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Iktomi depicted sitting by the fire.

In Lakota mythology, Iktómi is a spider-trickster spirit, and a culture hero for the Lakota people. Alternate names for Iktómi include Ikto, Ictinike, Ksa , Inktomi, Unktome, and Unktomi. These names are due to the differences in languages between different indigenous nations, as this spider deity was known throughout many of North America's tribes.

His appearance is that of a spider, but he can take any shape, including that of a human. When he is a human he is said to wear red, yellow and white paint, with black rings around his eyes.

Story

[edit]
A modern depiction of Iktómi.

The Spider, although most tales involve the trickster figure and center on morality lessons for the young, Iktómi was also the bringer of Lakota culture. He is the first born son of Inyan, the Rock. He was originally called Ksa.[1] According to author James Walker, Iktómi has his roots in Ksa, the god of wisdom: "Because Ksa had used his wisdom to cause a goddess to hide her face in shame and a god to bow his head in grief, Scan, the god of motion condemned him that he should sit at the feasts of gods no more and should sit on the world without a friend, and his wisdom should be only cunning that would entrap him in his own schemes. He named him Iktómi. So Iktómi is the imp of mischief whose delight is to make others ridiculous".[2] The Oglala of South Dakota present Iktómi as the second manifestation, or degeneration, of Ksa, which hatched from the Cosmic Egg being laid by Wak-Inyan, the primordial thunderstorm. Ksa invented language, stories, names and games. In another version Iya is the son of Unk (defined as passion), who detested Ksa. Iya and Unk had an incestuous relationship out of which Gnaski, the demon, was the result. Because of this, and for not taking the advice of Ksa, Unk was expelled from the circle of divine entities. Unk wanted to outwit Ksa with the help of the cunning of Gnaski. Gnaski succeeds in this, mainly because he has no fear of Skan (the Judge, Activity), by sowing confusion. Gnaski enabled this by mimicking Ksa to perfection; therefore, Gnaski is called Ksapela (little wisdom). The first people were not able to distinguish between the two. Through his folly Gnaski entangles Ksa completely, and through the activity of Skan Ksa consequently becomes a spider, the meaning of the name Iktómi.

Iktómi still had the feature of making games. It seems that Iktómi, in stories attributed to him, in his very essence is representing the confusion between wisdom and folly. He began playing malicious tricks because people would jeer at his strange or funny looks. Most of his schemes end with him falling into ruin when his intricate plans backfire. Because it is Iktómi, a respected (or perhaps feared) deity playing the part of the idiot or fool, and the story is told as entertainment, the listener is allowed to reflect on misdeeds without feeling like they are being confronted. In other tales, Iktómi is depicted with dignity and seriousness, such as in the popularized myth of the dreamcatcher.

Iktómi is a shapeshifter, and can use strings to control humans like puppets. He has also the power to make potions that change gods, gain control over people and trick gods and mortals. Mica or Coyote is his great accomplice in all of this, though there are times when he behaves seriously and comes to the aid of the Lakota people, there are instances where he gives the people ways to protect themselves from evil, live a better life with technology, or warn them of danger.

Interpretations

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The tales of Iktómi's propensity for mischief leads many without a full understanding of Native American mythology to believe that he is an evil figure. However, it is not quite that simple. Iktómi can be seen as both good and bad, and has been portrayed in both ways. Many other Native American tricksters, like Mica (Coyote), are often victims of the same misconception. Despite Lakota not expressing hysteria or extreme fear towards Iktómi, generally he is viewed as a being whose gaze is to be avoided, lest trouble find you.

The picture of a spider, of Iktómi, could be used as love magic: by it, the souls of a boy and a girl could be caught and connected. In this case they cannot escape meeting and falling in love.[3] Lame Deer tells a story in which Iktómi saw a group of ducks. He wanted to eat them and that is why he lied that his bag is full of pou-wow songs. The ducks asked him to sing some of them. He agrees, but only if they close their eyes. So he started killing them, while some realized what was happening. Iktómi, says Lame Deer, is like those of the politicians who make us close our eyes, sing and dance for them while they hit us on the head.[4]

Because the Lakota mythology is word of mouth, and traditionally there were no written records, most of the information about Iktómi in Lakota mythology has not been written down or recorded. He has lived on in the retelling of tales and the religious traditions which are passed on from generation to generation, into the modern day.

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See also

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References

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Bibliography

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Iktomi

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Iktomi, also spelled Iktómi, is a central figure in , a branch of oral traditions among the Great Plains Native American peoples, often depicted as a spider-like man who embodies cunning, , and ambiguity through his pranks and teachings. Typically portrayed as a human-sized being with a round body, slender limbs, and powerful hands and feet, Iktomi wears buckskin and raccoon-skin attire, reflecting his shape-shifting and adaptive nature in stories. As the firstborn son of Inyan (the rock), he emerges fully grown from an egg, initially named Ksa, and possesses mysterious powers that can bring both good and ill, including the ability to make predictions reality or create tools like arrowheads and war clubs. In Lakota tales, Iktomi serves as a teacher and mischief-maker, frequently outsmarting others with sly schemes but occasionally being bested by (Šuŋgmánitu), highlighting themes of ego, , and balance. His backward ways—doing things contrarily—symbolize creative disruption, as he is credited with naming animals, inventing , and even introducing to allow for renewal and further creation. These stories, passed down orally and later recorded by Lakota storytellers like Zitkala-Ša, evoke laughter while imparting moral lessons on human flaws, pride, and the interplay of wisdom and foolishness. Iktomi's role extends to cultural rituals and (sacred clown) traditions, where his boundary-crossing antics reinforce Lakota values of harmony and reflection.

Etymology and Terminology

Name Origins

The name Iktomi derives from the Lakota term iktómi, which directly translates to "" in the , underscoring the figure's association with spider-like qualities such as web-weaving and cunning entrapment. This linguistic root emphasizes Iktomi's role as a deceptive or tricky being, mirroring the spider's natural behavior of luring and capturing prey through intricate designs, a central to Lakota oral traditions. In broader Siouan linguistic contexts, the concept of "spider" connects to Proto-Siouan roots like -kox-, a reconstructed form evident in related languages such as Crow (awáko•xa) and Biloxi (koxodé), though Lakota iktómi represents a specialized mythological adaptation rather than a direct cognate. Historical analyses highlight how such terms evolved to embody themes of trickery and cunning, reflecting the spider's symbolic role in Siouan cosmologies as a weaver of fates and illusions, without explicit diminutive suffixes documented in primary linguistic records. The earliest documented references to Iktomi appear in late 19th-century ethnographies, notably those compiled by James R. Walker, a physician at the Pine Ridge Reservation who recorded Lakota sacred narratives from holy men between 1896 and 1914. Walker's works, including Lakota Belief and Ritual (first published in 1917), preserve oral accounts portraying Iktomi as a transformed spirit of wisdom turned , marking the transition from purely indigenous transmission to written scholarship.

Variations Across Tribes

The name Iktomi exhibits variations across Siouan-speaking tribes, reflecting linguistic dialects and cultural adaptations within the broader confederacy and related peoples. In Lakota (Western Sioux) usage, it is commonly rendered as Iktomi or Ikto, emphasizing oral vowels, while in Dakota (Eastern Sioux) dialects, it appears as Unktomi or Unktome, incorporating nasalization of the initial vowel due to phonetic shifts characteristic of Eastern Dakota languages. Among other Siouan groups, the figure is known as Iktinike (or Ictinike) in the Omaha-Ponca traditions, where he serves as the primary exiled to earth for his misdeeds. In () folklore, the equivalent is Sitconski, though some storytellers borrow the Sioux term Inktomi, highlighting shared narratives across these interconnected tribes. The Winnebago (), another Siouan people, refer to their trickster as Wakdjunga, a figure with parallel roles in creation and mischief but distinct from the spider motif central to Iktomi. These variations underscore Iktomi's primary association with Lakota and Dakota but extend to other Siouan tribes through historical migrations and oral traditions, with influences reaching Algonquian groups like the (Veeho) and (Nihansan) via inter-tribal exchanges on the Plains.

Mythological Role and Characteristics

Physical Description

In , Iktomi is primarily depicted as a spider-like figure, often anthropomorphic and human-sized, embodying a blend of and humanoid traits that symbolize his role as a . He possesses a large, round body reminiscent of a spider's , paired with slender arms and legs, as well as powerful hands and feet that enable his cunning maneuvers. This form highlights his otherworldly nature, born full-grown from an egg as the firstborn son of the creator Inyan, and dressed in traditional attire such as fringed buckskin clothing adorned with fur, emphasizing his connection to the natural world. When appearing in human guise, Iktomi often takes the form of a tall, thin man with distinctive markings that underscore themes of . His long black hair is parted in the middle and wrapped with red bands, falling over his shoulders, while his face features a protruding chin, bony fingers, and painted elements including red and yellow colors on his cheeks, along with large black rings around his eyes—symbolic of his deceitful intentions. He wears brown deerskin with soft fringes, a beaded deerskin jacket, tiny moccasins, and a half-worn draped over one , sometimes carrying a beaded knife case from his belt. These details, drawn from traditional storytelling, portray him as a sly wanderer across the prairies, his bare black head gleaming in the sunlight and his movements light and agile like a . Iktomi's abilities further define his elusive physical presence, allowing him to transform into various forms while often retaining associations with webs to evoke and trickery. He can assume the of birds, such as a peacock with vibrant and feathers, or other entities like an . Though specific animal transformations like coyotes appear in broader narratives, his changes consistently serve to manipulate situations, always hinting at his underlying essence through web-related motifs in the tales.

Personality Traits

Iktomi embodies the classic archetype in , characterized by cunning, mischievousness, and impulsiveness that often drive his actions out of self-interest. He is depicted as sly and wise, employing deception and quick wit to outmaneuver others, yet his schemes frequently stem from personal gain or momentary desires, leading to unintended consequences. This impulsivity highlights his voracious nature, perpetually "hungry" for more, whether in sustenance, status, or amusement, which underscores his role as a chaotic force in narratives. Central to Iktomi's character is his duality, capable of both benevolence and malice, reflecting the complexities of flaws within the Lakota worldview. As a , he occasionally aids others through inventive acts, such as creating tools or mediating conflicts, demonstrating a constructive side that fosters growth and community values. Conversely, his deceitful schemes can result in harm or folly, portraying him as malicious when his pranks backfire or exploit vulnerabilities, yet these missteps inadvertently teach lessons in caution, honor, and . Symbolically, Iktomi represents chaos and gained through , embodying the balance between creation and destruction in Lakota cosmology. His unpredictable, shape-shifting behavior introduces disorder that disrupts the status quo, but it also paves the way for renewal, as seen in his role in bringing to make room for further creation. This dualistic essence—good and bad simultaneously—serves as a mirror for imperfection, encouraging reflection on the interplay of order and disruption in life.

Origins in Lakota Mythology

Creation Story

In Lakota cosmology, the figure known later as Iktomi originates as the firstborn creation of Inyan, the primordial Rock and supreme being who initiated the formation of the world by sacrificing his own blood to imbue it with life and substance. This act of self-sacrifice by Inyan established the foundational elements of existence, drawing from his essence to shape the physical and spiritual realms. As Inyan's direct offspring, Ksa— Iktomi's original name—emerged at this nascent stage, embodying the purity of divine intent before the world's complexities unfolded. Originally named Ksa, meaning "," this entity served as the responsible for upholding the early cosmic order and disseminating among the emerging spirits and forces. Ksa's role was pivotal in organizing the primordial harmony, acting as a mediator and instructor in the delicate balance of creation, where Inyan's power required guidance to prevent chaos. Drawing from the union of Inyan with , the thunder being manifested from Inyan's own nature, Ksa represented the intellectual and ordering principle that complemented the raw creative energy of his progenitors. Ksa's emergence predates the manifestation of subsequent spirits, such as Wi, the Sun, who was formed later by Skan from elements drawn from Inyan, Maka, and the encompassing of Han. This positioning underscores Ksa's primacy in the sequence of divine births, aligning him closely with Inyan's initial sacrifice and the world's foundational structuring. This exalted status as a bearer of would later be eclipsed by a , marking his transformation into the Iktomi.

Transformation into Iktomi

In , the figure now known as Iktomi began as Ksa, a divine being embodying who was born from the union of Inyan (Rock) and (Thunder Being) and served as a counselor to the gods, inventing , naming all things, and teaching and puzzles. Ksa's excessive cunning manifested when he was deceived and ridiculed by Gnas (a ) posing as Ksapela (), prompting a vengeful desire in Ksa to humiliate others in return. As a result, Skan, the sky god and supreme judge of divine order, intervened by cursing Ksa for this misuse of ; Skan stripped him of his divine powers, renamed him Iktomi, and transformed him into a spider-like , banishing him from the gods' council. The consequences of this were profound: Iktomi lost his and original purity, becoming bound to the earthly realm and entangled in human affairs as a flawed intermediary who could no longer fully participate in divine matters. This shift marked Iktomi's permanent role as a mischievous figure, reflecting his spider form's web-weaving nature as a for intricate deceptions. Symbolically, the transformation introduced imperfection and duality into the perfect cosmic order, illustrating how can devolve into folly when corrupted by and vengeance, thus establishing a balance essential to Lakota understandings of creation and human experience.

Key Stories and Legends

Inventions and Contributions

In , Iktomi serves as a whose inventive actions contribute to the foundations of human society, often leveraging his nature to impart essential and skills. Through his clever manipulations and teachings, he facilitates the development of communication, traditions, and protective practices among the . One of Iktomi's key contributions is the invention of , where he taught the to speak and communicate, thereby enabling the formation of social bonds and cultural transmission. According to traditional accounts, Iktomi created spoken words and assigned names to people, animals, and elements of the world, transforming silent existence into a structured verbal realm that supported and identity. This act is documented in Lakota belief systems as a pivotal step in human development, originating from Iktomi's wisdom as a former of . His exploits form the core of numerous oral storytelling traditions and he introduced various recreational games that enrich Lakota cultural life. These narratives, passed down through generations, serve as vehicles for moral lessons, humor, and the preservation of values within the community. Additionally, Iktomi introduced games such as Hanpapeconpi, a guessing game involving concealed objects under moccasins and strategic deception, which he taught to foundational figures to promote skills in psychology, risk, and social interaction. These activities, rooted in his teachings, foster recreation and reinforce communal ties. A notable invention attributed to Iktomi is the , a web-like device designed to safeguard sleepers from nightmares. In granted to an elder on a sacred mountain, Iktomi appeared as a and wove the first such web from and sinew, explaining that good dreams would pass through the center to inspire while evil ones would become ensnared in the strands and perish with the dawn. This creation symbolizes the trapping of malevolent forces, drawing on as a metaphor for interconnected protection, and has become integral to Lakota spiritual practices for ensuring restful and positive dreams.

Trickster Tales

In Lakota oral traditions, one prominent tale illustrates Iktomi's deceptive nature through his encounter with a flock of ducks. Hungry and approaching a where ducks are dancing, Iktomi joins them, singing and beating a . As they dance with eyes closed, he twists the necks of the fattest ducks. However, one duck opens its eyes, sees him, and warns the others, who attack Iktomi and chase him away, leaving him with only a few ducks. Another narrative features Iktomi's failed attempt to outsmart a group of rabbits, highlighting his in the face of vigilance. Spotting rabbits , Iktomi lures them with promises of a celebratory , instructing them to close their eyes and form lines while he beats a on a sack supposedly filled with songs. As they dance blindly, he swings his club to kill them for . Yet, one clever rabbit peeks, shouts a warning—"Brothers, Iktomi means to slaughter us!"—and the rabbits scatter, leaving Iktomi empty-handed and ridiculed for his transparent ruse. This story underscores the folly of deceit when met with awareness. Iktomi's interactions with a porcupine end in the animal gaining protection, as he tries to exploit the animal's vulnerability but aids it instead. Long ago, porcupines had no quills. Observing a porcupine using hawthorn thorns for defense, Iktomi takes hawthorn branches, peels them, and embeds them into clay smeared on the porcupine's back, making them part of its skin. When a wolf attacks, it flees injured by the thorns. Thus, porcupines now have quills. Accounts from Lakota medicine man describe Iktomi's involvement in , often with ironic twists that hinder rather than help. In one anecdote, Iktomi covets a young virgin promised to the sacred figure Rabbit Boy and uses illusions to manipulate villagers into doubting Rabbit Boy's purity; he spreads rumors and orchestrates a where Rabbit Boy is bound and dismembered. A revives Rabbit Boy, affirming his power, but when Iktomi mimics the revival song out of , he is similarly cut apart—yet fails to resurrect, reduced to mere chunks of flesh. This backfires spectacularly, exposing Iktomi's illusions as futile. Additionally, Iktomi's spider-like image is invoked in yuwipi ceremonies as a charm to bind lovers' souls, creating romantic illusions to draw a boy and girl together; however, such magic frequently leads to unintended complications, like mismatched affections or comedic misunderstandings, emphasizing the unpredictability of his deceptions.

Cultural and Symbolic Interpretations

Duality of Good and Evil

Iktomi is not portrayed as a purely malevolent figure in but rather as a complex whose actions serve as cautionary exemplars against and . His frequent schemes often stem from overconfidence or , leading to self-inflicted mishaps that underscore the perils of excessive , thereby instructing listeners on the value of and foresight. For instance, through indirect lessons in tales where his deceptions backfire, Iktomi imparts , such as the importance of and resourcefulness in navigating challenges, encouraging the Lakota to anticipate tricks and adapt cleverly to harsh environments. In Lakota cosmology, Iktomi's actions reflect the principle of wolakota, the sacred harmony and relational balance that permeates all existence, yet his personal flaws disrupt this equilibrium, mirroring the imperfections inherent in human society. As a spirit, he both creates and undermines order, reflecting the dynamic interplay of forces that maintain cosmic balance without absolute good or . His and cunning highlight how individual shortcomings can unsettle communal harmony, serving as a philosophical reminder of the need to restore wolakota through ethical conduct and mutual respect. Twentieth-century scholarly analyses, particularly those by Yankton Dakota ethnographer Ella Deloria, link Iktomi to psychological archetypes representing the shadow aspects of the human psyche—unrestrained desires and flaws that must be acknowledged for personal growth. In her collections of oral narratives, Deloria depicts Iktomi's selfish antics as emblematic of internal conflicts, offering insights into the moral ambiguities that shape Lakota worldview and individual character development. These interpretations emphasize Iktomi's role in fostering , aligning with broader anthropological views of tricksters as conduits for exploring the duality within human nature.

Role in Rituals and Magic

In Lakota tradition, Iktomi's association with spider webs extends to symbolic uses in magic, where spider imagery draws on his trickster essence to represent ensnaring and discerning forces, reflecting the dual potential of his web. These symbols may be incorporated into personal medicine bundles or rituals. Protective rituals invoking Iktomi's imagery focus on warding off his negative influences through objects and motifs inspired by his teachings. The , originating from a vision where Iktomi appeared as a to a Lakota elder and demonstrated weaving a hoop web to filter dreams—trapping harmful visions while allowing beneficial ones to pass through the center—serves as a primary hung above beds or cradles for spiritual safeguarding. Spider web designs appear in certain ceremonial contexts, such as hoops in dream society rituals, symbolizing interconnected protection against malevolent forces during purification rites, where participants seek harmony amid Iktomi's potential disruptions. Due to Iktomi's volatile nature, which embodies both and potential harm as a malevolent spirit, Lakota practitioners observe taboos by avoiding direct invocation of his name or form in sensitive rites such as vision quests or healing ceremonies to prevent unintended chaos. Instead, holy men use ceremonial bundles to control or exorcise his influences, often balancing this through prayers to Skan, the sky enforcer of oaths and harmony, ensuring ritual stability and ethical alignment.

Comparisons with Other Trickster Figures

Similarities to Other Native American Tricksters

Iktomi shares numerous characteristics with , a prominent figure among various Plains tribes such as the Crow, Blackfoot, and . Both are depicted as shapeshifters capable of transforming into animals or humans to deceive others, often inventing useful tools or cultural elements only to undermine their own achievements through greed or folly. For instance, Coyote's legendary for humanity parallels Iktomi's role in gifting language to the people, yet both narratives highlight the trickster's self-serving nature leading to comedic or cautionary failure. In Southwest traditions, particularly among the and , (also known as ) exhibits parallels to Iktomi through the shared motif of symbolism and web-weaving as a creative act. uses her webs to protect and guide humanity, weaving baskets or structures that aid in emergence from the or daily survival, much like Iktomi's occasional constructive deceptions that foster communal knowledge. However, Iktomi's webs more frequently serve personal trickery and entrapment, contrasting 's emphasis on benevolent protection and teaching weaving skills for harmony. Iktomi aligns with the broader Native American archetype, which echoes structures in tales from traditions. Both employ motifs where clever schemes , resulting in that imparts moral lessons on and balance, as seen in stories of outwitting foes only to be undone by overlooked details.

Unique Aspects in Lakota Tradition

In Lakota cosmology, Iktomi is deeply integrated into the Siouan creation narrative as the firstborn son of Iŋyaŋ (Inyan), the primordial rock that embodies the foundational essence of the universe, and is initially named Skáŋ (Skan), representing sky and motion. This origin ties Iktomi directly to the core forces of creation and order, positioning him not as an independent entity but as a derivative manifestation emerging from an egg. Unlike more autonomous figures such as in traditions, who often operates outside strict familial or cosmological hierarchies, Iktomi's role reflects Lakota emphasis on relational interdependence within the wakan (sacred) order. A distinctive feature of Iktomi in Lakota lore is the portrayal of his folly as a pathway to , where his schemes frequently backfire, highlighting the consequences of and promoting communal over personal triumph. These narratives illustrate how Iktomi's attempts to deceive others—such as tricking animals or fellow spirits—ultimately expose his own vulnerabilities, serving as humorous yet cautionary tales that reinforce ethical lessons for the . This focus on collective learning through failure contrasts with heroic archetypes in other traditions, underscoring Iktomi's function as a flawed teacher who embodies the Lakota value of and mutual support. Iktomi stories are preserved primarily through Lakota oral traditions, recited by elders during communal gatherings and ceremonies to transmit cultural knowledge and moral guidance, in contrast to the more documented, written mythologies of other indigenous groups. These tales, often shared in winter sessions or ritual contexts like the , emphasize relational ethics and survival wisdom, ensuring their vitality without reliance on textual records.

Representations in Modern Culture

Literature and Media Adaptations

Iktomi has been prominently featured in through the works of author and illustrator Paul Goble, who retold several Lakota tales in a series of illustrated books aimed at young readers. In Iktomi and the (1988), Goble depicts Iktomi attempting to outwit a massive rock with the help of bats, resulting in humorous consequences that explain natural features of the , emphasizing themes of cleverness and folly. This book, published by Orchard Books, is part of Goble's broader Iktomi series, which includes titles like Iktomi and the Berries (1989) and Iktomi and the (1998), all drawing from Plains Indian oral traditions to make cultural stories accessible to contemporary audiences.

Contemporary Art and Scholarship

In contemporary scholarship, Iktomi has been analyzed as a symbol of postcolonial resistance and Lakota identity reconstruction, particularly in works from the 2010s onward. Gerald Vizenor's foundational "Trickster Discourse: Comic Holotropes and Language Games" (1989), frequently cited in early analyses, frames Iktomi as part of a broader paradigm that subverts colonial "terminal creeds" through imaginative, non-tragic narratives, aiding by reclaiming Native presence. This perspective influences later studies, such as those in Transmotion journal (2016), which extend discourse to contemporary Indigenous visual and performative arts for identity assertion. In , Lakota artist and scholar Arthur Amiotte integrates Iktomi's motifs into and mixed-media installations, merging traditional Lakota aesthetics with modern commentary on cultural survival; his 1966 painting Iktomi () exemplifies this, depicting the figure's dual nature while influencing his ongoing exhibitions like Continuity and Diversity (2017). Amiotte's works, often featured in museum collections, highlight Iktomi's role in bridging historical lore and present-day Lakota expression. Digital representations of Iktomi have emerged in 2020s Native-led projects, including (AR) interventions and gaming apps that adapt tales for . For instance, Indigenous artists' 2025 AR project ENCODED: Change the Story, Change the Future at the Metropolitan Museum overlays digital Native narratives on colonial artifacts, echoing disruptive spirits in virtual formats. Such innovations appear in apps like those from the WoLakota Project, which incorporate Iktomi stories into mobile experiences for language and cultural revitalization. Scholarship and art reveal gaps in Iktomi coverage, with recent initiatives addressing underrepresented tales through community-driven efforts. The Heart of All Project (2022), centered on Pine Ridge Reservation elders, documents Lakota narratives including lore to counter historical erasure. Collaborations like the WoLakota Project's elder videos (ongoing since , expanded in ) revive Iktomi stories via , supporting broader revitalization amid language loss and cultural reclamation. These projects, often partnering with institutions like the Smithsonian's Folklife programs, emphasize Iktomi's pedagogical value in sustaining Lakota oral traditions.

References

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  43. https://www.digitalartsblog.com/exhibitions/rewriting-the-mets-american-wing-indigenous-artists-use-augmented-reality-to-reclaim-history
  44. https://sdhumanities.org/heart-of-all-lakota-history-project/
  45. https://www.wolakotaproject.org/wp-content/uploads/2024/02/Cultural-Reconnection-Through-Story-Guide-final-compressed_1.pdf
  46. https://folklife.si.edu/the-smithsonian-folklife-and-oral-history-interviewing-guide/smithsonian
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