Stories and Teachings from the Earth, part 1: The Rocks That Sing
- zhaawano
- Aug 11, 2020
- 20 min read
Updated: 4 days ago
~~ A Tribute to the ᐊᓯᓐ (Grandfather Rocks) of the Earth ~~
Updated: Gichi-biboon-giizis (Big Winter Moon) (December 19, 2025)
ASINIIG NEGAMOWAAD (THE ROCKS THAT SING)
Ninoondam baakwetaagozi
ezhi gichi-ayaa’ag
Nagamowag
Anaamakamig
Biinjaya’iing inde
Biskaakonenjigewag shkode biinji-gidinendamowininaanin
Biskaakonenjigewag shkode biinji-gichaaginaanig.
Noongom nibiindigeyoode
Nimbima'amaaz
Omishoomis-asiniig gizhaabikiziwag,
Gizhaabate, maamawi
Wiigigiiwemin.
(“I hear sounds echoing
Of ancestors
Singing
From the earth
Inside my heart
Igniting a fire within our minds
Igniting a fire within our souls
Today I crawl inside
Singing along
The grandfather stones are red hot
The temperature rises
Together we go back
To the beginning.")
- My song to asin, the spirit of ᐊᓯᓐ (the grandfather rock)
SINGING WITH THE STONES
Some have said they could go into the earth and sit there singing
Some have said they would go up into trees
Standing stone people were the ones who sent them there
Sitting high up in the trees
Trees grown from the sacred roots where they were one day
Sitting inside the earth and singing with those stones
- From: Native Quotes and Writings
Boozhoo, aaniin, This blog post kicks off a new series titled "Stories and Teachings from the Earth." This particular story, an akinomaage or earth-based teaching, is dedicated to my friends who are sun dancers and hearth tenders. Their lives and art revolve around "returning to the earth," and they travel tirelessly across Turtle Island to engage in ceremonies grounded in ancestral prophecies.
The story is woven around a yellow and red gold overlay pendant and a rose gold ring, both storytelling pieces handcrafted at my jeweler’s workbench. Accompanying the story are three paintings by me, titled "Singing With the Stones," "Sweat Lodge," and "Midewiwin Bear"
along with a black and white ink drawing I created, titled "Wenabozho and the Singing Rock." Additionally, there are acrylics on canvas by Simone McLeod and my dear friend, the late Moses Amik, titled "Sleeping Medicine People," and "Sleeping Giant," respectively. Also included is a digitized version of a black-and-white pen drawing I made as a teenager, titled "Shadow Spirits," which you can see below.
~~ A VISION OF REAWAKENING ~~
The theme of today's teaching story is inspired by ancient wisdom. The Anishinaabe term akinomaage is central to this theme. My ancestors had a saying: Ashkaakamigokwe nindakinoo'amaagewikwe, nanda-gikendan akinomaagewin, which roughly translates to: “The earth is our teacher and we must learn from her.” This means that as Anishinaabeg, we gain knowledge and derive lessons and laws from our surroundings. Education from the earth is integral to our daily lives. It is said that our books are the rocks, mountains, and hills, and our teachers are the rivers, lakes, trees, roots, the sun, moon, and stars. "Aki" signifies earth, and "nomaage" means to take directions from it. Thus, "Akinomaage" embodies the concept of learning from the earth and the land.
Let me begin by sharing two dreams, or rather, visions, involving four enigmatic Medicine People with tattooed faces, wrapped in blankets of fog, sitting silently in the dim dawn light of a completely silent Universe.¹ In the first vision, the eyes of these blanket people are initially closed, but in the second vision, they gradually open, observing their surroundings intelligently. Curious and alert, they seem to notice and appreciate the sight of vividly colored flowers and the sound of playing children around them (refer to the image below, painted by Simone McLeod).
In my view, both visions bring to mind the Seventh Fire Prophecy, which was shared with our ancestors many centuries ago when the Anishinaabeg Peoples still resided in the Land of Dawn along the northern Atlantic shores of Turtle Island (North America).
This prophecy, delivered by a Miigis (Shell) Being that rose from the Atlantic Ocean waves, foretold that during the time of the Seventh Fire, the People would inhabit a world ruled by a white-skinned race. A New People would then arise, choosing to return to the Teachings of the Dawn Land and seeking their Elders' guidance to rediscover mino misko-miikana, the good red road.
“If the New People remain steadfast in their pursuit, the Water Drum of the Midewiwin Lodge will once again be heard. There will be a revival of the Anishinaabe Nation and a rekindling of ancient flames. The Sacred Fire will be lit once more…”
Today, some Elders believe that the Anishinaabe people are in the Seventh Fire, with significant changes on Earth expected soon. Other Elders say that the era of the Seventh Fire has already passed and a new Fire, stemming from the teachings of the Seven Fires prophecy, has been ignited. This Eight Fire Teaching is said to concern all Peoples who interact with the Anishinaabeg. It suggests that if a sufficient number of people — regardless of color and faith — turn away from materialism and instead choose a path of respect, wisdom, and spirituality, environmental and social disasters can be avoided, leading to an era of spiritual enlightenment.
There is mentioning of “Sleeping Medicine People," who can be found not only in nature— disguised in various forms and shapes, such as natural phenomena or grandfather rocks and other mystical landmarks scattered throughout the landscape; they can also be found among the people in our Native communities—from different Nations across Turtle Island. These medicine people just need to awaken what has always been within them. This vision shows us that although many elders are being lost, the People are not left alone. The old ways have not vanished.
NIBAAD MISAABE, the Sleeping Giant, is an impressive rock formation that extends into Lake Superior and forms the body of water known as Thunder Bay, Ontario. It is likely the most renowned of the Medicine People featured in our sacred stories. According to legend, Nibaad Misaabe is our cherished hero Wenabozho, who was transformed into stone two centuries ago as a punishment by Gichi-manidoo, the Great Spirit of the Universe. This transformation was due to the People's deviation from the original instructions given to us by the Seven Grandfathers handed over to us when we still lived in the Dawn Land. Wenabozho remains in his stone slumber, awaiting revival once we, both individually and collectively, return to the Seven Teachings and mino-bimaadiziwin, the path of a good life. The late artist Moses Amik depicted Wenabozho in his current stone form, surrounded by its dancing spirit, symbolizing the belief that all things that sleep will eventually awaken. The painting, therefore, conveys a positive message of overcoming the past and healing by embracing our sacred stories and teachings.
We are in an era where our Medicine People are awakening from their slumber. The ancient traditions are deeply embedded within us and will never be lost. We simply need to rediscover our ceremonies. We must listen to the call within our hearts to reconnect with that part of ourselves. This is akin to the prophecies of the Seven Fires, which remind us that the survival of humanity and the planet depends on embracing a sincere and spiritual path. In the first vision, the eyes of the Medicine People are unseen, still closed as they are just beginning to awaken, and they seem to be shedding tears—symbolizing the tears of our ancestors who suffered greatly under European oppression, of the Midewiwin Lodge, which faced persecution for generations and had to go underground to continue their rituals, and of the current generation experiencing great social strain. In the second vision, their eyes are slightly open, reflecting the first light of dawn.
~~ A PRAYER TO THE SPIRIT OF DAWN ~~
In traditional Anishinaabe belief, Aki, our world, is composed of an underworld, a middle world, and a sky world. From my perspective, this ancient cosmic depiction thematically links the visions central to today's story with the artwork and jewelry that illustrate it.
The man depicted in the pen drawing is an Anishinaabe man engaged in his morning prayer, standing upright and facing the sunrise with his arms raised. He offers prayers and petitions to Waaban (the Spirit of Dawn) and the aadizookaanag (grandfathers) of the spirit world. This figure represents the link between the underworld, the earth, and the sky world. He stands tall and strong on the soil and rocks of the earth, akin to a Sundance azaadi (poplar) tree, with roots extending deep into the earth and branches reaching high toward the sun in the sky.
Around this azaadi tree, the nibwaage naamijig (thirsty dancers)—also known as giizisoniimiig or giizisonaamijig: sun dancers—of our Nations sing and sacrifice each spring and summer to be reborn and for the healing of all those who need it, whether mentally, spiritually, or physically. The idea is that we must dance, sacrifice, and experience a small internal death to be reborn and emerge as a stronger, wiser version of ourselves...
The Anishinaabe inini with his arms raised high is a digital illustration, an updated version of a pen-and-ink drawing I created during my early teens. In this digital version, the praying inini is observed by two figures in the foreground with mysterious facial paint, standing in the shadows of a distant past. It's easy to imagine their home as being beneath the earth or within the rocks where this man stands. These two shadowy figures, an ookomisan (grandmother) and an omishoomisan (grandfather), act as guardian spirits of ancestors, predecessors of the blanket people from the aforementioned visions. Naturally, the depiction of the praying man in the bright morning light, watched by the shadow figures residing in the rocks, directly alludes to the vision of the Medicine People who undergo spiritual awakening.
~~ ᐊᓯᓐ GRANDFATHERS IN THE BOSOM OF THE EARTH ~~
Let's take a look at the storytelling ring I created a while back, called Asiniig Nagamowag, meaning "The Rocks Are Singing." This women's ring, made of solid 14K rose gold (see the image above), symbolizes the earth where the praying Anishinaabe inini stands.
The bold design and organic shape of the gold ring—which functions as a storytelling device and is not available for purchase—evoke the asiniig (ᐊᓯᓐrock spirits, or grandfathers) that dwell beneath the makizinan (moccasins) of the Anishinaabe inini depicted in the black-and-white drawing. The ring's design features a series of stylized pebble and small stone forms (the underside of the ring shank) that gradually increase in size, appearing as boulders and rocks at the top. This reflects our ancient belief that the physical landscape is an integral part of a spirit-filled environment. The stylized rocks and boulders symbolize our profound understanding that asiniig, the grandfather ᐊᓯᓐ rocks and boulders, along with aazhibikoon and wajiin—the cliffs, hills, and mountains that house these stones—are imbued with manidoo, or spirit. It is unsurprising, then, that our ancestors viewed stones, boulders, and rocks as embodiments of manidoo more than nearly any other physical object or geographic feature in nature. Furthermore, the ᐊᓯᓐ rocks were closely linked with water, particularly in the form of springs and underwater rivers, as well as with rapids, waterfalls, creeks, channels, river bends, and watersheds, which were also perceived to have a close spiritual connection with the rocks and rock formations surrounding the lakes.
In essence, rocks are regarded as ᐊᓯᓐ grandfathers; living entities with memories and tales to impart to those among us who are fortunate enough to listen to the ancestral voices. The rocks in the ring design represent the backbone of Mother Earth, a robust foundation left by our ancestors for us to build upon. They embody both ancient wisdom—a journey back to the origins—and a steadfast base upon which the future, hope, and aspirations of our Peoples are constructed.
The oval openings in the ring suggest a transfer of this ancient knowledge, along with cosmic energy, spiritual powers, and ancestral memories, from the depths of the earth through the rocks and boulders to the ground beneath our feet. I refer to these rocks as asiniig negamowaad, “rocks that sing.”
Asiniig Nagamowag, "The Rocks Are Singing," handmade 14K rose gold ring by the author. The ring is not for sale.
~~ STONES OF A SWEATLODGE ~~
Furthermore, the warm hue of the rose gold in the ring represents the stones utilized to generate hot steam in a madoodison, or, based on the dialect, madoodiswan; it is also referred to as madoodoo'igan and madoodoowigamig (meaning "sweat lodge").
Omishoomis-asiniig gizhaabikiziwag,
gizhaabate, maamawi
wiigigiiwemin.
‘‘The grandfather stones are red hot,
the temperature rises, and together
we go back to the beginning."
- The principle of the Sweat Lodge ceremony.
Madoodoowasiniig (the stones of a sweat lodge) hold a vital place in our madoodison ceremony. The spirits within the stones are awakened by heating them in a sacred fire until they become red-hot. Pouring water and sacred herbs over the grandfather stones creates steam, which is intended to purify those who enter the semi-underground structure, enabling participants to "go back to the beginning" and emerge reborn (see the below image, a painting by the author, titled: The Sweat Lodge, Doorway to Our Origin).
One might say that the ring not only represents ᐊᓯᓐ asiniig, or rocks—specifically, sweat lodge stones—but also embodies what my Anishinaabe ancestors referred to as gikinoo'amaagewaabikoog (or kinomagewapkong): “rocks that teach.” Anishinaabe history and philosophy have often been conveyed through these teaching rocks, which recount stories of remarkable deeds and achievements, and offer spiritual guidance to medicine people and young individuals who visit them for prayer and visions. These rocks can be found in the thousands, typically in remote locations—hidden deep within the woods and near the large and inland lakes scattered across our homelands—and are often accessible only by canoe. The deep crevices that conceal these teaching rocks in many areas are believed to be pathways to the spirit world.
In the context of the ring, it is not the mazinaajimowinan or “spirit writings” on the rocks (the carvings and paintings on rocks and cliff walls) that convey knowledge. Instead, it is the openings in the stones that fulfill this role, telling today’s story. The stones and rocks of the earth, together with the underground streams of water that often flow beneath them, sing to us through these openings. This allows nimaamaa-aki, the spirit residing deep within the earth, to move freely through us and, in turn, throughout the entire Universe. Symbolically, the songs sung by these rocks communicate with us; they sustain us, the earth, and all life upon it.
No story or teaching is wrong or right, but all live on when it is told... it inhales, when a story or teaching is listened to it exhales, and when it is passed on its blood flows, not always visible but it is always there, just like the water flows underneath the earth’s surface and the ᐊᓯᓐ rocks.
- The principle of aawechigan (storytelling). 
WENABOZHO AND THE SINGING ROCK OF MISHI-BIKWADINAANG
Now, I will tell an aawechigan (parable).\
"Biinjii-asiniig gaagiigido manidoo: the spirit speaks in the rocks."Long ago, a medicine man lived among the Gichi Gamiin Anishinaabeg.² He was born near Animbiigoo-zaaga'igan, a secluded lake situated north of Anishinaabewi-gichigami.³ This man, named Miskwaabik Animikii (“Copper Thunderbird”), was renowned for his artistic talent, particularly in mazjinaajimowin (magical paintings on animal hides, rocks, and cliff walls). It was said in whispers that Miskwaabik Animikii, besides being a storyteller and an artist, was a manao, a type of healer who received his medicine from memegwesiwag; small, hairy beings with large heads who dwell in the rocks and, despite their extreme shyness, can perform extraordinary feats, such as altering the appearance of a lake by creating strong winds and large tides! The medicine men of the Anishinaabeg and Ininewak who visit the cliff walls by the lakes to petition the spirits that live there understand that the Memegwesiwag hear the requests made to the rock. These little beings convey the healer’s prayers to the Spirit of Thunder and other manidoog, but only in return for biindaakoojigewin (offering of asemaa, the sacred tobacco).
As is common in our tales, Wenabozho, in addition to being a great ally and benefactor of the Anishinaabeg, was also a very envious inini-manidoo (man-spirit). Despite having impressive magical abilities himself—rumor has it he inherited these from his father, the West Wind—he grew very envious of the Thunder spirit powers possessed by this artist and medicine man from Animbiigoo-zaaga'igan.
One evening, as Wenabozho sat in front of the wiigiwaam he shared with Ookomisan (his maternal grandmother), he was plotting to steal Miskwaabik Animikii's memegwesi-medicine. He dreamed of a large, round black mazinaabikinigan (pictured rock). This rock was topped with a grove of cedar and willow trees and had steep walls covered in mystical red paintings, suggesting to him that a fire-making thunderbird spirit resided within. In his vision, he saw the stone located in a bay, and he believed it would allow him to gain Miskwaabik Animikii’s powers. A bear appeared in his dream, telling him to follow its tracks along the northern shore from where he and his grandmother lived. These tracks would lead Wenabozho to the black rock.
On the morning of the next day, Wenabozho navigated his wiigwaasi-jimaan (birchbark canoe) northward across the great lake. His Grandmother was still asleep, unaware of his mischievous plan. After four days of travel, hoowah! he was greeted by a breathtaking view. The sight of a stunning bay captivated him. Volcanic rocks and scarred slopes alternated with lovely beaches of colorful sand, secluded caves, and numerous coves and caverns. Ookomisan had shared many tales of this northern land, known to be rich with mysterious beings, lessons, songs, and teaching stories that had magically and rhythmically washed ashore since the dawn of time.⁴
When Wenabozho pulled his canoe ashore, he noticed the bear paw prints in the sand that he had dreamed about! The tracks led to the rock he had glimpsed earlier from the corner of his eye, which was situated in the middle of an inlet. The shores of the inlet were bordered by groves of pine trees, which, to Wenabozho, signified the presence of bagwajiwininiwag (a different group of Little People who dwell in the forests) and, consequently, the presence of great Thunder Medicine.⁵ Wenabozho concluded that the rock must be the painted stone he had envisioned in his dream!
It was a warm spring day, with the bay's water as calm as a mirror, and a gentle breeze softly rustling through the spiky needles of the pine trees encircling the water. There was no sign that the Mishibizhiw, which Wenabozho knew was lurking somewhere just below the surface, was awake.⁶
Wenabozho, being the reckless manidoo that he was, jumped into his jiimaan and navigated it into the inlet. He approached as close as he could to the black rock, his ears filled with the sound of a drum that seemed to emanate from deep within it–and that was when he noticed the large red ocher painting on the rock's surface that he had seen in his dream! His heart skipped a beat! “Hoowah!” he exclaimed to himself as he gazed at the mysterious image, ”that medicine man called Copper Thunderbird truly possesses gichi-mashkiki (great Medicine)! I must obtain that mashkiki for myself!” Then, tayaa! from his left, Wenabozho heard a menacing sound resembling the angry, hissing noise of a wounded mountain lion, and suddenly his jiimaan began to rock on waves caused by the thrashing of a long spiraled tail covered in copper scales that shot out of the water like an eel and sped through the air at alarming speeds…it was Mishibizhiw, the horned reptile that guarded the bay's waters, angered by the intrusion of the brazen Wenabozho!
Wenabozho, whose canoe nearly capsized in the ensuing flood, managed to pull his gashkibidaagan (tobacco pouch) from his belt. With trembling fingers and a racing heart, he reached for a few handfuls of asemaa (tobacco) to calm the furious reptile-cat swimming beneath his canoe. Mii go gichi-wiiyagaaj, but unfortunately, he was too agitated to accomplish the task! The waves, crashing and surging against the rocks and cliffs with a thunderous noise, carried him further and further away from the painted rock, now shrouded in pitch-black darkness despite the broad daylight!
As Wenabozho struggled to prevent his canoe from capsizing, he managed to retrieve his bawaagan (peace pipe) from his gashkibidaagan. He completely forgot the teachings of Ookomisan, who had instructed him to use the sacred pipe in a good way only, for the benefit of the people and never for selfish reasons! Holding the bawaagan with both hands in clear view, he aimed to calm the furious underwater cat. But then, tayaa! he suddenly heard, above the storm's deafening roar, a sinister sound akin to the whine of a flock of aaboojishtigwaanesiinhyag (dragonflies)! To his right, he spotted a small asinii-jiimaan (canoe of stone) carrying several little hairy beings no taller than wenabozho-bikwakoon (meadow lilies). “Hoowah!” Wenabozho thought to himself, “there is definitely a lot of powerful mashkiki happening here! Those furry little creatures must be the memegwesiwag, the bank-dwelling dwarfs I’ve been searching for! They will surely lead me to the Thunder medicine of the great manao known as Copper Thunderbird!”
Even though they had stone paddles, tayaa! the little people's asinii-jiimaan glided by itself, as if driven by an outside power! Every passenger held a stone pipe, and it was their childlike voices that Wenabozho had heard over the fierce storm. They chanted in unison:
Gigaa baagwashkaagamiichigemin
Baanimaa makwenimikohing.
We will stir up the waters
Until one remembers.
Oo! Apegish ginopowaahingoban.
Oo! Apegish zagaswaahingoban.
Oh! How I long for the flavor of tobacco.
Oh! How I long for the scent of tobacco.
Giinawind asinii-opwaaganinaanind dizhiigwag.
Giinawind bawaaganinaanind dizhiigwag.
Our stone pipes remain unlit and empty.
Our ceremonial remain unlit and empty.
Asemaa binidee-eshkaage.
Asemaa biininenamishkaage.
Asemaa bizaande-eshkaage.
Tobacco cleanses our hearts.
Tobacco cleanses our minds.
Tobacco brings peace.
Upon hearing the song of the little people in the stone canoe, Wenabozho quickly put away his bawaagan. He then reached again for the gashkibidaagan lying at the bottom of his canoe, which continued to rock wildly on the waves. This time, he managed to throw a few handfuls of asemaa into the water. As the tobacco floated away, Wenabozho started to chant:
Asemaa niwiikaanen.
Asemaa giwiikaanenaan.
Asemaa giwiikaanisimikonaan.
Tobacco is my friend.
Tobacco is our friend.
Tobacco makes us friends.
At this point, the small beings in the stone canoe collected Wenabozho’s asemaa from the waves and filled their asinii-opwaaganag (stone pipes). Before Wenabozho could blink twice, the storm calmed! The bay became serene, undisturbed by any ripples. Then, as if by magic, the stone canoe with the little people in it glided toward the steep rock with the painting on it. The canoe vanished into an opening, which silently closed behind them, faster than Wenabozho could blink a third time. Once more, he heard the sound of a drum that seemed to come from inside the rock! "Hoowah! Biinji-asin gaagiigido manidoo," he thought to himself, "Wow! A spirit speaks in the rock!"
Despite his cleverness, Wenabozho could also be quite foolish. Still determined to steal the Thunder medicine he believed was inside the rock, he decided to follow the memegwesiwag into their dwelling. He paddled vigorously toward the rock with the mysterious painting on it, which appeared to him as a spirit with outstretched arms. In the face of this spirit, he imagined an oval opening that he interpreted as its mouth, and through it, he heard (or thought he heard) the memegwesiwag singing, even above the drumbeat emanating from inside the rock:
Dibishkoo waasmowin
Nindasiniijimaaninaan.
Mishibikwadinaang mazinaabikinigan
Nindasinii-waakaa'iganinaan,
Nigikinoo’amaage-wigamgonginaan gaye. Nimashkikinaan mashkawizimagad.
Nimashkikinaan aapiji-manidoowan.
Gikinoowaaji-bii’igaade asiniing. Biindigen Wenabozh,
Baaga’akokwewin gigakinoowizh.
Nindinwewinaninaan gigakinoowizhigoog. Our stone canoe Is like the speed of lightning. The pictured ᐊᓯᓐ rock at Michipicoten Bay Is our stone dwelling and our teaching lodge.
Our medicine is potent.
Our medicine is powerful.
It is written in stone. Come in Wenabozho,
The sound of the drum will guide you.
Our voices will guide you.
Wenabozho, eager to seize the powerful spirit of the medicine man Copper Thunderbird, failed to realize that the drumming and singing he heard from the painted rock were actually the sounds of waves hitting the rock and the music of an underground stream flowing beneath it.
As he gazed upward, the spirit's mouth appeared to open even wider! Shanaa, Wenabozho muttered, people don't call me Jiibayaabooz (Spirit Hare) for nothing! He swiftly transformed into a misaabooz (jackrabbit) and, without hesitation, leaped from the canoe through the hole, shouting “Aieeeeeeeee!” Mii go ay ay ay, but unfortunately, the hole was just an optical illusion.
His nose struck the hard volcanic rock, and his lip got wedged in a crack! To make matters worse, as he jumped, his tail flicked upward and snagged on a branch of a tree growing from the rock wall. As he was flung back into his canoe, his nose bleeding, he was horrified to see that the sharp stone had split his upper lip in two and, even worse, the tip of his tail was gone!
Poor Wenabozho! Never before in his life had he felt so humiliated! As he paddled his canoe back to shore, he began to laugh. He exclaimed, Waahowaa! We're going to have some mashkawi-animikii-mashkiki (powerful thunder medicine) today! Ishte! Gaawiin ningodano Wenabozh–Aha! I don’t think so, Wenabozho! From now on, we should call that rock Daashkaabikishkaag, "Rock that splits open!" And Obaasidoon, "He Who Has a Split Lip" will certainly be an appropriate name for me! Or even better, Ogiishkaanowe, "He Who Has a Cut Tail"! Then he laughed even louder. Ay ay ay! Nibagandiz! I am so foolish! What will Grandmother say! Oonyooy! What will Grandmother say!
Believe it or not, since Wenabozho's ill-fated journey to obtain the potent Thunder medicine at the Singing Rock in Michipicoten Bay, hares have had split lips! Additionally, the reason willows still have tails, or catkins, in the spring is because Wenabozho left a piece of his tail among the trees that sprouted from the rock!
Even today, the Elders of the Anishinaabeg–especially those skilled in interpreting the rock paintings and carvings–, when they impart teachings or narrate stories to their grandchildren, never disclose everything; they provide just enough to help their listeners understand that it's better not to seek shortcuts to wisdom and knowledge. The principle is that one must live according to the ancient teachings before they can fully embrace the wisdom contained in the stories and rocks. “Do not be like Wenabozho, who was envious of others and too lazy and greedy in his ways! Gego wiikaa anooj-igo doodawaaken asemaa: never misuse tobacco," they used to say.
And: "NEVER use the sacred pipe to request things that you do not deserve… NEVER pray solely for selfish purposes!”
Mii sa ekoozid. Miigwech gibizindaw noongom mii dash gidibaajimotoon wa’aw Wenabozho aawechigan. This concludes the story. I appreciate your listening today and letting me share this Wenabozho tale with you. Giga-waabamin wayiiba, I look forward to seeing you again soon.
Mino bimaadizin! Live well! Migwechewendan akina gegoo ahaw! Be thankful for everything!
FOOTNOTES:
¹ Source: Reawakening of the Medicine People, part 1 : The Amazing Story of the Sleeping Medicine People, a story by Simone McLeod and Zhaawano Giizhik. ^
² Gichi Gamiin Anishinaabeg: the Ojibweg that live in the vicinity of the North American Great Lakes. ^
³ Anishinaabewi-gichigami: The Great Sea of the Anishinaabeg: Lake Superior. Animbiigoo-zaaga'igan: "Continuous-Water Lake," present-day Lake Nipigon, Northwestern Ontario. ^
⁴ This place, which is close to Wawa, Ontario, is named Mishibikwadinaang (At the Grand Hill; nowadays called Michipicoten). The Anishinaabeg of the area have been living seasonally on the dunes at the beach at the mouth of Mishibikwadinaang Ziibii (Michipicoten river) for at least three thousand years. Driftwood Beach, about 1/2 mile long, consists of clean granular sands made up of quartz, feldspars, and ferromagnesium minerals. The beach is separated by ancient volcanic rocks projecting into the bay. Its bluffs and curving ridges rise gently from the shore, formed by the force of strong southwesterly winds blowing across the waters of Gichigami (Lake Superior). Michipicoten First Nation today is a vibrant Ojibwe Anishinaabe community with approximately 1,020 members building on socio-economic independence and with a strong sense of community and cultural identity. The name mishibikwadinaang/michipicoten is a reference to the steep bluffs, grandfather rocks that dwell on the south side of the bay. ^
⁵ It is a well-known fact among Medicine People that Thunderbirds love to blast pine trees, which produces fire; the incense and the smoke of the burning pine transports their prayers to the Bagwajiwininiwag, Little People who live in the forest.
This group of magical beings residing in the forest is sometimes known as Bagwajiwi-Anishinaabeg, meaning "Anishinaabeg of the Wilderness." The term Bagwajininiwag translates to "Wilderness Men." They should not be mistaken for other small magical creatures also referred to as "Little People," such as the Apa'iinsag, Memengwesiwag, Baa-iinsiwag, Mizabigamag, or Bagwaagamig. It is easy to confuse them or to group them all together as "Little People" since they are all small, magical beings living in the forest. A common belief is that the Bagwajiwi-Anishinaabeg dwell in small wiigiwaaman (wigwams) made of grass or bark, travel in tiny birch bark canoes, and are often spotted in very remote areas of the forest. Many who claim to have seen Bagwajiwininiwag report that they have pale faces, are sometimes dressed in cloaks or hooded garments, and stand about knee-high. They do not speak Anishinaabemowin but often communicate through mental telepathy or dreams, and they almost always vanish as quickly as they appear. It is also widely believed that those who encounter them are chosen for a spiritual purpose that will likely bring hunting success or healing to the People. ^
⁶ Mishibizhiw, the Great Underwater Lynx, is known for guarding the abundant copper and silver in Gichigami, Lake Superior. Indigenous peoples mined copper long before the Anishinaabeg and Europeans arrived in Gichigamiin (the Great Lakes Region). By the 17th century, European missionaries had arrived. At that time, taking the sacred metal from the region was highly taboo and forbidden by the Anishinaabeg, who had already settled in the Great Lakes area from the eastern "Dawn Lands." It was even more forbidden to take copper from Michipicoten Island, Mishibizhiw's domain; this was seen as stealing from Mishibizhiw himself. During my visit to the Michipicoten and Thunder Bay areas in the summer of 2015, I felt Mishibizhiw's presence everywhere I went. ^
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