of overwhelming foreign influences Kastom (custom):