Ajuawak Kapashesit

I speak with Alex Nystrom, an Ojibwe filmmaker who is preparing his directorial debut, Spiral, a supernatural mystery about a young Ojibwe photographer whose father goes missing. I explore how his Ojibwe heritage and his late father’s storytelling shaped his work. We trace his career from Minnesota to New Orleans, New York, Los Angeles, and a production in Pakistan. I ask how he balances creative vision with the practical tasks of producing, budgeting, and team building. He offers direct advice to young people to trust their intuition and follow the hard choices. I point listeners to alexnystrom.com to find his work and to our Patreon to support the podcast.Takeaways:I learned that my father and early film experiences deeply shaped my desire to be a filmmaker.I emphasize that understanding budgeting, scheduling, and logistical constraints constitutes a primary creative act that shapes narrative clarity and production feasibility.I share that mentorship, listening, and treating crew kindly led to meaningful, recurring professional opportunities.I advise young listeners to trust their instincts, accept uncertainty, and pursue the difficult or frightening choice that resonates most strongly.I plan to film Spiral, centering Ojibwe rituals and the four day spiritual journey after death.Links referenced in this episode:alexnystrom.compatreon.com/fiveplainquestionselevenwarriorarts.com/storeinstagram.com/alexnystromCompanies mentioned in this episode:Art of the ConnectingArt of the WorldCold Stone CreameryBlockbusterIMDbLetterboxdSundance Native LabPatreon11 Warrior ArtsWindross Common Council FundInstagram

Links referenced in this episode:patreon.com/5plainquestionselevenwarriorarts.com/storehttps://www.ajuawak.com/instagram.com/ajuawakCompanies mentioned in this episode:5 Plain QuestionsArt of the RuralMacalester CollegeCanadian Film CentreNative Voices at the AutryImagineNATIVETIFF Bell LightboxPatreonEleven Warrior ArtsWindrose Common Council FundStar Wars

Jonathan Thunder's new short film Ish Meets a Mermaid brings together live action, hand-drawn animation, mythology, and humor. I welcome him back to the show to reacquaint listeners with his work and to discuss the film. He describes how the project took shape and how collaborators helped bring it to life. He explains why he values handmade and imperfect creative work in an era that prizes polish and AI. We also talk about Indigenous storytelling, the influences that shaped his artistic voice, and his next project, The Gitchi Gummy Gazette. We speak as a collective voice from 5 Plain Questions and we synthesize the themes that emerged in our conversation with Jonathan Thunder. We frame his work as a fusion of Indigenous myth, painterly imagination, and small‑scale filmmaking craft. We examine three persistent themes: authorship rooted in lived experience, the primacy of narrative over technical sheen, and the ethical care required when presenting Indigenous symbolism. We report that Jonathan favored hand drawn animation inserted into live action to preserve a tactile quality and to remain faithful to the story. We discuss the collaborative process where cast, crew, and a writer partner refined the script so the dialogue fit the actors and cultural context. We close with a forward view: Jonathan is developing The Gitchi Gummy Gazette, backed by funding and regional partners, and we encourage listeners to follow his work via Instagram and his website as the new film moves into production.Takeaways:I made Ish Meets a Mermaid by blending live action and hand drawn animation with mythology and humor.We co wrote the script and my partner Tashia helped shape structure and dialogue for clarity.I chose rough, handmade animation and rough craft over polish to keep the work human and real.I value embedding Indigenous cultural details in the story so it feels authentic and not like a garnish.We learned that production work built a family, and I loved the hard work of making a thirty person set run.I keep final cut and did much of the editing and visual effects myself to protect the story's nuance.I am now developing The Gitchi Gummy Gazette, a paranormal comedy about a failing journalist who sees ghosts and odd leads.We are finding that audiences often prefer handcrafted, imperfect art that they can see themselves in over flawless AI work.Links referenced in this episode:instagram.com/jonthunderjonthunder.compatreon.com/5plainquestionselevenwarriorarts.comCompanies mentioned in this episode:5 Plain QuestionsArt of the RuralThe Art Institute InternationalNetflixPixarMarvelCNNVision Maker MediaFilm NorthUpper Midwest Film OfficePatreonEleven Warrior Artselevenwarriorarts.comWindrose Common Council FundNorthern Plains Indigenous Film FestivalSkin FestArtists Guild of AmericaApple (Siri)Amazon (Alexa)Autodesk (Maya)

I am announcing that 5 Plain Questions is now on Patreon. I have spent seven seasons interviewing Native American and Indigenous artists, musicians, writers, and culture-bearers. I make the show on my own, and now you can help keep it going by joining our Patreon. For $3 a month you get a monthly note from me about what is coming up. For $7 you can receive every episode a week early and hear them ad free. For $15 you can see the video first and send your own questions for an upcoming guest. Every episode has five Plane Questions and you get to ask the sixth. Visit patreon.com/5plainquestions to join, and thank you for listening.Links referenced in this episode:patreon.com/5plainquestionsCompanies mentioned in this episode:Patreon

Pamela J. Peters reclaims Native identity through her art. I invited Ms. Peters, a Navajo multimedia artist and photographer, to recount her reclamation of cultural presence and to articulate how her imagery and multimedia projects restitute narratives long effaced by cinematic fantasy and public ignorance. We explore her biographical roots—her clan introductions, decades spent in Los Angeles, and the formative influence of elders and historical dislocation—together with her seminal project Legacy of Exile Indians that interrogates the 1956 Indian relocation program and the urban trajectories it produced. I foreground how storytelling functions as a vital cultural modality for Native communities, both as testimony and as a mechanism of intergenerational reconnection, and how Ms. Peters’s work deliberately resists reductive iconography to present contemporary Indigenous personhood. We also examine the evolving focus of her practice as she returns to the reservation, addressing ecological concerns such as water scarcity, the legacies of resource extraction, and the stewardship of homeland and nonhuman relatives. For those who wish to engage further, I reference her photographic corpus and ongoing projects available through her website and social channels, where she continues to document and amplify the complexities of Native American life in urban and rural contexts.Takeaways:I use photography and multimedia to reclaim Native identity and correct Hollywood myths.I documented the 1956 Indian relocation program and its effects on urban Native lives.I show modern Native people in cities without relying on fantasy costumes or relic images.I encourage young people to leave social media, learn from elders, and learn about nature.I am shifting my work to focus on water, land, and resource issues on the reservation.We need to reclaim our tribal names and not be generalized only as indigenous or native.I ask artists to explain their use of indigenous imagery and to show tribal specificity.Links referenced in this episode:https://pamelajpeters.com/elevenwarriorarts.comCompanies mentioned in this episode:University of Southern California (USC)UC Santa Cruz (University of California, Santa Cruz)University of ArizonaChange LabsYouTubeInstagramThreads (Instagram Threads)TikTokBlueskyFacebookLinkedInSubstackEleven Warrior Arts (11warriorarts.com)Art of the RuralSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

I speak with Alison Bremner, a Tlingit artist who blends traditional formline art with contemporary themes. I ask her about her background and mentors, and she explains how ceremony and community shaped her path. She describes learning from the Boxleys and building a career through shows, grants, and mentorship. She discusses her work in museum collections and a collaboration with Starbucks on cup designs. We also talk about her new project putting art on nails and her advice to young artists to work hard and start early. I encountered Alison Bremner as a Tlingit artist whose aesthetic practice emerges from a profound confluence of lived cultural inheritance and disciplined apprenticeship. I recall her articulation of a pivotal moment at Celebration in Juneau when the animating force of dance, language and carved transformation masks crystallized the trajectory of her work; she described purchasing a sixteen‑inch canvas immediately thereafter and commencing her first formline painting. I emphasize her lineage of mentorship under David Albert Boxley and David Robert Boxley and the manner in which those relationships instantiate a model of reciprocity: artists who sustain commercial careers while remaining integrally tethered to community obligations and ceremonial responsibilities. Throughout our dialogue she delineated two discrete but interdependent currents in her oeuvre—the public, commercial practice that circulates on social platforms and in galleries, and the private, traditional corpus that is retained for ceremonial use and community replenishment—thereby rendering visible the ethical architecture that governs her choices as a culture bearer and professional artist.Takeaways:I grew up Tlingit in Yakutat and my coming-of-age ceremony changed my life and art direction.I apprenticed with David Albert Boxley and David Robert Boxley for four years which taught me traditional practice and community responsibility.We balance traditional formline rules with contemporary subjects by composing shapes in traditional ways and telling modern stories.I built my career by applying to local shows, small grants, open calls, and learning from mentors and peers.I advise young artists to use the pre-family years to work hard and to dedicate time to their craft.I collaborated with Starbucks after initial contact through Instagram and careful meetings that led to a cup project released after a year.I trained in nail technology to make press-on nails so people can wear our art daily and connect with collectors often.We emphasize that established artists should keep doors open and that mentees must embrace discomfort and learn with humility.Companies mentioned in this episode:Burke Museum of Natural History and CultureBritish MuseumMusée des beaux-arts de MontréalHood Museum of Art (Dartmouth College)Sealaska Heritage InstituteJuneau Arts & Humanities CouncilGrunt GalleryStarbucksStarbucks Art ProgramInstagramTikTokFacebookThreadsBlueskyArt of the RuralSubstackElevenWarriorArtsSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

I will resume the podcast next week and release new episodes weekly for the remainder of the season. I had paused production while I established the Indigenous Art House and set up the Sovereign Studio gallery in downtown Fargo. We also launched the Northern Plains Indigenous Film Festival, which required substantial effort and contributed to the hiatus. I have recorded new interviews and assembled a strong roster of guests, though a technical failure cost us one recording. I ask that you support Native and Indigenous artists by visiting the gallery or contributing online. I am ready to continue the series and I will see you next time.Companies mentioned in this episode:Indigenous Art HouseSovereign StudioSolo's EateryNorthern Plains Indigenous Film FestivalFargo TheaterCenter for Native FuturesSupport 5 Plain Questions on Patreon and hear new episodes a week early, ad-free: https://www.patreon.com/5PlainQuestions

Holly Doll, a distinguished artist and citizen of the Standing Rock Sioux Tribe, embodies the intersection of cultural heritage and contemporary artistic expression. Specializing in Lakota beadwork and quillwork, Holly's artistic journey commenced at the tender age of two under the tutelage of her mother, instilling in her a deep respect for cultural values that inform her work today. As the Program Director for Ignite Rural and a Program Manager at Arts Midwest, she engages in pivotal efforts to support artists and communities, particularly through collaboration with the Waterers, a collective dedicated to disrupting conventional philanthropy. In this episode, we delve into Holly's multifaceted career, exploring her influences, the role of grief in shaping her path, and the importance of self-care amidst community engagement. We invite you to join us as we uncover the profound insights and experiences that Holly shares, illuminating the vibrant connection between art, culture, and community support.Takeaways:Holly Doll's artistic journey began at a remarkably young age, influenced profoundly by her mother, who instilled in her a deep appreciation for Lakota beadwork and quillwork.As a citizen of the Standing Rock Sioux Tribe, Holly Doll embodies the intersection of traditional artistry and contemporary expression, enriching her community through cultural work.Her professional endeavors span over a decade in arts and culture nonprofits, showcasing her commitment to fostering local power and supporting artists within her community.Holly's experiences illustrate the importance of community connections; she emphasizes the collective nature of grief and healing within Indigenous cultures.Through her work with the Waterers, Holly engages in radical philanthropy, challenging conventional approaches to support and empowering marginalized voices.Holly encourages the younger generation to embrace their fears, to follow their passions, and to prioritize self-care as they navigate their unique journeys.

In this engaging conversation, Aiko Little shares their journey as a writer and actor, discussing their influences, career development, and the importance of creating opportunities for themself and others. They emphasizes the significance of pursuing education and passion, while also encouraging young creatives to embrace their unique paths. Aiko reflects on their experiences in the foster care system and how they shaped their perspective on success and storytelling. The discussion concludes with Aiko's advice for the next generation and their aspirations for the future.Takeaways:Aiko Little emphasizes the importance of pursuing education and passion as foundational elements for personal and professional growth.Their journey through the foster care system profoundly shaped their understanding of success and the nature of storytelling.In thier role within the Writers Guild, they advocates for amplifying indigenous voices in the creative industry, striving for inclusivity and representation.Aiko encourages young creatives to embrace their unique paths and pursue opportunities that may initially seem out of reach.They reflect on how their influences, including matriarchs and comedic figures, have shaped their artistic voice and perspective.Aiko aspires to create formalized training opportunities for indigenous youth, highlighting the necessity of mentorship and support.Links referenced in this episode:elevenwarriorarts.comCompanies mentioned in this episode:Writers Guild of AmericaAmazonWong Fu ProductionsStarkid ProductionsAmerican Conservatory TheaterTia LeClaire

Penny Kagigebi, a queer 2-Spirit artist of White Earth Ojibwe heritage, has dedicated her life to the intersection of queer activism and cultural healing. In our conversation, we explore her commitment to preserving the endangered art forms of porcupine quillwork and birchbark basketry, while also addressing the critical question of what it means to keep these traditions alive in contemporary society. Since her previous appearance on our podcast, Penny has been remarkably active, receiving numerous accolades and fellowships that underscore her impactful work in the community. We explore her recent exhibition, "Queering Indigeneity," which not only showcases her artistry but also serves as a platform for intergenerational knowledge transfer among Indigenous artists. Join us as we reflect on Penny's journey and the vital role that art plays in cultural reclamation and community healing. Takeaways:Penny Kagigebi's artistic journey embodies the intersection of queer activism and cultural healing through endangered Indigenous art forms.The exhibition 'Queering Indigeneity' serves as a platform for two spirit artists to reclaim cultural narratives and foster community connections.Penny emphasizes the importance of mentorship and intergenerational knowledge transfer among Indigenous artists to ensure the survival of cultural practices.Through her artwork, Penny aims to facilitate healing and remembrance within the community by integrating significant cultural teachings and values.The collaborative nature of the exhibition highlights the transformative power of art in creating spaces of acceptance and belonging for two spirit individuals.Penny's commitment to community engagement reflects a desire to empower Indigenous youth and nurture the next generation of artists in their cultural practices.Companies mentioned in this episode:Region 2 Arts CouncilAnishinaabe Arts InitiativeLake Regions Art CouncilMinnesota State Arts BoardFirst People's FundsCultural CapitalEmerging Curators InstituteManoomin Arts InitiativeMinnesota AIDS ProjectIndigenous People's Task ForceArt of the RuralTextile Center