Native American Heritage Month is nationally recognized in the United States. It is observed every November to honor the history, culture, and contributions of Native American and Alaska Native peoples.
For generations, indigenous voices have been sidelined or misrepresented in mainstream media, often reduced to stereotypes or erased entirely. But in recent years, a powerful shift has begun. Indigenous creators are reclaiming the narrative and appearing more in major media outlets. This resurgence offers more than visibility to native cultures, it delivers authenticity, challenging and reshaping how audiences understand Indigenous identity. As more Native artists step behind the camera, in front of it, between the pages of a book, and inside the rhythm of a song, the media landscape is evolving to reflect the depth and diversity of Indigenous life across time.
Beyond the Page
I recently purchased Firekeeper’s Daughter by Angeline Boulley from Barnes & Noble. This bestselling YA thriller follows Daunis Fontaine, an Ojibwe teen caught between two worlds who becomes an undercover informant in a drug investigation. As an Indigenous woman myself, I was excited to read a story about a girl my age who reflected parts of my own experience, especially through fragments of Native language I vaguely understood. Beyond the language, I connected deeply with Daunis’s struggle to navigate two very different families. As someone who is biracial, I understand the emotional labor of learning to separate, and sometimes reconcile, my two familial worlds. The novel also sheds light on the very real dangers that Native women face daily, highlighting the disproportionate risks we endure compared to non-Native communities. Boulley’s storytelling is not only gripping, it’s urgent.
If you enjoyed Firekeeper’s Daughter, I recommend its sequel, Warrior Girl Unearthed. It continues in a similar vein, blending suspense with cultural insight, and is another compelling read for fans of Boulley’s voice and the Y/A genre.
For those drawn to nonfiction, I highly recommend Braiding Sweetgrass by Robin Wall Kimmerer. This critically acclaimed work is a poetic and profound blend of Indigenous wisdom and scientific knowledge, inviting readers to see the natural world through a lens of reciprocity, reverence, and relationship. It’s a book that speaks to both the heart and the intellect—and one that continues to shape how I understand land, kinship, and care.
From Powwow to Pop Chart
Indigenous music is experiencing a powerful resurgence; blending traditional sounds, languages, and storytelling with contemporary genres like pop, R&B, and hip-hop. Artists like Tia Wood are at the forefront of this movement, using their platforms to celebrate Indigenous identity and challenge colonial narratives. A Cree and Salish singer known for her expressive vocals and cultural pride, Wood gained widespread attention not only for her solo work but also for her recent collaboration with Shawn Mendes on a remix of “Summer of Love.” Her verse, sung in Cree, brought Indigenous language and artistry into mainstream pop, marking a rare and meaningful moment of representation.
Jayli Wolf is another standout voice in this wave. An Anishinaabe/Cree artist, she fuses identity with alt-pop and cinematic soundscapes, creating emotionally charged music that reclaims narrative and amplifies cultural pride. Her Lana Del Rey–esque style explores the complexities of rediscovery, trauma, and healing, offering listeners a haunting yet empowering experience.
For those drawn to hip-hop, Snotty Nose Rez Kids are a Haisla duo whose music blends Indigenous identity, political resistance, and high-energy lyricism. Their sound is unapologetically bold and mixes trap, boom bap, and experimental rap with sharp social commentary, humor, pop culture references, and ancestral pride. They have been described by listeners as unapologetic, politically urgent, culturally rich, and emotionally resonant.
Reclaiming the Reel
Indigenous television is entering a bold new era; one where Native creators are reclaiming the screen with humor, heart, and unapologetic storytelling. Shows like North of North are reshaping television by centering Native voices, lived experiences, and cultural nuance. Set in a fictional Arctic town, the series follows Siaja as she navigates community life and personal transformation, offering a rare glimpse into contemporary Inuk culture. What sets North of North apart is its authenticity: the show was created within an existing Indigenous community, and the cast is majority Inuit. It avoids the pitfalls of forced diversity, instead blending culture with modern-day drama in a way that feels organic and emotionally honest. The characters are portrayed with depth, flaws, and agency — reflecting the richness of Indigenous life through both comedy and drama.
Following the rise of Arctic-centered stories like North of North, Reservation Dogs takes that momentum south into rural Oklahoma with a fresh, genre-bending lens. Created by Sterlin Harjo and Taika Waititi, the series follows four Indigenous teens navigating grief, dreams, and mischief. It blends sharp humor with heartfelt storytelling, capturing the resilience and complexity of Native youth. The show accurately depicts how government neglect leaves Indigenous youth without adequate support, forcing them to rely on each other and their communities to survive and heal.
The film Killers of the Flower Moon marks a seismic shift in how Indigenous history is portrayed on screen. Directed by Martin Scorsese and based on David Grann’s investigative book, the film chronicles the Osage reign of terror —a brutal series of murders targeting Osage Nation citizens in 1920s Oklahoma. While the story centers on violence and betrayal, it also foregrounds Indigenous grief, resilience, and the systemic erasure that has long plagued mainstream narratives. What sets this film apart is its commitment to authenticity: Osage consultants were involved throughout production, and Indigenous actors like Lily Gladstone deliver performances that are both haunting and deeply human. Gladstone’s portrayal of Mollie Burkharti, an Osage woman whose family is targeted, offers a quiet but powerful counterpoint to the chaos around her, a reminder that Indigenous women have always been central to survival and resistance.
Educating and involving yourself in Indigenous media during Indigenous Peoples Month is a meaningful way to honor Native voices, histories, and futures. By engaging with Indigenous-led films, television, music, literature, and journalism, you not only support Native creators but also deepen your understanding of the diverse cultures, languages, and lived experiences that mainstream media often overlooks or misrepresents. This kind of engagement challenges colonial narratives, fosters cultural literacy, and helps dismantle stereotypes by amplifying stories told from within the community. Whether you watch a show, listen to music, or read a book that centers indigenous voices, you’re participating in a broader movement of reclamation, representation, and respect. Indigenous media is not just entertainment but a form of resistance, education, and celebration.