#ReadingReflections

[sinderblogs19]

Young-hye's husband is the reality of the most in the real world, especially in arranged marriage, which seems to me a disaster. Because as long as you're not a drama according to them — no appeal, no demands, no choice, no discussion, no resisting — you're a good wife. As soon as you start with even a little of your choice, you become an object from a person, which seems too distinct to you. But you were an object for them to begin with. An object or a clay, adjusted, molded as they desire.

[cocoawithbooks]

June Reading Wrap-up: #HotReadsSummer Has Begun!

June Reading Wrap-up: #HotReadsSummer Has Begun!

What is your favorite summer reading setup? But alas, #HotReadsSummer has begun! The sweet iced tea (my summer sub in for hot cocoa) can be served and the beach chair set out for catching Vitamin D and taking in knowledge at the same time. While I do not enjoy battling tiger mosquitos, there is just something refreshing about sitting outside and reading a book in peace (with repellant and sun…

[hist2000indigenousresistance]

Settler Colonialism and Decolonization

“Decolonization Is Not A Metaphor” by Eve Tuck and  K. Wayne Yang was the kind of complex essay that was hard for me to wrap my head around.  I don’t feel that I properly understood it and I’m inclined to think that I’d probably have to read it at least five more times before I could even pick out the key points of it.

However, I still felt that it was incredibly important reading, and some key things stood out to me. For example, settler moves to innocence. I’ve seen some of these, heck I've even been complicit in thinking some of these, which is why it’s important for me to read something like essay and be able to think critically about my own actions.

I liked the way that Yang and Tuck not only defined the colonial triangle of settler-native-slave, but also saw that these things are not necessarily identities, and the existence of ancestry that is a settler and native and slave does not excuse a settler mindset. This little bit of knowledge I think is personally important as someone whose ancestry comes from that dichotomy. However, the identities of my ancestors does in no way “to mark [myself] as blameless in the attempted eradications of Indigenous peoples.” (Tuck & Yang p.10) In fact, I recognize that I have been complicit and contributing to the landscape of settler colonialism, just like land acknowledgments, I don’t think that work can be down without recognizing that. And recognizing it without dwelling in the guilt that it can bring up.

A number of years ago I had to learn first hand what guilt does to people, especially when we’re talking about white people in racial justice work (which, while not the same as settlers in native decolonial work, probably has similar guilt issues with white people). When faced with mistakes that were harmful to other people, the white people found it easier to first mourn their mistakes, then ignore the issues that had caused them, before later refusing to re-engage and continue to process of learning racial justice work. Watching this refusal to learn because of guilt made me, to put it bluntly, want to bang my head against a wall. 

“When faced with this truth [that non-native people are the beneficiaries of the illegal settlement of Indigneous people's land and appropriation of their resources], it is common for activists to get stuck in their feelings of guilt, which I would argue is a state of self-absorption that actually upholds privilege. While guilt is often a sign of a much needed shift in consciousness, in itself it does nothing to motivate the responsibility nexessary to actively dismantle entrenched systems of oppression.”

-”Decolonizing Together”, Harsha Walia, pg 47

The final line, that guilt doesn’t inspire and moves forward the work they are supposed to do, is pretty crucial. As a settler, I should not see the “desire to be made innocent, to find some mercy or relief in the face of the relentlessness of settler guilt” by hiding in my ancestor's identity, because that does nothing to help no one. Instead, I need to commit to the work of unlearning, solidarity and alliance building as a |move towards breaking the “ system of imperial violence and capitalist exploitation” that settler colonialism is. (”Settler Colonialism”, Saranillio 296)

One thing that I saw that was in a footnote of page 7 of “Decolonization is Not a Metaphor” was that “settler describes a set of behaviors, as well as a structural location, but is eschewed as an identity“ This made me think - if settler describes a set of behaviors, than it means that the identity of being a settler is not permanent, it means that changes can be made away from ‘the settler’. It means that the sense of guilt really is useless because all it does is slow the process of unlearning settler behaviors and working towards solidarity with indigenous people. There is no reason to dwell on guilt when that energy could be used to change instead.

This move away from guilt connects to the Indigenous Resilience Panel from last Thursday. One of the speakers (I think it was Ronalda Tsosie) recognized guilt as a settler emotion, that it didn’t exist prior to colonialization, and certainly not in the way it does now. She said that the culture was, if you did something wrong and you were called out on it, it was an opportunity to learn and grow, not a reason to feel guilty. 

That’s what I think it should be. That what I think these essays tell me. Opportunities to be more conscious and critical about what solidarity with indigenous people means, about what living in a settler-colonial state means, and about what decolonization means. 

[joellehameister]

Reading Reflection #7

“Emerge” 

A quote that really stood out to me was, “Talent development should bring joy and pleasure to our lives, as it is part of the experience and intended purpose that comes with the playground called Earth.” (p.31) The reason this stood out to me so much is because it reminds me of what my mom encourages us to do. We are supposed to live a life we love and is honoring God. My brother just graduated high school and does not want to go to college. So many people are saying that he needs to go to college or he won’t be able to support himself, but college would not be good for him. He has a passion for cars and photography, he is an entrepreneur. He is taking his talent of photography and developing it into a skill that can be used for his livelihood. In this development he has helped our church out with their videography. He is living a life he enjoys in this great playground of Earth.  

“All That Is Made”

All that is made is in the image of the Creator. So often we forget that we are created in God’s own image, in the likeness of Him. He is a creative creator, therefore we can be as well. When I think deeply about this subject it boggles my mind. God created me to create things in this world. From creating activity with others through track to creating a watercolor postcard, I am a creative being. 

“Art & a Playful God” PDF 

The chapter ends with the idea of a relationship, a team. God has made everyone a part of a team, or as referred to as in Corinthians a part of one body. Everyone has a part to play in the team and one of those parts is being an artist. When we worry about not doing a good enough job for the team, we just need to remind ourselves that God is always near and ready to lead us in the right direction. 

Genesis 1:27

“So God created mankind in his own image, in the image of God he created them; male and female he created them.” In Old Testament class we talked about this verse extensively. There are four major interpretations of what it means to be made in the image of God. The four interpretations are the resemblance view, substantive view, functional view and relational view. Each shows different viewpoints of what it means to be part of humankind, how to carry oneself in reference to other people, and how to treat creation. 

[missionaryadventurer]

Reading Reflection - The Action of Beginning

This week’s material got me thinking about the creative processes that must occur before a product emerges. The development and evolution of a creative work is one that demands a few things. In order to finish an endeavor of creativity, one must conspire an idea, develop skills, establish productive habits, get a little messy, and just get started. 

I loved the statement, which the speaker in the video titled The Habits of Effective Artists quoted. He says, “Habit is deceptively simple. Daily work.” I completely agree with this statement. You’re never going to complete a project if you don’t create habits that you practice every single day. 

However, before you invest in habit creating, you have to construct an idea. Often, you have to intentionally cultivate an idea. This can occur by many means, but one that really stands out to me is that of action. In the book Emerge, the author writes, “Action is the spark for generagting ideas”(Perini, p.62, 2014). Sometimes, if you want to forge an idea, you have to get the hammer out and start pounding away till something arises from the hunk of raw material. Once your idea begins taking shape, you can start practicing and developing useful and creative talents to help you on your creative endevor. Also, just a side note, this idea building, habit forming, and skill sharpening, might get a little blotchy, muddled, and tangled. This is OK. “Messy is the recipe for success”(Perini, p.106, 2014). 

In in the end, the real key to accomplishing a creative undertaking is to GET STARTED. Place the pen on the paper. Dig your hands in that glob of clay. Dip the brush in that bucket of paint. Snap that first photo. 

You are creative. And you totally got this. Let’s begin....

[patelris]

Nick Estes Intro- Ch1

I found the first two chapters of “Our History is the Future” to be quite impactful and eye-opening. In the first chapter, they begin by explaining how their fight against DAPL is about the contamination of water and settlement of ancestral land. I particularly enjoyed reading about the small racial events that took place against the natives when they first began protesting the pipeline because these events are rarely discussed in literature. For example, they discuss the story about how a protest was set up at a mall on Black Friday and the police, armed with “AR-15s” tackled protestors to the ground while whites screamed “prairie niggers.” Another major point I found interesting was that the Army-Corp was so discriminatory to the native tribes and their land. In chapter one they explain how the Army-Corp had constructed five dams on the Missouri River, leading to the eventual flooding of native reservations and farmland. All this work was done to force the natives off their land to privatize it. Furthermore, I was shocked when Estes explained how the Army Corp modified one dam to protect a small, majority-white town from flooding while doing nothing for the native communities that were being affected. Chapter two continued to shed light on the dealings of the Army Corp as they rerouted the pipeline to avoid a white-dominated city and run it through the Standing Rock Reservation because the white city was a “high consequence area.” The Army Corp also fast tracked the pipeline, which bypassed multiple environmental reviews. Another part of the reading that had an impact on me was the illustration of the brutal effects of the oil companies on the natives and their communities. Estes describes how natives, who went on a journey to protest the Alberta tar sands extraction, saw “desert-like” areas of land that was once a forest and how oil companies have poisoned not only water but also air, plants, and animals. Estes also goes on to explain how the Canadian industries have wreaked havoc on native communities. The story about the tribal cop who found a four year old running down a road naked, after being sexually assaulted outside a “Man Camp,” left a strong impact on me. The fact that tribal law enforcement also had little jurisdiction over non-Natives was truly horrifying as crimes went unpunished. The final part of the reading that I enjoyed was Estes’ description of how native protests have allowed tribal nations to reunite as families and fight together. In chapter one, we are told that the ultimate goal for the tribes in camps was to “obey kinship rules” and “be a good relative.” Furthermore, at the end of chapter 2, they talk about how the main camp was the “rebirth of a nation” as everyone followed the Indigenous ways of nurturing others and spreading generosity. The people at the camps also found their respective roles of cooking food, maintaining the community fire, and chopping wood among other tasks. Overall I found that this reading was a true eye-opener with details about a few of the horrific events that took place during the protests. I also learned a lot of details about how power was abused, such as the Army-Corp, and how the native people and communities were thought of as an entity that can manipulated for personal gain. 

[designresearch3hannahcasey]

Week 5 SDL

Work from class that got turned into SDL:

Task 3: Refine chapter one from peer feedback 

done in my teams word doc 

Reading

Reflection:

Words I didn’t understand defined:

[preciouslopezz]

ReadingReflection #10

After reading the section it really helped enhance the idea that how the stress on childhood really comes from the power of a dream and then only to realize that these dreams can feel the same even when they are nightmares. Moving a long, an example that is used in this section is “Alice and the Wonderland” the section mentions how Alice’s adventures may influence her waking life, “but alas, Alice awakens as innocent as before, none the worse for her strange encounters. It is only the perceptive spectator who notices the irony of her encounters with the outsider— as an outsider herself— that can change her.” (218) Meaning that at the end of the day if we really look into movies such as these ones it is safe to say that Disney’s focus is more on the happiness of children instead of showing the reality of childhood. All in all, this section also shows us how we are left with our own recognition of the outsider characters, and how they all could be read as manifestations of unconscious states and as stated in the text it can also be “particularly the of childhood and the memories that shape one’s cognition and emotional and physical self.” (219)

[inthewondertarot]

As a recent customer I’m very happy with my purchase. The reading was extremely detailed and helpful to my problem/situation. It was detailed yet blunt and straight to the point!! The diviner was even nice enough to redo my reading for free since my initial question was misinterpreted. I will definitely be coming back in the future!!

Thanks Steph for this lovely review! I’ll be here whenever you need me. Love and Light to you! ❤️🙏🏽🔮🙏🏽❤️

[mixedmediaanimation]

Reading Reflection 8

Shaw Ch. 20

An effectively designed character has the ability to contain metaphors for big ideas, break through walls of apathy, and helps deliver a concept through a story. Character’s personality is often exaggerated.

Process of character design

Written character profile: emotional characteristics, behaviors, and mannerisms. Possibly a back-story. Initial sketches and character thumbnails: explore possibilities, unfold character in process of drawing. 2D layout sheet: front, back, and three-quarter view of the character. Action poses: help visualize the gestures and movements of a character. Translating character design to motion: using coloring, layering, and rigging for 2D. Modeled, textured, and rigged for 3D.

Furniss Ch. 3

Pre-Production is the key to efficient animation production. Producer deals with business, while the director leads the creative side. No matter how the concept arises, it is critical to go through a period of concept development.

Asking yourself certain questions will help better define the work that needs to be done (ex: what is the central goal or storyline, what is the visual style of the work, what type of sound will be used, who is the audience, etc.). This will help prepare for the project and plan accordingly.

Many animations start with a pitch and a treatment, both to sell the work and make it sound desirable.

Scripts are also an important part of pre-production. Some projects don’t have much dialogue, or any at all, but the script also has written descriptions of visual elements and serves as a technical guide.

Sound design should not be forgotten about in the pre-production stage. Considering the soundtrack early on using a composer and/or sound designer will allow suggestions that can aid the visual development of the work.

The storyboard is important to the pre-production stage because it is the visual outline for the project. This is so important and can go through multiple revisions before completed. The storyboard in conjunction with the soundtrack will produce an animatic/story reel. This helps with the timing of it all.

Ultimately, scheduling and budgeting makes or breaks the clients, studio executives, professors that are supporting the project. Keeping things organized, timely, and recorded, all help keep this part going. Marketing and Promotion are the things that define the ultimate success of the project: how many people it will reach, how much revenue it will get, etc. This research starts all the way in pre-production and can gain a following from audiences early on this way.

The producer is in charge of making sure the rights and ownership of music or any other materials are in order.

Creating a style guide helps design for characters, props, locations, and backgrounds. In stop motion, this step requires scale-size drawings of all the characters so that the sets built around them work.

Once all the bases have been covered, a test run of the animation is helpful. Do the colors work? Is the dialogue making sense?

Selby. Production Chapter

Production honestly depends on the processes and techniques each project uses/requires. All animation, essentially, is made using the concept of creating still frames (many) that when placed one after the other, create movement. Everything else (colors, materials, subject) is different in every creation.

Motion design began with things like magic lanterns, slides, thaumatropes, kaleidoscopes, phenkistoscope, zoetrope, and praxinoscope. The article takes us through the various parts of production required for the many different kinds of animation (3D, 2D, digital, analog). The production process is complete when the rendering has occurred and a final edit is signed off by the director.

[tiamayer]

Reading Response #3

Chapter nine of The Mechanics of Movement by Susana Shaw covers concepts for basic movements like walking, lifting objects, and simple rigging.  Shaw emphasizes the importance of filming one’s own movements and even drawing in order to better understand the “essence” of the way things move.  Another key factor is timing -- understanding that the anticipation and follow through do not take up the same number of frames as the action itself, as well as creating a steady and natural rhythm.  Some other important conventions including breaking up movement and creating the illusion of speed.  Breaking up movement refers to when parts of a characters body react at different times to the same movement, and creating the illusion of speed can be done by creating blur in either a scene’s background or on the character itself.

In Chapter two of Animation by Andrew Selby claims good animations acknowledge that there is a blurred boundary between real life and visual culture.  Animations can have roots in a variety of interests, such as education, commercialism, or simply a personal experience.  Selby also notes the importance of find a balance between being unique and creating a plot line that any viewer can relate to in some way.  A sense of familiarity for the viewer is what makes an animation successful.  In his discussion of conducting good research, Selby emphasizes the importance of cross referencing facts in order to ensure their accuracy.  He also claims that first-hand research is always most valuable.

Chapter three of Design for Motion covers design boards and how they function in the preproduction process.  Each frame is meant to represent a turning point in the animation’s plot, as well as specify camera angles and positioning.  It is essentially a collection of style frames.  It is absolutely essential for getting investors to fund a project, since they are essentially buying the design.  The article also includes an interview with Erin Sarofsky.  He mentions that he’s always willing to throw out an idea even if he’s put a lot of time into it; the most important thing is that it should feel like it’s working.  Another thing he mentions is that he switches up the medium he uses for his design boards, whether it’s crayon, pen, or even chalk.  

[aria-and-her-thoughts-blog]

Whilst reading through Austen's Northanger Abbey, I can't help but shake my head and endearingly think, "Oh, poor naive Catherine..." So much flies over her head but she is made all the more likable for it. 

[hist2000indigenousresistance]

Firsting and Lasting

My town is filled with firsting and lasting. Everything about its history (a history that it’s very proud of) teaches people to relegate Native Americans to the past and celebrate the “accomplishments” of settlers. 

My town was founded in 1635. They hold a lot of pride in that incorporation. In the old historic “first period” homes that we have. There is so much relegation of native peoples to the past, even though their mark is all over the town. 

People seem to forget, with my town being “historic” that history is not something of settler origins, history did not begin with colonialism. There was history in our town for centuries before the Puritans arrive, yet the town tries to hide that fact. Walking around town you see the “first church” you see the historic sign that commemorates our town as the site of the “first jailbreak in america.” There’s a large mural that has the whole history of the town, one that has Native Americans in four places. At the beginning, before settlers arrived and the purchasing of the land that would become out town. A painted on stature of Masconomet the Sagamore of the Agawam people. A small depition in the second panel of native people killing settlers, obviously painted in the favor of the settlers. And lastly, in the last panel, where there is a (wrong) depiction of Emma Jane Mitchel Safford, the so-called “Last Indian Princess of Ipswich” (which is incorrect in a number of ways) who died in 1958, and the only northeastern native person talked about in the public schools after the 1700s. While this brings native people into the near(ish) present, it firmly leaves them out of the modern context of today’s town.

There isn’t a lot of information about the Native people of my region today. It’s one of those towns where everyone assumes that the native people aren’t there anymore, and there’s no (easily accessible) evidence to say whether or not it’s true. Even if it was true, that the native people aren’t here anymore, it still doesn’t make the settlers any more the first inhabitants of a place. 

Names that are native place names get associated with settler things. Like Annisquam being associated with a neighborhood of a city rather than a native name for a place. Or Masconomet being associated with a high school rather than the Sachem of the Agawam.

But I think the biggest danger of teaching Native history of a specific area where there aren’t really native people anymore, is that those people will go out and assume that there aren’t native people anywhere. They’ll think that the Wampanoag people are gone or the Massachusett people or the Nipmuck or any of the other tribes in the United States, are gone. When they’re not gone. They’re still here, they were first, they have outlasted settler expectations of the ‘vanishing indian’ and in many places that aren’t my hometown, they’re resisting too.

[joellehameister]

Reading Response Week 4

Art and Empathy by the Art Assignment brought up really interesting topics. My brain right away went to conversations I had had with my boyfriend on sympathy versus empathy. Empathy is so much more than sympathy, it is the ability to share and understand the feelings someone else is going through. Depending on what the art piece is, you can feel different emotions. One example the video gave was Arthur Rosthstein’s Farmer and Sons Walking in the Face of a Dust Storm. This was during the Great Depression and shows the harsh poverty that has stricken the land. It makes you think back to relatives stories and how they dealt with the Great Depression.

The article The Basics: Icons & Iconoclasm said, “An icon is a religious work of art most commonly in the Eastern Orthodox that can have various subjects including Christ, the Virgin Mary, angels, saints, and apostles either as portraits or narrative scenes of the holy figures' lives.” I did not know much about icons. As I read the next article, it described why icons are important. I feel that this is very evident in the Catholic Church, especially with the saints and the Virgin Mary.

Art and Soul makes great points in this reading section. One of the things that stood out most to me is the duality of the church, when things are not sorted spiritually but compartmentally. The Christian camp I worked at did not allow people to have colored hair, piercings other than a single piercing for girls, boys could not have hair longer than their shirt collar, and many other things. These are not matters of salvation, or even mentioned in the Bible, but they thought it fell under the “bad” category. Being able to define things as good and bad can help make things uncomplicated, but we live in a world that is complicated. I have very strong Christiain friends with nose piercings, pink hair, and tattoos, that does not mean they are not a good Christian.

[missionaryadventurer]

Discussion Reflection & Recap

Identity. 

First off, who determines my identity? Who created me? Who knows my exact thought process and the true desires of my heart? Who knows the ways in which I change and grow daily? Who created the why behind me? Who knows my struggles and passions? 

Every time I get lost in the overwhelming spinning wheels of what my identity is and why I am who I am, I have to return to my Identity Maker. I have to run back to the firm and unchanging arms of God. 

As I engaged with this week’s discussion, I was reminded that the entire reason we even have identities is so that we can go love each other. That’s what we, as Christians, are called to do. We need to celebrate alongside each other and walk together in love. However, these statements are almost sickeningly cliché and seemingly unachievable. Further, how are we supposed to fulfill our calling to love everyone, when each of us is poisoned with an internal, selfish, and judgmental monster? The annoyingly short and overused answer is just read the Bible and pray a lot. Yeah, I know right? We’ve all heard that a million times. However, it’s true! The Bible is the only source of real truth and prayer is the best way to connect with the Maker of that truth. So why not tap into these incredible resources?

[patelris]

Nick Estes Final Reflection

After reading chapter 4, I found the chapter to depict many of the brutal incidents natives faced from Congress and white settler society. The first point that struck me was Estes writing on the Pick-Sloan dams and their main purpose of destroying vital, rich native land. I found myself to agree with Estes point that these dams were “nothing short of genocide” for native tribes throughout the chapter as he explains how one of the dams, Oahe Dam, destroyed over 160,889 acres of Standing Rock. Another major point that struck me in this chapter was Congress’ power over tribal nations and their blatant treaty violations. Estes heavily describes how Congress was the major force behind the atrocities towards natives. Some examples are the passing of the House Concurrent Resolution 108, Public Law 280, and the Homestead Act. The Homestead Act alone gave 1.5 million white families over 246 million acres of Indigenous land. One thing that also surprised me was how white society governed the usage of water by tribes who owned the water. Estes talks about how Supreme Court decisions have allowed society to determine how much water tribes are allowed so the rest of the tribe-owned water can be given to settler society. The final point in chapter 4 that make me feel a little uncomfortable was reading about how white societies utterly rejected natives from living in their towns because they are a “burden.” Estes describes this situation perfectly when he says, “White settlers want Indigenous lands, but they don’t want Indigenous peoples.” 

Chapter five offered a slight difference in tone than chapter four as it seemed more positive and described the native youth movements that are resisting settlers’ brutal attacks on their culture. The first point that I enjoyed reading about was the rise of AIM, which projected native rights into mainstream media and present tribalism as a “modern political identity.” Another point that Estes makes that I found fascinating was his idea that Black Power and Red Power movements are linked in a certain manner. He describes how both black and native groups had no say over how they would be incorporated into settler society. The next major point Estes makes is about the powerful role of women in the activist movement, which reminded me of some previous material we talked about in class about the impactful role of women. Estes explains how all the survival schools for native children were founded by women and how native women are able to be powerful while staying invisible from society and press. I liked how Estes also mentions how colonialism had a different effect on women than men as they faced sterilization and high levels of abuse, domestic violence, and rape. The final topic of this chapter that shocked me was the concept of “border towns” and the brutality natives faced when they were off the reservation. For example, Estes gives the example of a native man that was kidnapped, beaten, forced to dance as a “drunken Indian,” and left to die in the cold winter by a group of white men. Estes also mentions the practice of “Indian busting,” where white men would target intoxicated natives and torture or kill them for fun and as a pastime. I found these stories to be extremely horrific and impactful in a sense. 

Chapter six was a very interesting and informative chapter as I was able to learn about Indigenous relations with other nations around the globe. One of the first points that struck me throughout the chapter is how the U.S. blatantly ignores the efforts from natives to get access to their treaty rights and citizenship. Estes mentions numerous examples of U.S. diplomats ghosting global conferences where Indigenous tribes would be speaking to avoid their guilt and horrific actions towards the native communities. One example is Presidents Jimmy Carter through George W. Bush boycotting the UN “Decade” program due to the addition of a “indigenous peoples” category. Another point I enjoyed reading about in this chapter is how the Treaty Council worked to attain to international relationships with other countries to push their agenda forward. I have never actually seen or heard of a native group that has worked with another country. It was interesting to read how the Treaty Council was able to gain support from European and Asian nations to make their voices heard on the international level. Furthermore, I also enjoyed reading about the native relationship with the Palestinians because I never knew that Palestinians were also affected by settler colonialism. Israel’s adoption of settler colonial tactics from the U.S. and implementation on Palestinians allowed them to connect with the native community and help them on the international stage. 

For the final chapter on “Liberation,” I found Estes’ point on how settler society has continually played the angle in history that they are the victim, while natives are the aggressors intriguing. The point that the existence of native communities still poses a threat to settlers because they are a reminder of the settler’s “precarious” claims to the land was also interesting. Estes employs the context of the Standing Rock Protest to illustrate this as he talks about how DAPL saw the protest camps as a “place of death” and a place that “threatened to expose the legitimacy of settlement.” Furthermore, it was disturbing to read about TigerSwan, which called natives “terrorists” and even called them “jihadist insurgency.”

Overall the final four chapters of the book taught me a great deal about the history and stories of native resistance to the United States’ continuous discrimination and unlawfulness.