Teaching Stories, part 8

The Origin and Spirit Powers of ᐧᐄᐧᑳᐦᔅ the Birch Tree

- Updated August 18, 2021

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'Thunder Leaf': sterling silver ring by ZhaawanArt set with turquoise and red coral. The free-form turquoise stone is accompanied with a stylized birch leaf of sterling silver. The ring celebrates the beauty and spirit powers of Wiigwaazhaatig, the birch tree. The ring serves as a teaching device and is not for sale.

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Boozhoo! Biindigen miinawaa nindaadizookewigamiginaanong (Hello! Welcome back to our Storytelling Lodge)!

Today, we are going to dwell a little further on our pictorial and jewelry art and the ancient teaching stories that we share along with it. Part 8 of a new series.

In the traditional world of the Anishinaabe Peoples, a MITIG (ᒥᐦᑎᒃ ) or tree, is alternately or simultaneously MANIDOO (ᒪᓂᑑ ; a spirit), and BEMAADIZID (ᐯᒫᑎᓯᑦ; a person). A tree is regarded as a carved image of BIMAADIZIWIN (ᐱᒫᑎᓯᐧᐃᓐ), or life. Mitig gives life, serving all the People’s needs. In return, the People can give nothing but for their songs and chants, and BIINDAAKOOJIGEWIN, offerings of ASEMAA (ᐊᐦᓭᒫ; tobacco).

The ancestors believed that, if you want to know what happened in the past, before the time of the oldest person alive, you should talk to the mitigonabi-aya'aag (ᒥᐦᑎᑯᓇᐱᐊᔭᐋᒃ ), the spirits in the trees.

The tree persons that are considered the most esteemed and eminent (sacred) throughout Anishinaabe Aki, the land of the Anishinaabe Peoples, are WIIGWAAS (ᐧᐄᐧᑳᐦᔅ ) the birch, GIIZHIK (ᑮᔑᐦᒃ) the cedar, ANINAATIG (ᐊᓂᓈᐦᑎᒃ; "Man Tree") the sugar maple, and AZAADI (ᐊᓵᑎ ) the poplar/mountain ash.
  
Wiigwaas, also called Wiigwaazhatig or Wiigwaasimitig, the white birch tree or Paper Birch, is perhaps the most beloved of all the members of the Great Tree Nation...The reason for this is twofold: the great usefulness of ᐧᐄᐧᑳᐦᔅ  the birch to ᐊᓂᐦᔑᓈᐯ(ᒃ) (Anishinaabeg), and his connection with Wenabozho – yet these two reasons are really one, for everything that is a benefit to the People is traced to Wenabozho, the great aadizookaan (supernatural being) who taught the Anishinaabeg how to survive in their natural environment - and yet, by his foolish actions, gave them an endless supply of humor.

In the sacred Anishinaabe stories or parables - myth is a European concept! -, metamorphosis occurs with noticeably frequency where manidoog (manitous or spirit beings) change their form. Wenabozho, undoubtedly the most beloved of all aadizoogaanag and manidoog, is the pinnacle of all that is good in the Anishinaabeg.

Yet, paradoxically, Wenabozho also opens a dark window on the soul, revealing all that is bad in human nature. He is basically a manidoo in nature and essence before anything else; outward appearance is only an incidental attribute of his incorporeal being. One of the many good deeds Wenabozho performed for the good of the People was that he had blessed their beloved birch tree.

The straight and tall composure, the beautiful snow-white color, and the reverence that our ancestors held for the birch tree inspired Zhaawano to name his youngest son ‘Wiigwaas’, who was born in 1989 in the Midsummer Moon, the month of July – which is the time of year when the birch bark harvest draws to an end.

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'Wiigwaas': Pen and ink drawing by Zhaawano Giizhik

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Wiigwaas Manidookwe (Spirit of the Birch)

When I am in tears
you silently calm me

love of a true mother
your gift to all people

you are the soft hairs
of our mother the earth

when laying amidst you
I know I am loved

standing in the forest
praying from my soul

I know you are close
and take my words

straight to her heart
female spirit of the birch

how generous you share
I give thanks to you
I honor you...

- A poem by Simone McLeod

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A sacred story of the birch tree

There is an old aadizookaan or traditional (sacred) story, related by the late Gilbert Oskaboose from the Serpent River First Nation in Ontario, about the origin of the birch tree. Below is a summary, a free adaptation of his “The Legend Of The Birch Tree” (1988).

“Many moons ago, after a bloody battle with a warring Nation from the South that took place in what is now Northern Ontario, the aayaanikaaj mishoomisag (ancestors) buried their most beloved son and most honored warrior, who during his short life had listened to the name of Wiigwaas. In the time of Waabigwani-Giizis (Flowering Moon, or May) out of Wiigwaas’s grave grew a sapling, straight and tall, his bark possessing the truly enchanting color of new-fallen snow! Hereupon GICHI-MANIDOO, the Great Mystery, sent Noodin, the Wind, to tell the People about the birch and how he could help them in countless ways. And from that time on the Anisinaabeg harvest the bark from the time the leaves of the birch unfold until the end of Aabitaa-Niibinoo-Giizis, the Midsummer Moon (July).”

Ojibwe Anishinaabe Spirit writing migration story on birch bark 

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Just like the buffalo would do with the peoples of the Plains, or the caribou with those of the subarctic, Wiigwaasaatig provided the Woodland Peoples with food, clothing, and housing, and all kinds of utensils. His sweet and nutritious onzibaan (tree sap) could vie with that of the Maple tree. His bark (wiigwaas) gave the People materials for the covering and roofing of their wiigiwaaman (wigwams, houses), their clothing, their jiimaanan or canoes, aagimag (snowshoes) and odaabaa’iganag (toboggan), their utensils (makakoon or storage boxes for corn and maple sugar), jiibaakwe-akikwag or cooking pots, dishes, cones, waaswaaganan or torches, and a host of other things, and, of course, their fine works of art (i.a. mazinashkwemaganjiganan or birch bark transparencies/dental pictographs on birch bark). Also, the ancestors used birch bark in dyes and medicines.

A teaching video about wiigwaasabakoon, the birchbark scrolls 

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Image: The seven birchbark scrolls displayed in a Midewigaan (Midewiwin lodge) along with a Mide rattle and drum. These sacred scrolls, mnemonic record devices kept safely within the caches of Midewiwin spiritual practices by many generations of scroll keepers, depict the thousands of years old migration records, songs, ceremonies, creation stories, and oral histories of the Anishinaabeg Peoples.

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Throughout the past until this day, the usage of birch bark as a means of recording the creation stories, songs, history, symbolic images, and world view of the People, has been of great importance in passing along history and stories to succeeding generations. Wiigwaasabakoon or birch bark scrolls carry a myriad of complex geometrical patterns and shapes etched on the soft surface of the bark. These bark sheets are an amazingly time-resistant material and can remain intact for many centuries (some date back to a 1000 years or more!). In case a scroll conveys traditional teachings, for example about the origins of the Midewiwin, or songs and details of Mide rituals, it is called midewigwaas (plural: midewiigwaasag). Many writings include astronomy, rituals, family lineage, songs, and migration routes. The recordings of the up to 1000-year-old canoe routes followed by Anishinaabe migrants and traders are probably the oldest known geographical maps of Turtle Island (North America).

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Waaginogaan wiigiwaam, a domed wigwam covered in birch bark sheets

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An Ojibwe Birch Tree Ceremony

Anishinaabe harvesters, who are aware of the fact that the bark of the Paper Birch is a winter staple for their relative the Moose, are very respectful of wiigwaasaatig, often putting down asemaa (tobacco) in respect and  thanksgiving, before stripping the bark. Because of its value, they harvest birch bark carefully  – by cutting only through the outer layer of the bark - , so that serious damage to the tree is avoided and the continued life and growth of the tree is insured. There’s a period of time in the spring, usually in May or in June, when the outer bark of the tree more or less spontaneously loosens from the tree’s trunk. This is when Anishinaabeg strip the bark away from the tree. Some people who know birch well can tell when the bark is loose just by looking at the tree’s leaves. 

But there is more to the birch tree then its practical applications or what is available from surface information! Wiigwaasatig also has a metaphorical-side of meaning, which we will try to explain by the following stories and illustration.

At the end of the Flowering Moon, some Anishinaabe communities in Minnesota and Wisconsin hold an annual ceremony that reconnects humans to Wiigwaasatigoog, the birch tree: 

“This is a place of birches. The Hungry Winter is over. The Anisinaabeg have come here for the sacrifice. They have guided their canoes through rapids roaring the frenzy of Spring to reach this quiet, sacred grove.”

Many of the trunks are so thick that two men could not join hands around them. The sap flows late in the big trees. Now, when the moon of flowers has slimmed to a narrow curve, the bark will peel in broad, heavy sheets needed for canoes. It is time for the annual ceremony that again connects humans to trees. The Wiigwaasaatig will gladly give their tough, pliable skin to Wenabozho’s People.

Now the oldest man of the group stands before the oldest tree in the grove. In a quavering but determined voice, he speaks the ancient words of gratitude and asks forgiveness of the trees that he would cut. He goes on speaking, very softly now as he places asemaa (tobacco) at the foot of each birch. When he has finished his intimate prayer, he offers the smoking pipe to the East, South, West, North, Sky and Earth.

Early the next day they walk through the grove, admiring and honoring the marked trees. These had been selected, after a custom, in such a pattern that their removal will provide light and space for promising saplings. At each tree chosen, the sacred asemaa is offered again to the six points, and a little is placed in the Earth between the roots.

The first axe-man speaks softly to his birch, explaining the necessity of cutting it and thanking it for the gift it is about to make. He chops from one side only so the butt remains attached to the stump after felling. His son has placed poles across the fall area to avoid damaging the bark and to keep the trunk off the ground for peeling. He watches in reverence as his father swings the axe. The great tree crashes down, its branches waving like desperate arms of a fallen man! It shudders for a moment, than lies still. Did it hear the prayers and accept the offerings?

The father makes the first cut. He holds the knife blade at an angle so that the knife and bark will be comfortable together. Two men pry off the bark with sticks, carefully, so that it will not split. They roll it tightly but gently into compact bundles after which they are tied with basswood strips and carried back to camp.”

- The above story is freely adapted from THE BIRCH ‘Bright Tree of Life and Legend’ by John Peyton.

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Wiigwaas, the birch tree, is so extremely powerful, that once he provided Wenabozho with a safe shelter against the wrath of Animikii Binesiwag, the Thunderbirds, who allegedly regard the birch as their own child!

An Ojibwe Tale Of Wenabozho And The Birch Tree

Drawing by Zhaawano. The birch is depicted in the center of Anishinaabe Universe. 

“Once there was a spirit-boy, who was named Nanabozho or Trembling Tail by his grandmother Nookomis, and who taught the Ojibwe Anishinaabeg how to live in the natural world.”

One day Wenabozho (for this is how he is called when talked about from the storyteller’s perspective) asked Nookomis what was the biggest fish in the lake. She replied that there was an enormous fish that lived by a rock ledge but it was very powerful and would harm Wenabozho. No one could kill the fish because no one could get down there where it lived.

Wenabozho thought about how to hunt this fish, so he got some wood to make a bow and arrows. Then he asked his grandmother if there were any birds whose feathers could be put on the arrows to make them effective. She told Wenabozho the only feathers strong enough come from a bird that lives in the sky, at the opening of the clouds. One would have to go there to get these feathers.

Wenabozho climbed to the highest cliff and discovered a nest of the Thunderbirds and saw their babies. He turned into a rabbit so the Thunderbirds would bring him to their nest for their babies to play with. Wenabozho stayed in the nest for a long time; the babies were cruel to him and tossed him around. Eventually Thunderbirds went away to hunt for more food for their babies. Wenabozho turned back to a boy; he clubbed the baby Thunderbirds and pulled out their feathers. Before their parents could return, Wenabozho jumped from the high nest with the bundle of feathers but he was knocked out, but he was not killed because he was manidoo (a spirit).

When they returned to their nest, the angered Thunderbirds flew after Wenabozho!! Thunder rolled from their beaks and lightning flashed from their eyes. Wenabozho ran for his life clutching his bundle of feathers, but soon grew so tired he began to fear he would be caught. As the Thunderbirds reached for him with their claws, Wenabozho saw an old fallen birch that was hollow inside. Wenabozho crept into the hollow in the nick of time. The Thunderbirds ended their attack because they regarded birch trees as their own children! Wenabozho was safe. After the Thunderbirds went away, Wenabozho came out and proclaimed that the birch tree would forever protect and benefit the human race.

You can still see the short marks on the birch tree made by Wenabozho to commemorate the sharp claws of the Thunderbirds which almost killed him. The Thunderbird parents put "pictures" of their baby birds with out-stretched wings into the birch bark so the sacrifice of their children would always be remembered.

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Wenabozho fixed his arrows and went home. With these arrows he was able to kill the great fish that lived under the rock ledge.

Wenabozho has blessed the birch tree for the good of the human race. And this is why lightning never strikes the birch tree, and why anything wrapped in the bark will not decay. Birch bark is useful for house coverings, canoes, containers, utensils, tinder and in many other ways. The Ojibwe Anishinaabeg traditionally honor the wiigwaasaatig by offering a gift, such as tobacco, when they use this tree.”

Giiwenh: this is how far the story goes. 
Miigwech for reading and listening and bi-waabamishinaang miinawaa daga: please come see us again

-  The above aadizookaan (sacred Ojibwe story) is freely adapted from The Legend of Winabojo and the Birch Tree, in How Indians Use Wild Plants for Food, Medicine and Crafts, by Frances Densmore. Dover Publications Inc., New York, 1974.

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Ahaaw, before you go about your business for the day (or the night), here's another aadizookaan (traditional story) about Wiigwaas; how he got its marks engraved in his bark. The story is told by the late Ontario Elder Ojibway Joe. Enjoy!

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Glossary of Ojibwe words written in syllabics:*

ᐧᐄᐧᑳᐦᔅ — wiigwaas

ᒥᐦᑎᒃ — mitig

ᒪᓂᑑ — manidoo
ᐯᒫᑎᓯᑦ — bemaadizid
ᐱᒫᑎᓯᐧᐃᓐ — bimaadiziwin
ᐊᐦᓭᒫ — asemaa
ᐊᓂᐦᔑᓈᐯ(ᒃ) — anishinaabe(g)
ᒥᐦᑎᑯᓇᐱᐊᔭᐋᒃ — mitigonabi-aya'aag
ᑮᔑᐦᒃ — giizhik
ᐊᓂᓈᐦᑎᒃ — aninaatig
ᐊᓵᑎ — azaadi

* Courtesy of Charles Lippert

Read part 9 in the Teaching Stories series.

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About the author/artist:

Zhaawano Giizhik, an American currently living in the Netherlands, was born in 1959 in North Carolina, USA. Zhaawano has Anishinaabe blood running through his veins; the doodem of his ancestors from Baawiting (Sault Ste. Marie, Upper Michigan) is Waabizheshi, Marten. As a writer and a non-commercial artist and jewelry designer, Zhaawano draws on the oral and pictorial traditions of his ancestors. In doing so, he sometimes works together with kindred artists. 

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Teaching Stories, part 7

"Birth of Turtle Island"

- Updated July 12, 2024

MISHI MIKINAAKOMINIS NIIGIWIN, Birth of the Great Turtle Island by Zhaawano Giizhik.   

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Boozhoo. I am Zhaawano Giizhik.

In this blog post, I'm going to dwell a little further on my art and the teaching stories that I share along with it. Part 7 of a new series.

The above pencil drawing, which I made in 2011, tells the OJIBWE CREATION STORY of the world as we know it. The drawing is made in the X-ray Woodland art line drawing style of the Medicine Painters.

The image depicts a stylized image of MIKINAAK (the Great Snapping Turtle), or MISHIIKENH (the Mud Turtle). It serves as an illustration to the story of the Great Sea Turtle and  what the turtle means to the Native Peoples of Turtle Island (North America).

Since he, after a devastating flood that swept Aki (the earth), served mankind by helping to recreate the earth, Mikinaak (or Mishiikenh) has a special place of mediation in the worlds of the natural and the supernatural. After he lent his back for creation, Nookomis Dibik-Giizis, grandmother moon, conferred on him special HEALING POWERS that have been held in reverence ever since!

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Ahaaw, ningad-anishinaabe-aadizooke (“Now, I will tell a traditional story”).

“A long, long time ago, after the world was created, the great trickster Wenabozho and the horned Underwater Lynx Mishibizhiw were in a great battle with each other. Wenabozho injured the latter by shooting an arrow in his side. When the wounded cat crawled back to his water den and begged for mercy, offering a great amount of copper in return, Wenabozho tricked the frog people into lending him a frog skin to disguise himself so he could get close to Mishibizhiw. When he, disguised as a frog, got near Mishibizhiw, he pushed the arrow tighter in his chest. But since Mishibizhiw is a spirit himself, Wenabozho failed to kill him. Enraged, the Water Lynx slashed his copper tail and created a great flood. A great disaster ensued!

The great flood killed the plants and all land creatures, including mankind. The island that was created afterwards by GIIZHIG-OO-KWE (a female spirit who resided in the skies) who, with the aid of Wazashk (muskrat) and Ma'íingan (wolf), made it grow on the back of Mikinaak along with new flora and fauna, is still being called TURTLE ISLAND by most Original Americans.

The first mother of the Anishinaabeg was once an AADIZOOKAAN, a supernatural being residing alone in the sky. Her name was GIIZHIG-OO-KWE, or Sky Woman. GICHI-MANIDOO, the Great Spirit infusing all things and beings of Earth and Skies, pitying her loneliness, sent a male aadizookaan to Sky Woman to keep her company. ANIMIKII (Thunder), for that was his name, traveled to the sky lodge of GIIZHIG-OO-KWE and from the union that took place (rumor has it that Sky Woman showed her lover every hole and corner of the universe) were born the ANISH-I-NAAB-EG (a twin brother and sister), whom she planned to place on the back of a giant MIKINAAK (snapping turtle).

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But first GIIZHIG-OO-KWE had to convince MIKINAAK to lend his back to the re-creation of the world, because at that time the world was inundated with water below her and most animals had been drowned in the Great Flood that had hit the first world. As Sky Woman noticed that a few animals had survived the flood she called to her aid the giant turtle. He came to the surface so that she could sit on his back and call others to her side. Maang (the loon), Amik (the beaver), Nigig (the otter), and Wazashk (the little muskrat) were among her assistants.
 
That day, long ago, she spoke to the water animals as follows: 'I don't have all the powers of creation that GICHI-MANIDOO has. But I am a female spirit and I have a special gift. I have the power to recreate. I can recreate the world GICHI-MANIDOO created, but I can't do it by myself. I need your help. I need you to dive deep. I need you to bring me a handful of the original soil made by GICHI-MANIDOO. The soil will be the seed I use to recreate the Earth.
 
All day long the water animals took turns trying to reach the soil covered by the great depth of water but to no avail. At the end of the day it was only Wazashk the little muskrat, not used to swimming in deep water, who had not given it a try. The brave little animal decided that with no one else available to help it was up to him to do the job. He took many deep breaths and dived down and down.
 
As he finally came back to the surface Wazashk had clutched in his paw the soil from the bottom of the sea. Gratefully GIIZHIG-OO-KWE took the soil, dried it and breathed life into it, then rubbed it on the turtle's back. She rubbed the soil round and round and as she did so - some say aided by MA'IINGAN the wolf- an island took shape above the water. This is said to have occurred at MISHI-MIKINAAK-ONG, the present-day Mackinac Island in Lake Huron. GIIZHIG-OO-KWE continued to move over the new soil. She and the wolf walked in wider and wider circles; it took them 14 summers to complete the job! And so the Earth was recreated. Forever after the Anishinaabeg called the world MIKINAAK-O-MINIS, or Turtle Island.

Once the new island was complete, GIIZHIG-OO-KWE nurtured the twins to manhood and womanhood. and then, as her purpose and nature were finally fulfilled, she ascended back into the sky, where she changed her name in WEZAAWI-GIIZHIG-OO-KWE, Yellow Sky Woman, and became known as NOOKOMIS DIBIK-GIIZIS, Grandmother Moon. From here on, Nookomis Moon watched over her children by night; by day GIMISHOOMISINAAN GIIZIS (the Sunfather) and OMIZAKAMIG-OO-KWE (the Earthmother) took care of them. And Nookomis’ existence, her gift of life, and the primacy of women are still remembered by the Anishinaabeg each time Dibik-giizis, the Night Sun shines on their precious island-home."

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Giiwenh: so the story goes.

Mikinaak, or Mishiikenh, teaches the Ojibwe Anishinaabeg healing and communication with the Mystery World. Although physically the slowest of all creatures, he/she symbolizes swiftness of the mind and is regarded as a master of communication (of thought). 

No wonder the jaasakiidjig, the Mide-specialists often referred to as Shaking Tent seers, and who claim to draw their spiritual healing power from the Thunder Beings, elected the turtle as their patron!

The female figure depicted inside the turtle represents Sky Woman who, after fulfilling her task of recreating the world, ascends into her home, the sky world. The sturgeon and the water snake (which is also Sky Woman's right arm) depicted inside the turtle's body symbolize the water creatures and the odoodemag (clans, animal totems) of Science and Medicine, while the stylized wolf footprints that run around the circumference of the turtle's back shell refer to the land creatures - and to the warrior clans, the wolf doodem included: it was wolf himself who helped creating a new island home for the Anishinaabe People. The plant world (in the form of the long grains of manoomin or wild rice) is represented by Sky Woman's loose hair streaming after her. The five birds depicted on top of the turtle's head refer to the origins of the Anish-i-naab-eg and the five original odoodemag that formed the basis of an extensive family clan system that exists even until today. These five are: Crane, Bear, Marten, Catfish, and Turtle. Finally, the stylized sea shell or miigis depicted inside the turtle's head is a sacred symbol representing the seven great mide miigisag, radiant beings that appeared in human form to the Ojibwe Anishinaabeg to teach the people about the midewiwin life-style. 

The floating seed designs that surround the great snapping turtle are seeds of life, or balls of spirit power. These stylistic elements are powerful carriers of symbolic meaning, reminiscent of the sacred rock and birchbark art of the Ancients. The oval-shaped Power circle over the turtle's head and the flowing power lines that are connected to the turtle's fore legs express interdependence and communication and indicate a high level of spiritual power that's present in the drawing.

The Power circle, or unity symbol, depicted in the top of the drawing, and which I stylized after the oval shape of a miigis, symbolizes the duality of life. The divided circle represents dualities present in the new world that Sky Woman created - womanhood and manhood, sky and earth, good and evil, birth and decay, day and night, moon and sun, ebb and flood, honesty and dishonesty, function and dysfunction. One section of the circle inspires, complements, and  strengthens the other part. Each part depends on the other. The four smaller circles depicted inside the power circle/unity symbol, representing the four cardinal directions, are a reference to GICHI-MANIDOO, the Great Mystery that encompasses the four directions and everything that is. 

Miigwech for reading and listening. Bi-waabamishinaang miinawaa daga: please come see me again!

Read part 8 in the Teaching Stories series.

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Illustrations by Simone McLeod and Zhaawano Giizhik. 

Jewelry photos: 

- Mikinaak Miinawaa Ma'iingan::silver hair buckle (barrette)

- Giizhigookwe: The back of a silver and gold pendant by Zhaawano Giizhik.

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About the author:

Zhaawano Giizhik, an American currently living in the Netherlands, was born in 1959 in North Carolina, USA.  Zhaawano has Anishinaabe blood running through his veins; the doodem of his ancestors from Baawiting (Sault Ste. Marie, Upper Michigan) is Waabizheshi, Marten. As a write and a non-commercial artist and jewelry designer, Zhaawano draws on the oral and pictorial traditions of his ancestors. 

In doing so, he sometimes works together with kindred artists. He has done several art projects with Simone McLeod between the years of 2011 and 2018.

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