Teaching Stories, part 29: Mikinaakominis Aadizookewin, the Magic of Turtle Island Storytelling
- zhaawano
- Sep 25
- 34 min read
Updated: Nov 5
Waagaabagaa-giizis/Waatebagaa-giizis (Leaves Turning Moon)/Mandaamin-giizis (Corn Moon)/Manoominike-giizis (Ricing Moon); September 25, 2025
This post contains a list of key characters in Ojibwe stories along with their phonetic transcriptions!
“Tell me the facts, and I’ll learn; tell me the truth, and I’ll believe; tell me a story, and it will live in my heart forever.” — Source unknown
"I long for our elders (whom we all referred to as the wise) who taught us about Indigenous Trade. The best collector was the family orator, the storyteller chosen to gather tobacco, corn, squash, and many other things we couldn't cultivate up north. A wise person would pass a story to another to share in exchange for food, recognition, humanity, and love for Mother Earth. Today, we have artists who struggle, and we are hungry." — Michel Sutherland, Inino elder.
Boozhoo, aaniin,
Today's narrative will delve into Indigenous storytelling from the perspectives of the Anishinaabe (Ojibwe) and Ininew (Cree) peoples.
The traditional ecological knowledge and perspectives of the Turtle Island Peoples (Indigenous people of the North American continent) might be seen as superstition or "primitive" by Western anthropologists and ethnographers. Nevertheless, Mininaakominis aadizookewin (Turtle Island storytelling) has effectively passed down a vast amount of scientific knowledge through generations for centuries. Indigenous knowledge, experience, and the stories that carry them are far from "primitive." Our science and astronomy are anything but simplistic, and similarly, our storytelling has historically included elements of science fiction that should be acknowledged as innovative, imaginative, and visionary.
A spirit exists within our storytelling that can speak to us today if we listen.
EVOLUTION OF TRADITION INTO CONTEMPORARY ART FORMS
Today's blog post is titled "Aadizookewin—The Magic of Turtle Island Storytelling." The term "magic" refers to the transformative power of storytelling. It relates to the ability of narratives to captivate audiences, inspire action, and shape understanding. "Magic," or mamaandaa-gashkitoowin in the Ojibwe language, emphasizes how stories can evoke emotions, convey complex ideas, and even alter perceptions. However, when it comes to Anishinaabe aadizookewin or "Indigenous storytelling," it encompasses much more than that. In the following, I will attempt to clarify what I mean by this.
Weshkad gii dibaajimowag biboong Anishinaabeg. Noongom gida gashkitoon noondaamawadwaa geyaabi!
Translated from Anishinaabemowin (Ojibwe) into English: "In the past, the Anishinaabeg shared stories during winter. Today, you can still listen to them!"
Since the dawn of consciousness, when my distant Ojibwe Anishinaabe ancestors first began to communicate, they have gathered to share their stories. From that point onward, especially the Elders, would pass down traditional tales to the younger generations. These dramatic, often humorous narratives—myth is a European concept!—typically involved animals, trees, plants, celestial bodies, and spirits. The stories served not only as entertainment but also as powerful tools, offering valuable lessons filled with a wealth of knowledge and wisdom. They reflected the beliefs, fears, and hopes of both the storyteller and the audience. Aadizookewin through oral history was, and continues to be, a proven method for teaching and healing, with ayaadizookejig (storytellers) often acting as a channel for manidoog (the spirits) to communicate.
Within the Anishinaabe and Ininew (Cree) astronomical traditions of Turtle Island, a wealth of knowledge is connected to the landscapes, clans, and star constellations. Many of these stories were considered sacred, viewed as manidoog (‘spirits’), and were imbued with mystery and healing abilities. As a result, storytelling took place within a strictly ritual context.
Blog writing isn't a conventional learning method, so I consider myself a modern storyteller rather than a traditional one. Many young people today don't grow up in traditional settings and don't have elders to learn from and hear stories. This is why I use my (non-commercial) art—graphic works, jewelry, and writings—to communicate ancestral traditions in a contemporary, perhaps even unconventional manner, as respectfully as possible. Through my art, the traditional context is being transformed into a relatively new tradition, often known as Woodland Art. Nonetheless, I still view the ancient, conventional, and sacred aspects of storytelling as still present: in my artistic conscience, the ritualistic and sacred elements of Mininaakominis aadizookewin are essential to the creative process. I firmly believe that by creating new storytelling practices, we provide an opportunity for our loved ones to remain connected through our shared traditions and human experiences.
Today's blog post seeks to shed light on the art, nature, and significance of Mininaakominis aadizookewin as it has been perceived through the ages. Please note that, although the wisdom and perspectives of traditional Elders are honored, the views presented here are entirely my own. As an artist and storyteller, I do not hold the authority of a Midewiwin teacher.
Aadizookaw /aadizookaw-/: /aadizooke-/ stem of the verb aadizooke ; /-aw/ : do it for someone: "Tell a sacred story to someone"
Aadizooke: reduplicated form: aayaadizooke: "S/he tells a sacred story"
Ayaadizooked: (changed conjunct of the verb adizooke): "S/he who tells a sacred story; a sacred-storyteller"
Aadizookaan /aadizookaan-/: /aadizooke-/ stem of the verb aadizooke; /-n/
[nominalizer]: "Sacred story; a non-human story figure (protagonist) of a sacred story"
Aadizookewinini /aadizookewininiw-/: /aadizooke-/ stem of the verb aadizooke; /-wininiw/ man, person: "(Male) sacred-storyteller"
Aadizookekwe: /aadizooke-/ stem of the verb aadizooke; /-kwe/ woman: "Female sacred-storyteller"
THE ANCIENT WORLDVIEW OF TURTLE ISLAND
The Ojibweg, or Anishinaabeg, have long held a significant reputation—and at times even evoked awe—among other Indigenous Peoples of Turtle Island due to their understanding of the relationships in nature, both ecologically and cosmologically. Their extensive and diverse knowledge and use of plants demonstrated their profound comprehension and utilization of the natural resources around them, earning them legendary status among neighboring Nations, who sometimes called them “Sorcerers of the Woods.” For the Ojibweg, the directions of the winds and the positions of the sun, moon, and planets were intimately connected to the rhythm of the seasons and the cycles of hunting, fishing, and gathering food.
The ancient ceremonies, along with the traditional knowledge and stories that the MIDEWIWIN (Grand Society of Medicine and Ethics) have preserved, safeguarded, and selectively passed down, continue to testify to this venerable and honorable worldview.
Image above: 'Anishinaabewaki Izhinamowin' (Worldview of the Ojibwe people). This pencil outline drawing features several images, each with symbolic metaphorical meanings and their respective names. These images illustrate a cross-section of the traditional worldview of the Ojibwe/Anishinaabeg, who have lived in the North American Great Lakes region and the Canadian Shield for at least 600 years.
TEACHING MIRRORS FROM THE LAND OF DAWN
WENABOZHO is the first name that comes to mind when you mention Anishinaabe storytelling.
In the Anishinaabe tales or parables, transformation frequently occurs, with manidoog changing their forms. WENABOZHO, undoubtedly the most significant and cherished of all aadizookanag
(“nonhuman or semihuman story figures”) since storytelling began, is primarily known for “shape shifting”—the ability to take on the form and personality of a human, a hare, a wild goose, or a tree stump. He is fundamentally a manidoo in nature and essence before anything else; his outward appearance is merely an incidental aspect of his incorporeal being.
WENABOZHO tales are usually shared by Elders with the younger generation. WENABOZHO, the offspring of WIININWAA, a mortal woman, and NINGAABII'ANI-NOODIN (the Wind Spirit of the West), and the grandchild of NOOKOMIS (his earthly grandmother), finds his counterpart in the character WIISAGEJAAK, or "Crane Manitu," as recognized by the Nakawēk (Northwestern Ojibweg), the Anishininiwak (Oji-Cree), and their northern neighbors, the Néhiyawak (Cree). WENABOZHO is associated with rabbits or hares and is sometimes called the Great Jackrabbit (Misabooz). He is a benefactor to the Anishinaabeg, supporting children, the poor, and the weak. Additionally, he is the powerful creator of plants, animals, and the landscape as known by the Anishinaabeg. He embodies numerous roles: a shape-shifter who can change from various animal forms to different human forms; a trickster whose silly and amusing antics mirror humanity, constantly reminding them that appearances can be misleading; a highly skilled hunter with supernatural abilities, and a great adventurer, always seeking equally powerful opponents to test his own strength. The creation of the first midewigaan (lodge of the Midewiwin) is credited to him – although not all traditional sources agree that he was indeed the founder of the Anishinaabe Medicine Society.
Similarly, the origins of the Waabanoowinin lodge or society (the Dawn Society) are linked to the foundational teachings of WENABOZHO: the tales of WENABOZHO are frequently incorporated into the Society's ceremonies and teachings. The reason Waabanowin members share certain traditions only in winter is that Mizhibizhiw, the horned underwater manidoo with the body of a lynx, was in hibernation during that season. Consequently, the aadizookaan about WENABOZHO and the Creation of the world were recounted as part of the winter ceremonies. The Ceremony in Petition For Life and Health was primarily a time for teaching and prayer, focusing on healing individuals and the healing of aki, the earth.
The primary lesson that WENABOZHO conveys through his various adventures and his sometimes foolish, sometimes heroic, and sometimes wise actions is that people can grow beyond or overcome immature behavior and learn to act with wisdom and maturity. This is in line with the guiding principles of Anishinaabe bimaadiziwin: living a good and honest life. His original name (NANABOZHO; as his grandmother called him) may derive from an Ojibwe word, combining Naning, meaning “trembling,” and Oozho (Ozo), a shortened form of Oozhoowaa (Ozowaa), meaning “tail.” If this is correct, it is possible that the name WENABOZHO signifies his role as a contrary, acting as a reflection for those who are timid and hesitant to take risks or responsibility.
This painting, which I did in 2012, portrays two children, a brother and sister, accompanied by two storytellers. I crafted this artwork as one would narrate an aadizookaan, an allegorical story with multiple layers of meaning. The image illustrates the act of storytelling from dual perspectives, or rather from two mirrored viewpoints: that of the aadizookewinini (the human storyteller on the left) and that of aadizookaan WENABOZHO (the supernatural protagonist on the right). Grandfather, who tells the story, and Wenabozhoo, the character himself, are both skilled storytellers. When they join forces, they generate a magical energy that reflects off each other, creating a truly extraordinary tale.
Upon closely examining the figures in the painting, you'll observe that I utilized X-RAY IMAGERY to infuse the contour lines with designs and patterns of animals and images of aadizookaanag and bawaaganag (story spirits and guardian spirit animals). This technique, which emphasizes internal forces rather than the painting's subject as the primary focus, is a key characteristic of contemporary spiritual art that employs X-ray imagery. This art form, commonly known as NATIVE WOODLAND or MEDICINE ART, originates from MAZINAAJIMOWIN, the ancient Anishinaabe tradition of spirit writing, where sacred images were painted on and inscribed in rocks and birch bark by the ancestors. The purpose of X-ray imagery is to immerse the audience in the sacred spirit world, revealing the true nature of things, where the soul or essence holds more significance than the body containing them.
The figures I placed inside the bodies symbolize (some of) the protagonists and antagonists of the stories being narrated: entities such as thunderbirds, a sturgeon, snakes, a fisher marten, waterfowl, and medicinal plants and flowers, all of which are connected in one way or another to Wenabozho stories and the origins of the world and medicine as imparted by the teachers of the Midewiwin. The hare linked by a “spirit power line” to the X-ray figure inside Wenabozho signifies his supposed connection with hares and rabbits, highlighting his role as a contrary that reflects humanity; the connection to a Thunderbird figure suggests that the stories are imbued with significant magic. Each story with Wenabozho as the protagonist serves as a source of power for the children who hear it, offering the potential to empower and impart valuable life lessons as well…
Additionally, images of sacred objects and symbols, such as a MIDE MIIGIS seashell used in MIDEWIWIN ceremonies, and a bear paw—associated with Mide ceremonies and the dream world— convey stories within a story. These Mide symbols, along with the pipe held by the grandfather storyteller, signify that he is a ceremonial teacher and a member of the Midewiwin. Thus, the symbols represent great spiritual power.
The smoke from the pipe and the breaths from both the Mide grandfather and Wenabozho represent immense power. No story is inherently wrong or right, but all continue to exist when shared...the story inhales. When a story is listened to, it exhales, and when it is passed on, its blood flows. The breaths from the storytellers’ mouths converge at the top of the painting, creating a circle within two larger circles that symbolize GICHI-MANIDOO, the Universal Omnipresence of Mystery. The divided circle (unity symbol) at the center of the smaller circle represents the duality found in nature and human nature. This symbol illustrates the concept that each living being consists of two distinct individuals or parts that coexist and interact. One part (colored blue) inspires, strengthens, and guides the other part (colored red) – and vice versa. Similarly, one half can be seen as a story or storyteller seeking to complement the other story or storyteller, represented by the other half – and vice versa.
"No story is inherently wrong or right, but all continue to exist when shared...the story inhales. When a story is listened to, it exhales, and when it is passed on, its blood flows."
AADIZOOKEWIN, or traditional storytelling, has long played a significant educational and instructive role in Anishinaabe society. Through respectful observation, encouragement, and example, children absorbed history, culture, and values from their elders. This method is known as GIKINAWAABIWIN, which means learning by and from observation.
gikinawaabiwin-/: /gikinawaabiwin/gikinawaabi-/: /gikinaw-/ know, recognize;
/-aabi/ s/he looks, has such vision, has an eye is such a state or condition
-win/ [noun forming final] The stories were so full of meaning and packed with content, the cultural and social elements were incredibly dynamic, and the narratives were crafted and retold with such expertise, that today we would certainly consider Turtle Island storytelling an art form.
Aadizookewin, of course, goes beyond just being an art discipline.
The sharing of tales and wise lessons, wrapped in metaphors and symbolism, serves to educate the younger generation not only about Anishinaabe history and culture; they also act as TEACHING MIRRORS, introducing the youth to what is known as ANISHINAABE BIMAADIZIWIN: a comprehensive set of moral values, humor, and everyday community principles. The stories, particularly those featuring the half-human, half-spirit friend of the Anishinaabeg, WENABOZHO, embed in the young learner's mind a vibrant understanding of human potential, as well as human vices and limitations. Sometimes the tales are satirical allegories where human vice or folly is critiqued through irony, or typical ‘Shinnob wit’. There were numerous stories; for every event, belief, value, animal, manidoo, or aadizookaan, there is a story.
There were also dirty stories, commonly referred to as WIINAAJIMOWINAN, which, incidentally, were not regarded as part of the formal education for the youth.
GIKINOO’AMAADIWINAN (teachings) and GIKENDAASOWIN (knowledge) were crucial tools to achieve ANISHINAABE BIMAADIZIWIN.
The formal education of the younger generation was basically formed by the oral tradition of:
DIBAAJIMOWINAN – ‘true stories’ or chronicles, based on personal experiences. These experiences often involve bawaajiganan or inaabandamowinan (dreams).
AAWECHIGANAN – parables, often with a moral undertone;
AADIZOOKAANAN – sacred, often supernatural stories;
ODIBAAJIMOODAADIWIN – rites of passage storytelling; and sometimes
MAZINAAJIMOWIN – literally picture storytelling, so called ‘spirit drawings’, often painted on, or inscribed in, rocks and birch bark scrolls and other sacred items; conveying information from the content of these drawings was (and still is) strictly the role of certain members of the Medicinal society of the MIDEWIWIN.
Many traditional narratives, including CREATION STORIES, are thought to originate from WAABANAKI (Land of Dawn), the ancestral homeland of the Anishinaabe People located on the North Atlantic coast. Creation stories serve as guides, similar to maps or instructions, helping us navigate not only the past but also the present and future. Thus, they can be considered both DIBAAJIMOWINAN and AADIZOOKAANAN.
The Midewiwin, also known as The Good Way Of the Heart, is an ancient animistic-medicinal tradition believed to have been established long ago by the first herbalist or medicine man of his People, who was famously known as Ode’imin (Heart-shaped Berry or strawberry). Under the expert guidance of his supernatural mentor Wenabozho (the Great Hare), who taught him to observe the nature of plants through the behavior of animals, Ode’imin permanently institutionalized the knowledge of healing and a set of teachings on human behavior and a spiritual way of living — called mino-bimaadiziwin. He educated the People about the properties and healing powers of all beings in the plant world and imparted to them the philosophy of Bimaadiziwin, which would be perpetuated through the ceremonies of the Midewiwin.
The primary goal of the Midewiwin is to safeguard and uphold the seven mide-wiigwaasan (birch bark scrolls used for ceremonial purposes; see image) along with their sacred teachings, which were recently suppressed by American authorities. These complex writings also include information on astronomy, mapping, the clan system and family lineage, and migration routes going back as far as 1000 years. Even today, many of these Mide writings and records remain confidential—shared exclusively in sacred settings by community-recognized Keepers of ceremony both within and outside the Midewiwin, to protect the scrolls, interpret them correctly, and await a time when a generation arises that embraces a more intelligent and respectful worldview than is currently prevalent. Illustration: "Midewaajimowin ("Teaching Medicine Lodge Concepts") - detail ©2025 Zhaawano Giizhik
GRANDMOTHERS AND SPIRIT HELPERS
As mentioned earlier, storytelling, a crucial aspect for preserving the history and identity of the Anishinaabeg, has always been the role of grandparents and other elderly relatives, especially NOOKOMISAG (grandmothers). The DEBAAJIMOOJIG and AYAADIZOOKEJIG (true-storytellers and traditional-storytellers, respectively), typically shared these narratives in a somewhat ritualized manner, never casually, and reserved them strictly for the long winter moons, during the evening after dinner by the campfire.
The reason storytelling typically took place in winter likely stems from the fact that these traditional tales often involve animals, trees, plants, and celestial bodies. Among the Anishinaabeg, it is widely believed that to avoid offending the story's protagonists and to preserve their transformative powers, it was wise not to discuss them during the warmer seasons when they were still active. However, it's important to note that the manidoog (‘spirits’ or ‘mysteries’) and the aadizokaanag (supernatural beings at the Earth's four cardinal points) greatly enjoyed these stories, relishing the fantastic aadizookaanan alongside the children. I personally like to imagine that the aadizookaanag not only played the leading roles but also helped the winter storytellers in crafting these tales! (See the above illustration, "Debaajimood and Grandmother Sharing Stories").*
DEBAAJIMOD, THE FIRST ARTIST-STORYTELLER
In addition to WENABOZHO, there is another equally significant aadizookaan in Anishinaabe storytelling. The sacred tradition of Anishinaabe storytelling traces back to DEBAAJIMOD, the earliest known figure who, in ancient times, transformed spoken language into an art form. It is said that DEBAAJIMOD frequently visited NOOKOMIS's lodge during winter evenings, where he would weave numerous stories in his story web. NOOKOMIS was the first mother of humanity and the grandmother of WENABOZHO.
The reason for NOOKOMIS' hospitality was undoubtedly DEBAAJIMOD's exceptional storytelling skills. With his remarkable storytelling techniques, he could captivate an audience for an evening, two evenings, or even the entire biboon, or winter season. He created new stories that were previously unheard. He had developed a limitless range of rhetorical tools such as metaphors and metonymies to animate his narratives. While teaching through metaphor and allegory has always been the Anishinaabe tradition, DEBAAJIMOD introduced a new storytelling style, akin to what we now call frame stories: a story within a story. This means his narratives combined various aawechiganan (parables, often with a moral undertone) and aadizookaanan (metaphoric narratives of a traditional, sacred nature), woven into the larger story known as a "true story."
On long winter nights, DEBAAJIMOD would sit in NOOKOMIS’ wiigiwaam (lodge) and share stories. Each evening, after smoking his opwaagan (pipe), he would narrate another moving tale of human and celestial connections, a magical teaching parable, or a "true story." These stories were sometimes based on his own life or historical events; other times, he would recount fantastic adventures involving spirits and semi-spirits in distant and enchanted places. The tales included a man's quest for love, courage and determination, overcoming obstacles, and purity of heart. There were also fantastic stories about how WENABOZHO and other hero-spirits triumphed over the beings of the Underworld and the Sky World, along with humorous stories about Nookomis’ favorite characters: the Little People of the forest. Each story carried a metaphorical lesson, sometimes laced with dark humor, about the importance of resourcefulness, perseverance, and fortitude. His stories were filled with valuable lessons, and every night brought a new tale that she cherished.
As a result, DEBAAJIMOD became a sought-after guest at every festival or wedding where the Anishinaabeg gathered to celebrate, sing, and dance; his storytelling gained such popularity that it surpassed even the singing and dancing. However, as he claimed to know everything about life, the nature of things, and the future—which, in truth, he did—his tales grew more and more fantastical, leading to disbelief. Even when he tried to warn his people that men with pale skin and facial hair would one day cross the vast salty sea and arrive in Waabanakiing, the land in the East, eventually bringing adversity and death to the Anishinaabeg, he was met with disbelief and ridicule. This was DEBAAJIMOOD’s tragedy: he knew too much. His omniscience and wisdom became the source of envy and hatred from other famous Anishinaabeg—and even certain aadizookanaag like NOOKOMIS' grandsons who came to listen to the storytelling sessions—who began to feel resentment towards him.
Increasingly maligned and defamed by envious humans and aadizookaanag alike, DEBAAJIMOD became deeply disillusioned and chose to advise the young not to repeat his mistake. He told them: “To gain credibility–and, more importantly, maintain your credibility—you should ensure never to talk excessively, exaggerate, boast, or—the greatest sin of all: to act as if you know everything. Do not give others a reason to envy or despise you. It's wiser to keep your cards close to your chest!”
Although DEBAAJIMOD was poorly treated by his fellow Anishinaabeg, he is remembered as a skilled storyteller who imparted the beautiful values of imagination, allure, and poetry to his People. This is why, to honor their first artist-storyteller, the Anishinaabeg from the North Country continue to refer to a true story as DIBAAJIMOWIN and a true-storyteller as DEBAAJIMOOD, or DIBAAJIMOWININI.
A SACRED INVOCATION
As mentioned above, for the old Anishinaabeg, storytelling was essentially a RITUAL INVOCATION of the benevolent beings from the metaphysical realm. During the long, cold winter nights in the North Country, when supernatural beings were close by, a narrator of dibaajimowan, or stories based on personal experiences, would begin a tale with ’Ahaaw, ninga dibaajim,” meaning “Now, I will tell a true story.” However, when a storyteller intended to narrate a story about the aadizookaanag, they would say the ritual words “Ahaaw, ninga aadizooke,” meaning, “Now, I will tell a traditional story.”
With these ritual words, the aadizookwe or aadizoowinini (female or male sacred storyteller) declared that they were currently acting as a representative for the manidoog and aadizookaanag. Simultaneously, they were inspired by these beings to craft a story. These ritual words offered the narrators spiritual guidance for storytelling or, at times, for making a prophecy. Once the supernatural beings were invoked and entered the human realm, the sacred story where they were the main characters became an aawechigan, a parable that could be shared whenever deemed appropriate.
Traditionally, certain storytellers recount the same tale multiple times, believing that each time you listen, you approach the story as a different person, acquiring a new perspective on the plot and characters. Hearing the story repeatedly allows you to reflect on your past and present position in your personal development journey. Additionally, it aids the younger generation in learning the stories, ensuring they can transmit them to future generations.
SPEAKING THE LANGUAGE OF THE AADIZOOKAANAG
Traditional stories inherently contained elements related to a perception of time, space, or narrative that felt almost dreamlike, making them neither chronological nor linear. Much like a dream, a traditional story, while always set within a formal ritual context, displayed a fantastically surreal and seemingly stream-of-consciousness quality, resonating with the mindset of the aadizookaanag and their language. This approach enabled the storyteller to connect with the unpredictable dreamscapes of the supernatural realm; the inhabitants of this realm could shape-shift and were always likely to unexpectedly approach the storyteller and audience, listening to the narrative in any form they chose. A traditional storyteller was always aware of the presence of beings from the incorporeal world and thus ensured that their narrative—and the words within it—possessed the same transformative powers as the aadizookaanag who were featured as the protagonist.
THE ROCKS THAT TEACH
In addition to sharing stories around the campfire or at kitchen tables, there are alternative teaching methods. Some youths, chosen by the elders for their exceptional traits and a supposed connection with the manidoog, were instructed using drawings (known as mazinaajimowinan or “pictorial spirit writings”) painted or carved on rock surfaces, birch bark, copper and slate, or animal hide. Much of Anishinaabe history and philosophy has been conveyed through these spirit writings (see the illustration above of a "dreamer" interacting with symbols painted with red ocher on high cliff walls surrounding a lake). These kinds of mazinaabikiniganan (rock paintings) are found throughout the Canadian Shield and the areas south of the Great Lakes. For instance, they can be seen on the rock faces along the waterways from Lake Mazinaw, north of Belleville, to the Ontario-Manitoba border; another well-known location is the Agawa pictograph rock site, situated in today's Lake Superior Provincial Park, Ontario, Canada. This site features a collection of ancient pictographs, including depictions of canoes, animals, and the underwater creatures Mishiginebig and Mishibizhiw.
Sometimes youngsters were taken to the gikinoo'amaagewaabikoog or Rocks That Teach, (called Kinomagewapkong, or Kinomaage Waapkong by the local Anishinaabeg–and known in English as Petroglyph Provincial Park), where they gained special instructions in the ways of life. Here, hidden deeply in the woods in the Stoney Lake area in Northwest Ontario, the Midewewininiwag and Midewikwewag (male and female members of the Midewiwin) shared certain sacred stories represented by mazinaajim, the ancient symbols painted or inscribed on the rocks.**
These teaching rocks, which expressed certain ceremonies, acknowledgments of spiritual assistance, personal dreams, or vision quests, were, and still are, considered to be living bodies possessed with spirit; they are in fact manidoog in themselves. Some of these manidoog even spoke to those who took the time to listen; there is an intermittent underground stream that, when the water level is high, causes sounds to burble up through the rocks. These noises, along with the sounds of the wind and the rain as they pass the rocks were believed to be the manidoog talking. However, fearing vandalism and deterioration, measures were undertaken to protect the site and in 1984 a building was erected over the white limestone outcrop which completely enclosed the site. Without the wind and rain passing through the rock, the manidoog that reside there can no longer be heard.
An example of mazinaajim, or pictorial storytelling, is a belt buckle made of sterling silver with turquoise and red coral that I designed some years ago for a friend. The subject matter embodies Anishinaabe cultural tradition and worldview. The buckle illustrates the story of Ma'iingan, an Anishinaabe hunter. He belongs to ma'iingan doodem (the wolf clan). Depicted with arms extended, he prays to his personal bawaagan ("guardian spirit") for strength and spiritual guidance, thereby becoming one with it.
A NEW GENERATION OF STORYTELLERS
Throughout much of the 20th century, Ojibwe children were removed from their families on the reservation and placed in rigid boarding schools managed by the government or churches. In these unfamiliar and unfriendly environments, their native language and culture were completely eradicated. When these children, if fortunate, eventually returned to their families, they had lost knowledge of their ancestral language and were unable to communicate with or learn from the elders.
It goes without saying that in our visually focused modern society, children's imaginations are less engaged than in the past, when they were more attuned to envisioning characters and actions in the story world. The inability to speak or understand the expressive old language also contributes to this decline.
The increasing integration of academics with Anishinaabe language and culture in 'tribal' schools and colleges holds the potential to nurture a new generation of storytellers, if approached with care. This can occur if instructors and educators refrain from confining Anishinaabemowin, the language, to the constraints of Western thought and their educational framework, and most importantly, recognize that it will never completely conform to the restrictive structure of the English language.
However, many youth today are expressing renewed interest and pride in ANISHINAABE BIMAADIZIWIN, a path that reconnects them with their ancestral customs and values while also guiding them toward, hopefully, a brighter future. Additionally, a growing number of older individuals are turning to the Elders who remain, or are consulting books and blogs like this one, to learn how to find meaning in the stories and in Anishinaabemowin, their native language.
Previously, community storytellers would narrate tales almost every winter night, but nowadays, public storytelling often happens during special occasions at community gatherings.
Although it is certainly true that many formal storytelling traditions have disappeared with the skilled storytellers who have passed on, it is promising and encouraging that today, more and more people are using the art of storytelling to revive community traditions by returning to ancient practices of sharing human and spiritual experiences. As a result, new storytelling practices adapted to modern life are emerging within Anishinaabe families, even among those residing in urban areas. Like their ancestors, they share stories around the kitchen table or revive the old communal fireside ritual by gathering around the fireplace with family and friends.
Furthermore, the increasing integration of academics with Anishinaabe language and culture in 'tribal' schools and colleges holds the potential to nurture a new generation of storytellers, if approached with care. This can only occur if instructors, educators, and language revivalists avoid confining Anishinaabemowin, the language, to the constraints of Western thought and their educational framework, and most importantly, recognize that it will never completely conform to the restrictive structure of the English language.*** When taught appropriately, today's storytellers can develop new storytelling practices that inspire, empower, and heal future generations...
For further information on this subject, check out: The Truth of Decolonization - Why We Must Nurture Our Language Roots
A LIST OF NOTABLE AADIZOOKANAG (SUPERNATURAL STORY FIGURES) THAT FEATURE IN THE AADIZOOKAANAN (SACRED STORIES) OF THE OJIBWE ANISHINAABEG—ARRANGED IN ALPHABETICAL ORDER:
Aki: refers to the Earth [ah-KIH] Also see: Omizakamigokwe;
Aniwye: a large creature resembling a skunk that devoured humans through gas emissions. [ah-ni-way-eh] ("way" pronounced like English "why.") Also see: Mishi-zhigaag;
Animikii (the Thunder Grandfather) [ah-nih-mih-KEEH]: the original father; sometimes seen in the lower sky as thunderbirds, they are relentless foes of the creatures from the underworld;
Asibikaashi (Spider Woman) [ah-sah-bihk-AH-shih] assisted Wenabozho in returning Giizis (the Sun) to the people and creates dream catchers to safeguard children during their sleep;
Ayaase, also "Aayaash" or "Iyash", "Filcher-of-Meat" [ah-YAHSH] (an Ininew (Cree)/Ojibwe character who has all kinds of adventures in which he kills or defeats strange monsters, then returns them to life as good people or animals);
Baagak [pahk-kuck], a flying skeleton or bony specter, akin to the Wiindigoo and the Misaabe, is a remnant from the ice ages. In certain tales, it represents a person transformed into this winter spirit form due to committing murder. In Ojibwe cosmology, the Flying Skeleton is seen as an aadizookaan or "supernatural story figure" and "spirit helper" as it embodies various elements of the spirit world, death, and the afterlife. The idea of Baagak as a terrifying figure and a punished murderer is a negative perspective, probably shaped by the boarding/residential school system. In traditional Anishinaabe beliefs, death is not viewed negatively or as something evil. Instead, it is regarded as a manidoo (spirit) and a gekinoo'amaaged (teacher) that brings positivity, imparting the understanding that death is a natural aspect of life and a transition into another form of existence. Another name for this being is Bizhishigoganewin (skeleton);
Baa-iinsiwag[bah-EEHN-sih-wuck]: little manidoog (spirits) that dwell on shores and beaches and warn humans at night of mermen and mermaids;
Bagonegiizhig; "Hole in the Sky" [bah-ko-neh-geeh-ZHICK]: called the Pleiades on Western star charts, Bagonegiizhig is a star cluster in the greater constellation of Taurus. This is the Hole in the Sky through which Giizhigookwe (Sky Woman) (or, according to a very old tradition, Asikibaashi, Spider Woman) lowered the first anishinaabeg (humans) to the Earth. It is through the same Hole in the Sky that the jiibayag (soul-spirits) of deceased humans ascend and travel toward their final destination in the Jiibay-miikana (Milky Way). Two important ceremonies are related to Bagonegiizhig: the madoodiswan, or sweat lodge purification ceremony, and the jiisaakaan, or shaking tent ceremony;
Bagwajikwe [bug-wuj-ih-kweh], the Wilderness woman, is a potentially dangerous female spirit encountered by men during their dream quests;
Bagwajiwininiwag [bug-wuj-ih-wih-nih-nih-wuck]: Known as "Wilderness Men," these small and mischievous spirits inhabit the sandy shores of lakes, warning passersby of the feared Mermaid. They are sometimes called apa'iins or pai'iins, meaning "little person";
Biboon [bih-BOOHN], the manidoo who resides in the North and puts an end to growth and life until Ziigwan (Spring) arrives;
Bineshiiyikwe okanan [bih-neh-sheeñ-yih-KWE o-kun-NUN]: The Baagak has a female counterpart known as Bineshii[n]yikwe Okanan (Female Bony Bird) in the Ojibwe language. She was a grieving woman who fell in love with Baagak, but since he did not answer her feelings, she also became a skeletal apparition. It is believed that she resides not only on earth but also in the star world, as a 9-star summer star formation resembling the stick figure of a waabi-ajijaak (a white sandhill crane) flying north. On earth, when an ikwe (woman) dies, she may transform into a bineshiiyi okanan (bony bird). These flying skeletal beings, when they appear at night, are thought to predict impending death.
Bizhishigoganewin [bih-zhish-ih-go-gah-NEH-win]: see Baagak.
Debaajimod [deh-BAH-jih-mut]: "He Who Tells True Stories." He was a brilliant inventor and the earliest known individual who, in ancient times, elevated spoken language to an art form. Despite being mistreated by the Anishinaabeg and some of his fellow manidoog (spirits) who envied his remarkable talents, he is remembered as a masterful storyteller who shared the beautiful values of imagination, allure, and poetry with his People. He was also a shapeshifter, favoring the disguise of an adik (caribou).
E-bangishimog [eh-bun-gish-shih-MUG]: Spirit of the West, father of Maajiigawiz, Papiigawiz, Jiibayaabooz, and Wenabozho;
Gabeyang [gah-beh-yung-k]: The West Wind. Also called Ningaabii'ani-noodin. See also Maajiigawiz;
Gaa-biboonikaan [gah-bih-boon-ih-kahn] (or Bebooniked ("He Who Makes Winter") [beh-boon-ih-kehd]) the Winter Bringer, a group of stars in the sky (Orion) that herald the winter);
Gawesind [ga-weh-sind], the Feared One, a figure who was assassinated by the little manidoog (spirits) after he had systematically bullied and harassed them;
Gayanwe [ga-yan-WEH]: a legendary manidoo who seeks to destroy Wiindigoowag, or cannibalistic creatures;
Giizhigookwe [geeh-zhig-oo-kweh](also Gizhigokwe [geeh-zhig-oh-kweh), known as Sky Woman, provided the trickster hero Wenabozho with what he needed to survive on earth and created the Anishinaabeg, or human beings, for him to care for. Once her task was complete, she ascended to the moon and is now recognized as Nookomis Dibik-giizis (Grandmother Night Sun) or Wezaawi-giizhigookwe (Yellow Sky Woman);
Giizhikikwe [geeh-zhig-ih-kweh]: Cedar Woman; see also: Oshkikwe. Giizhikikwe is a spirit transformed into a giizhikaatig (the northern white cedar), becoming a lasting symbol of the sacred connection between the Anishinaabeg and the cedar tree. In the past, Debaajimood, the Great Storyteller and inventor, presented an item to a newborn child, gifted by many beings, including Giizhikikwe, the Cedar Woman. This item symbolized the mother's womb, designed to protect the child and provide the comfort of nurturing care from its parents. Crafted from the gifts given to him, Dibaajimod's creation remains a tool for children's well-being, with both Dibaajimaad and Giizhigokwe continuing to nurture and care for the children today. The name of this gift, made from the cedar tree, is adikinaagan: "Instrument of the caribou" —a nod to Debaajimod who often appeared in the form of an adik, or caribou;
Giizis [gee-ZIS]: Meaning "luminary"; Father Sun, the ultimate source of life, frequently depicted in northern Ojibwe stories as a young man traversing the winds;
Gookookoo or gookooko'oo [goo-KOO-koh-o] the Owl, serves as a potent intermediary between life and death, assisting travelers on their journey to the Land of Souls by lending them its eyes. This spirit bird embodies both benevolence and malevolence, merging light and darkness on earth;
Jiibayaabooz [gee-bay-ah-booz]: "Ghost Rabbit," youngest brother of Wenabozho and the patron of music and the underworlds of earth and waters;
Maajiigawiz [mah-gee-ga-wiz](also known as Gabeyang, the west wind) serves as the guardian of tradition and ceremonies, symbolized by makwa, the bear. Among medicinal plants, giizhikaatig (northern white cedar) is associated with him. He is the eldest brother of Wenabozho. He is renowned for taking the wampum from the grizzly bears in the Land of the Setting Sun and giving it to the Anishinaabeg;
Ma’iiñgan [ma-eehñ-gun] the wolf, embodiment of biiwaanag [beeh-WAH-nuck]("flint") and adopted by Wenabozho as his brother, and together they had many adventures as they walked the newly created earth naming all of the other creatures on the planet;
Makadeshigan [ma-ka-DEH-shih-gun]: the Black Bass, ruler of the underworld, protector of the night and bad dreams;
Makinaak [ma-kin-NOCK], also known as Mikinaak [mih-kin-NOCK]("One who Blazes a Trail"), is the Snapping Turtle who aided humanity by offering his back shield for the creation of aki, the world. He also contributed his shell for the lunar calendar, which helps the Anishinaabeg people comprehend seasonal changes and duties.
Makwa [muck-kwa]: "Born From Medicine", the Black Bear is an aadizookaan ( spirit grandfather ) who chose to take the earth walk as a spiritual teacher of mankind;
Mandaamin [mun-DAH-min], the spirit of Maize who was killed in battle by Wenabozho and who by his death gave life to the hungry Anishinaabeg;
Manidookwe [ma-nih-tuh-KWEH]: "Spirit Woman," a female spirit who imparts beauty, growth, and generosity to the earth and all its inhabitants. The term Manidookwe can refer to any female spirit, regardless of her appearance to the world. It is sometimes used to describe nibi, the spirit of water. At other times, the name denotes our mother the moon, who, in the form of Giizhigookwe (Sky Woman), lowered her twin children, the ancestors of the Anishinaabeg, onto the turtle's shell (the earth). Most commonly, manidookwe is understood as a maternal, spiritual ancestor, known as the Mother Spirit of Aki, the land. This spirit embodies kindness, similar to the kindness Mother Earth shows when she awakens in spring, providing warm sunlight, birdsong, and flowers. Thus, manidookwe represents the spirit of kindness displayed by Aki, Mother Earth. She is also known by other names such as Omaamama (Mother), Nimaamaa-aki (My Mother-Earth), Omizakamigokwe (Everywhere on Earth Woman), Mooshkokamikwe (Medicine Woman), Ashkaakamigokwe (Earth Woman), Gookomisinaan (Our Grandmother), and Ogashinan (Earth-Grandmother);
Mashkasaswaabik [mushk-a-sas-wah-bick], also known as Flint, is the quintuplet brother of the Four Winds. At birth, he tore his mother apart and was punished by the Great Hare (Wenabozho), who chipped pieces from his stony form;
Memengwaag [meh-mehn-GWAHG]: butterfly-spirits, crafted by Wenabozho to delight the children by tossing vibrantly colored pebbles into the winds;
Memegwesiwag [meh-meh-gweh-sih-wuck], or Memegawesag [meh-meh-gah-weh-seh-wuck]: "Those Who Speak Strangely." These noseless, hairy-faced, dwarf-like anthropomorphic beings are known for their friendliness. Often called Rock People, they reside along riverbanks and steep rocky slopes in the Great Lakes area and are sometimes seen paddling a stone canoe as they emerge from their rocky dwellings. Famous for their medicinal expertise, they usually travel in small groups and reveal themselves only to those with pure hearts, often abinoojiinyag (children). Once they were looked upon as powerful dream guardians, and if a person fasted in search of a vision, he or she would sometimes dream of the Memegwesiwag, which would protect the dreamer against the evil spell of a jaasakiid or shaking tent seer;
Miishaakomoog [meeh-shah-koh-moohk]: "Hairy Beings," whose appearance is a blend of the Misaabeg (Giant People), the Bagwajiwininiwag (Wilderness People), and the Memegwesiwag (Little People). These tall and hairy sky-dwellers roamed the earth and learned from the Misaabeg (Giants) how to utilize and navigate the land and lakes. Over time, they became instructors to humans. They taught the Anishinaabeg not to harm the earth, not to exploit it, not to dominate; to always give back. Their role was to teach humankind to avoid devastating the earth or causing any disruption to it. Although they are known by their Ojibwe name Miishaakomoog, or Miish'akomoog, the Hairy Ones, they are commonly referred to as Sasquatch - not to be confused with Misaabe, the Giant. Also see: Bagwajiwininiwag, Misaabe, and Memegwesiwag.
Misaabe [mih-SAH-beh] also called Gichi-misaabe and Mishi-naabe), a giant who lives in the forest and teaches mankind the virtue of Honesty;
Mishibizhiw [mih-shih-bih-ZHEW]: Known as "the Great Lynx," this being dwells in the depths of Lake Superior and possesses the ability to transform into any creature. It usually takes the form of a giant lynx covered in fish scales with copper spikes along its back and tail. As a guardian of the copper mines in Gichigami (Lake Superior), Mishibizhiw is a creature of the underground and underwater realms and serves as the eternal foe of the Binesiwag (Thunderbirds) of the Upper world. Legend has it that Wenabozho created it to assist the jiibayag, the wandering spirits of the deceased, in finding their way home. Numerous stories are told in the winter about Mishibizhiw, who is always associated with the sacred miskwaabik (copper), provides food for the Thunderbirds, and remains vigilant and prowling in the waves of the Great Lakes. As a powerful and unpredictable manidoo, encountering it is considered both perilous and potentially rewarding;
Mishiikenh [mih-sheeh-KEH] the Mud Turtle, an important intermediary between the human world and the incorporeal world;
Mishiinimakinakoog [mih-sheeh-ma-kin-nock-oohg]: turtle spirits, enigmatic island beings that dance on moonlit cliffs or "row" through forests, and are sometimes heard shooting, but rarely seen;
Mishi-zhigaag: [mi-sheeh-zhih-GAHK] (also see Aniwye): a colossal skunk monster that consumed humans by releasing gas, making them ill and resulting in their death. This creature was ultimately vanquished by Ojiiganang (Fisher Star) and, according to tradition, was transformed into a regular skunk by either Ojiiganang or the cultural hero Wenabozho, which explains why skunks spray;
Mizabigam [mih-ZA-bih-gum]: Little Man of Iron, a mysterious specter who inhabits picturesque caves and unique rock formations, deep arroyos and other places suitable for the seeking of visions;
Mizabigamag [mih-za-bih-gum-UCK] : "Little Men of Iron.";
Mizaawaabikamoo [mih-ZAH-wah-bick-a-mooh] /Ozaawaa-bikamoo [oh-ZAH-wah-bick-a-mooh], a Rock Manidoo (Spirit);
Nibaad Misaabe [nih-PAHD-mih-SAH-beh], the Sleeping Giant in Thunder Bay, Ontario;
Nibi [nih-PIH] ("My Water"): the Spirit of Water: the life giver, a sacred source, the nourishing and purifying blood of the earth;
Nibiinaabe [nih-bee-nah-BEH]: "Sleep Being"; the Merman, a manidoo that dwells at the bottom of the sea, lakes, and rivers luring women in his hideaway, where they are changed into nibiinaabekwewag (mermaids);
Nibiinaabekwe [nih-bee-nah-BEH-kweh]: "Sleep Being Woman"; the sweet-voiced but treacherous Mermaid who lures people into the lakes. In certain aadizookaanan (legends), she is associated with a specific doodem, or clan, believed to have a special connection with water and the spirit world. Members of this doodem are thought to have the ability to communicate with water spirits and influence the tides and currents. They are also believed to have the power to transform into mermaids or other aquatic beings. In some aadizookaanan, the mermaid clan is linked to a particular location, such as a specific lake or river. They are said to protect and nurture the water in their domain and to interact with other water spirits and creatures;
Nookomis [no-ko-MISS]: "My Grandmother"; Wenabozho's grandmother; Grandmother Moon, the first of mothers; often called– depending on the dialect and context–Dibik-giizis (Night sun), Niibaad-giizis (Sleeping Sun), Gookomisinaan (Our Grandmother), and Wezaawi-giizhigookwe (Yellow Sky Woman);
Ode'imin [o-deh-ih-MIN]: "Heart Berry," the first herbalist/medicine man of the Ojibweg. Under the expert guidance of his supernatural mentor Wenabozho, who taught him to learn about plants through observing animal behavior, Ode’imin eternally formalized the knowledge of healing and Mino Bimaadiziwin, or the Code for Long Life and Upright Living;
Ogashinan [o-gush-ih-nun]: The Earth Grandmother, source of all life, symbol of motherhood;
Ojiig [o-JEEG]: "Fisher Marten"; a man who assumed the shape of a fisher marten and ascended to the skies to steal the Summer but instead was changed into the Dipper constellation;
Ojiiganang [o-JEEG-a-NUNG-k] the Fisher Star Constellation (also see Ojiig).
Omakakii [o-mah-KAHK-keeh, o-muck-kuck-KEEH]; the Frog Spirit: Frogs are featured in numerous aadizookanan (in one tale, the supernatural trickster Wenabozho donned a frogskin). In nature, omakikiig [o-muck-kuck-KEEHG] are known to begin croaking after the rain, producing smoke (steam) that signifies the end of aadizookewin (storytelling);
Oshki'ikwe [osh-keeh-ih-KWEH]; Many lifetimes ago, when the world was still young, a young woman named Oshki'ikwe (New Woman) lived in the heart of Anishinaabe Aki. One day, while pondering her place in the world, she met a very old and wise Turtle named Mikinaak, meaning "One who Blazes a Trail." The Turtle spoke of the importance of a lasting symbol of the sacred connection between the Anishinaabeg and Giizhikaatig (the Northern White Cedar), to guide future generations. Thus, Oshkikwe and the Turtle embarked on a legendary journey across the night sky, leaving a trail of stars behind them. Over time, this celestial path became known as Jiibay-miikana or "Path of Souls," a route for the jiibayag (souls) of the deceased to travel back to the world of the ancestors. For those who remember the ancient stories, this starry trail created by Oshkikwe and the Turtle continues to remind us of the sacred bond between the Cedar Tree and the Anishinaabeg;
Wenabozho [WEH-nah-booh-ZHOOH]: the Great Hare, a popular trickster and hunter and a grandfather possessing great wisdom in the prolonging of life;
Wiisagejaag [weeh-suh-keh-djahk]: In the traditions of the Northwestern Ojibweg and the Anishininiwag (Oji-Cree), he is known as the Crane Spirit. Following the formation of the world, Wiisagejaag flooded the earth and used his supernatural abilities to establish his own domain. He is also characterized as a man with the folly of a whooping crane;
Omizakamigokwe [o-mih-za-ka-mick-o-kweh] ("Everywhere on Earth Woman"), also known as Aki (Earth), Akikwe (Earth Woman), Ogashinan (Earth Grandmother), Ashkaakamigokwe (Green Earth Woman), Gidoodoonaan (Our Mother; vocative case), Gimaamaayinaan (Our Mother), Gimaamaaminaan Aki (Our Mother the Earth), Maamaanaan (Mother), Maamaanaan Aki (Mother Earth), Mikinaakominis (Turtle Island), and Gookomisinaan (Our Grandmother): Mother Earth, source of all life, symbol of motherhood;
Papiigawiz [pa-peeh-ga-wiz]: (literally: "Disowned Son") also known as Yenaadizi [yeh-NAH-dih-zih], brother of Wenabozhoo; patron of winds and dances, creator of breezes, whirlwinds, and hurricanes;
Waasikgaaboo [wahs-suh-kee-kah-bo]: "The One Who Seems to Be Glowing." According to Anishinaabe tradition, bats welcomed a human named Waasikgaaboo, who had turned into a skeletal figure due to overwhelming guilt from committing terrible crimes, into their caves and taught him to survive in the darkness. This skeletal figure later became known (and feared) as "Baagak";
Wendaanimag noodinoon [wehn-DAH-nih-mug-nooh-din-OOHN]: the four winds, whose dwelling places define the four directions;
Wiigwaas [weeh-GWAHS]: the White Birch, child of the Thunder Spirit, sacred benefactor of the People;
Wiindigoo [WEEHN-dih-go]: a winter spirit of excess: originally a human from the northern shores of Lake Nipissing who transformed into a supernatural cannibal giant and was defeated by a human hero named Miigis, or Shell;
Wiininwaa [weeh-nin-WAH], "She Nourishes from the Breast," daughter of Nookomis and mother of Wenabozho, is a woman who achieved immortality through manidoowiziwin (the process of taking on qualities of a manidoo);
Zhingibis [zheen-gih-BISS](Grebe or Hell-diver). Long ago, Zhingibis lived in a wiigiwaam (lodge) by a lake and went about his daily tasks during biboon, the winter months. Giiwedin, the Northwest Wind, noticed that the little bird was unaffected by his cold breath. This angered him, and he tried everything to overpower Zhingibis. The clever little grebe invited the North Wind into his wiigiwaam (lodge); as he sat by the fire in the cozy lodge, he attempted to freeze the flames, but Zhingibis would stir them, making the lodge very warm. Gradually weakened by the heat, the North Wind, whose body was made of ice, melted slowly but surely; eventually, he turned and left. He–albeit unwillingly–admitted his defeat and praised the resilience of Zhingibis, the steadfast little grebe who could neither be frozen nor starved. Meanwhile, Zhingibis did not see the North Wind as his enemy, but simply as another creature unable to harm him;
Zhaawandazii [zhah-wan-da-zeeh]: the ancient Spirit of the warm south, whose sighs and moans in autumn release the gentle southern breezes that bring warmth and magic to the northern woods, leading to the Indian Summer;
Zhagaabewish [zha-gah-beh-wish] (or Zhagabishin [zha-ga-bish-in]), a boldly audacious character who defeated Mishi-naabe, the Giant Entity, and once set a trap on the sun's path and ensnared it);
Zhezhoobii’iged [zheh-zhoo-beeh-ih-ged], the Spirit Painter who, with the aid of his companion Ningwiigagi [nin-gweeh-ga-gih] the Frost, paints brilliant colors onto the plants when every year at Binaakwe Giizis, Leaves Falling Down Moon, Mother Earth is getting ready for her final dance.
FOOTNOTES:
*Among the Anishinaabeg and Ininewak, it is common belief that stories should be shared "when there is snow on the ground" to avoid offending animals and spirits. Winter is considered a natural pause in the year's activities, with the long, dark nights seen as a time of rest for both humans and nature, making it ideal for storytelling and spiritual connection. But has this always been the case? It was widely believed that during winter nights, the aadizookanaag (animals and spirits) "listened in" to the stories and occasionally even participated in telling them. However, how could these entities sleep and participate in storytelling simultaneously? This leads me to believe that the "protocol" prohibiting storytelling during the warm months and confining it to winter is a relatively recent development. Likewise, the belief that telling a Wenabozho story in the warm season results in "a frog in your bed" may not be ancient. I really don't think our ancestors adhered to strict rules and protocols. In earlier times, stories were mainly told during the long winter nights because the seasons of hunting, growing, and ceremonies had ended, giving our ancestors more leisure time. As a result, winter became a time for family gatherings and communal storytelling. European missionaries might have introduced the "only when there's snow on the ground" rule, motivated by their intent to Christianize our people. They probably believed it was beneficial to reduce the days of "pagan" storytelling. Therefore, this "tradition" of not offending spirits might not be traditional at all, but rather a myth created to deprive us of our stories under false pretenses. There is also another possible, highly plausible explanation for how this tradition began. When snow covered the ground, it provided an opportunity for people to hide from the Church. It might have been a way to protect our stories from those who constantly tried to eliminate our culture. Our Elders worked hard to preserve our stories, ceremonies, beliefs, and culture. It was only when the snow covered us that it was safe...
**Mazinaajim: "pictorial story." When you dissect the word, you find mazinaate -- "it is an image created by light; it is projected." This meaning-part comes from the root mazinizi, "design, is or has a design." The latter part, aajim, is a verb meaning "to narrate any kind of story about someone."
***To learn more about the topic of language, explore: The Truth of Decolonization - Why We Must Nurture Our Language Roots
****Source; Baagak Aadisookewin: Legends of History and Memory by Jason L. Bone