Alaska Native/Indigenous People, Athabascan in the Spotlight

Dru-P – Koyukon Athabascan Rapper, Singer & Videographer

When I think about the artists who carry the heart of home into their work, I think of my relative Andrew “Dru-P” Marks. Dru-P is a Koyukon Athabascan rapper and singer from Tanana, Alaska. He’s also a talented videographer, a contract video producer, and a dad to two boys.

Andrew “Dru-P” Marks. Courtesy photo

Like a lot of village kids, his story isn’t one straight line. He grew up in several Alaskan villages, and even as he moved, one thing stayed constant: his childhood nickname, “Droopy.” Over time, he reshaped it into his artist name—Dru-P—and it fit.

He started making music the way so many of us start creating: by playing around, listening closely, and having fun with friends. He remembers looping instrumentals wherever he could find space and rapping over them. That curiosity of “parts of instrumentals where people weren’t talking” became a spark, and that spark became a craft.

He had a pause in music around 2011 when video work and life got busy, but he found his way back in 2020 during the pandemic. Not because he was chasing a trend, but because he missed the joy of it.

That joy matters. The Athabascan Woman Blog has always celebrated Native creatives who are building something real, through culture, storytelling, and everyday resilience. Dru-P’s work fits right in with that spirit and the kind of storytelling I love to share here. 

Dru-P’s newest project, Chill Protector Vibes, is an album shaped by reflection, healing, and forward movement. He collaborated with producer Ariano on several tracks and connected with the “emotional tone” of the instrumentals. This year, while selling a home and clearing it out, he found old items that brought back memories and stirred up strong feelings.

Dru-P released a new album, Chill Protector Vibes. Courtesy photo.

What stood out to me is how honestly he described that moment: how something that once felt like failure can look different with time, growth, and survival. He used writing as a way to name what he’d been carrying, including past trauma. But he also made sure the album didn’t get stuck in darkness. He added more songs and incorporated features from friends to shift the tone and broaden the story.

Today, he sees the album as inspiring—not because life was easy, but because he kept going.

Dru-P’s song called “Adonis” best represents the project. He shared a story about attending Catholic school for a year and being teased—especially when other kids mocked “the Natives downtown” and used that to target him. He described the song as a mix of love and trauma, and that’s how he views the album as a whole.

But what stays with me is how he flips that pain into pride in the second verse.

“Around here, Ch’eghwtsen’ we’re proud of our skin.” – Dru-P

That one line carries a lot of love, trauma, identity, and a refusal to shrink. 

Dru-P. Courtesy photo

Dru-P’s creative eye doesn’t stop with music. He got into videography by editing his own basketball highlight videos back when he and his friends had big dreams (and he jokes he ended up being “a lot better at running than basketball”).

As his skills grew, he started producing music videos for fun, took graphic design and video classes in college, and eventually built a career in media. He worked at KTVF Channel 11, producing commercials and supporting news, and today, he does contract video work while balancing family life. Anyone who edits at home with kids nearby knows it’s not always quiet, but he says he’s finding a rhythm, staying present for his boys while still creating.

His best advice is to protect the fun. When I asked what he’d tell aspiring musicians or videographers, Dru-P shared a quote from his friend TK Sweetsir that he lives by.

“It ain’t fun if you ain’t having fun.” – TK Sweetsir

That sounds simple, but it’s actually a powerful creative compass, especially when work gets heavy. Dru-P says he keeps video work fun by constantly challenging himself to learn new things, and he keeps music honest by rewriting when he knows he’s just going through the motions.

Dru-P is already looking ahead to next year. He plans to release a remix project from *Chill Protector Vibes* (with Ariano remixing about 10 instrumentals), perform more shows, and work toward a collab project with 2essentialz.

To preserve knowledge for the future, he also has additional Indigenous storytelling projects in the works, including documentaries on Elder craft projects. I commend him for this work. To me, that kind of storytelling helps keep culture moving forward. 

Dru-P’s work is rooted in Tanana, but it reaches far beyond it. It’s music made from memory, pride, family, and the decision to keep creating. 

Enaa baasee’, Andrew, for sharing your story and congratulations on the new album!

Subscribe to Dru-P on YouTube.

Listen to his new album, Chill Protector Vibes, on streaming services like Spotify, Apple Music, Amazon Music, YouTube Music, and iTunes. You can also buy physical copies and merch at his performances.  

Dru-P calling. Courtesy photo

Athabascan in the Spotlight

From Kaltag to the Alaska Air National Guard: Honoring Technical Sergeant Wanda Solomon-Parsons

Technical Sergeant Wanda Solomon-Parsons at her retirement ceremony with her siblings. Photo by Angela Gonzalez

From the Yukon River village of Kaltag to the Alaska Air National Guard, Wanda Solomon-Parsons has lived a life rooted in hard work and service. Her father, First Sergeant William Solomon, Sr., served before her, setting the example she carried throughout her own remarkable career.

I first featured Wanda in 2014 (Wanda Solomon – Alaska Native Guardswoman) when she was actively serving. More than a decade later, she is celebrating retirement as a Technical Sergeant (E6) after 28 years of combined service in the Alaska Air and Army National Guard, including two tours in Afghanistan (2005 and 2012).

Wanda reflected that being both Alaska Native and a woman profoundly shaped her experience.

It made me try harder due to being a minority and being a woman. I feel that both of these made it harder for me.” – Technical Sergeant Wanda Solomon-Parsons

Despite the obstacles, she stayed determined, building her skills, seeking every opportunity for training, and mentoring others along the way.

Even in retirement, Wanda plans to continue serving by staying connected with veterans, especially women she’s served alongside, and helping others navigate medical and counseling services. Her next steps include working part-time and joining Alaska Native corporation and community boards to continue giving back.

Her advice for young people, especially Alaska Native women, considering military service is simple but powerful:

“Do your soul searching and know for sure your desires, intent, and where you want to be in 20 years. Then go for your goal.”

Wanda says her military career “shaped me to be the person that I am today,” grounding her in family, health, and spiritual strength.

We recently celebrated Wanda’s retirement, a day filled with laughter, stories of courage, and heartfelt gratitude. Friends, relatives, and fellow service members shared messages of pride and love from across Alaska and beyond. That outpouring of community pride speaks volumes about Wanda’s impact. 

Her 28 years of service reflect not only personal dedication but also the collective strength of her people, showing what it means to see an Alaska Native, Koyukon Athabascan woman leading and protecting with honor.

Congratulations, Technical Sergeant Wanda Solomon-Parsons, on your retirement and extraordinary legacy. Enaa baasee’ for your service and example.

🎥 Watch Wanda’s story: SSgt Wanda Solomon, U.S. Army – Afghanistan — interview by Larry Cappetto for Voices of History (YouTube, July 9, 2025)

Alaska Native/Indigenous People

Film Screening: Attla at the Anchorage Museum

The Anchorage Museum presents ATTLA (2019).
Director: Catharine Axley
Run Time: 61 min.
Rating: Not Rated
Release Year: 2019
Featuring: George Attla, Joe Bifelt, Rose Attla Ambrose

The Anchorage Museum is screening Attla on Thursday, Nov. 13, 6:30–8 p.m. in the Auditorium. The powerful documentary about legendary Huslia sprint musher George Attla was directed by Catharine Axley and featured on PBS’s Independent Lens (2019). The film interweaves interviews and archival footage as Attla comes out of retirement to train his grandnephew Joe Bifelt, carrying his legacy forward.

He was an icon for me growing up, and for so many across Alaska! It’s exciting to see new audiences still discovering legendary George Attla’s story. 

“Sharing stories like this helps remind us that resilience, determination, and connection to place are powerful forces,” says Janet Asaro of the Anchorage Museum. Independent Lens aptly called Attla “a rare sports film that blends the excitement of sprint mushing with the humanity of a cultural icon.”

While you’re there, visit the museum’s Dog Show exhibition, a heartfelt look at how dogs help us live, work, and connect, from sled teams in the North to pets and working dogs across the U.S. It highlights the deep human–dog bond and how it shapes culture and everyday life.

Details & tickets ($8; $5 for members): Check the Anchorage Museum website for the Nov. 13 screening of Attla.

Alaska Native/Indigenous People

Spirit of the Wind (1979): Anchorage Screening & Fundraiser

Spirit of the Wind (1979) Presented by AMIPA and Doyon Foundation
Director:
 Ralph Liddle 
Run Time: 103 min. 
Rating: PG 
Release Year: 1979
Starring: Pius Savage, George Clutesi, Slim Pickens, Chief Dan George, Rose Attla Ambrose

Here’s a rare chance to see Spirit of the Wind (1979), the biopic about my great-uncle, legendary Huslia sprint musher George Attla, on the big screen in Anchorage. AMIPA and Doyon Foundation are co-presenting a fundraiser screening at Bear Tooth Theatre Pub on Sunday, November 16 at 4:00 PM. Folks often ask where they can watch this film, and this is one great way. I wouldn’t be surprised if it sells out.

AMIPA’s Kevin Tripp shared why this one matters right now: “Most importantly: it’s a great movie, shot in Alaska with Alaskans, that tells an amazing Alaska—and Alaska Native—story.” He also noted the film is showing from a new Digital Cinema Package (DCP), which is a fresh digital version that the director and cinematographer say hasn’t looked this good on a big screen since 1979.

A part of the proceeds benefit Alaska Moving Image Preservation Association (AMIPA)and the Doyon Foundation. AMIPA’s share supports an endowment at the Alaska Community Foundation in memory of Lael Morgan, so your ticket helps preserve Alaska’s moving-image history while you enjoy a classic. 

Tickets are $15 and on sale now: beartooththeatre.filmbot.com/movies/spirit-of-the-wind-1979-presented-by-amipa/.

If George Attla’s story has touched you, or if you’ve never seen the “Huslia Husler” brought to life, come out, bring friends and family, and help spread the word. Heritage Month is the perfect time to celebrate Alaska Native stories on Alaska’s big screen.

Athabascan in the Spotlight

Book Spotlight: Ïyaġaaġmiut: People Who Live Among the Rock Caches

Ïyaġaaġmiut: People Who Live Among the Rock Caches by Ch’igiioonta’ She Holds a Child is available now on Amazon, in Kindle, paperback, and hardcover formats.

In her latest book, Ïyaġaaġmiut: People Who Live Among the Rock Caches, author Ch’igiioonta’ She Holds A Child (known to many as Adeline Raboff) brings to life the story of the Nendaaghe Dena people and the historic forces that drove their displacement across the Western Brooks Range in the 18th and 19th centuries.

Set against a backdrop of volcanic winters, famine, and the arrival of new trade goods, Ïyaġaaġmiut braids historical events with oral history and family memory. Ch’igiioonta’ continues the legacy set by her father, who told stories.

Shifting the Timeline

Ch’igiioonta’ continues her work to place Alaska Native stories before colonial timelines and narratives. Through extensive research, she builds a historical timeline that intertwines with events happening across the globe. She describes this as “a series of events every community experiences.”

Ch’igiioonta’ She Holds A Child (Author)

Ch’igiioonta’ centers the narrative around two major volcanic eruptions—Tambora in 1815 and Mt. Zavaritsky in 1831—which caused massive climate disruption across the Northern Hemisphere. She outlines the impacts of Tambora: in 1816 there was a normal fall, but a cold one; in 1817, spring seemed normal, but by June, full-on winter began and lasted for 21 months, finally warming in spring 1818. This environmental disaster led to starvation and disease. Ch’igiioonta’ shared that her own family has oral stories about this time, referring to it as “two years of winter.”

These environmental shifts, layered with the arrival of Russians, Americans, and British, caused internal conflict over trade routes. In the interview, Ch’igiioonta’ described competition among surviving chiefs, internal warfare over trade goods, widespread movement, intertribal conflicts, and large-scale displacement.

A Network of Relationships

When asked about the deep ties between Inupiat and Athabascan peoples before Western contact, Ch’igiioonta’ spoke about long-established trade routes and international trading centers, like Sasulik across from Kotzebue. These hubs included people from Siberia, the Dene, and others—“a hodgepodge of people” who knew each other, lived together, and had children together. Gatherings were not just for commerce; they included singing, dancing, wrestling, bow and arrow contests, and more.

She explained, “Kotzebue DNA comes from a bigger region than just Kotzebue.” For example, there is a mixture of Siberian, Koyukuk, and Innoko ancestry.

Ch’igiioonta’ also noted that some communities were familiar with foreign trade items 20 to 30 years before they ever saw Europeans. Alaska Native societies already had sophisticated systems in place—well-developed trade routes, relationships, governance, and economies—long before outside contact. “All things had already been settled,” she says of the Hudson Bay Company’s arrival.

This challenges the myth that Alaska was an unformed or “empty” place awaiting outside development. In reality, Alaska Native societies were deeply interconnected, organized, and thriving long before outsiders arrived.

Ch’igiioonta’ emphasizes the importance of asking questions and building historical perspective thoughtfully. She reflects on interpreting past conflicts: “Did they happen the way they did?” Her storytelling blends oral histories with hypothesis and comparative research across regions. 

For Young Alaska Native Readers

Ch’igiioonta’ hopes her work reaches young Alaska Native readers, especially those from interwoven or displaced lineages. She encourages you to look at where you are literally and culturally. Looking at Anchorage, you can see people in the village are also living in urban America. They have cell phones, toilets, water, heating oil, and other modern-day conveniences. They are a part of larger culture. “Everyone is intermixed in Alaska.”

She recognizes the complexity of identity in today’s world, and explains, “What you call culture is your culture. Us and them, we’re mixed together.” She talked about the importance of developing a love for other people. Pay attention and realize Native people have good values. Add the values—what we’re doing right now.”

She adds, “The more isolated a community, the more they preserved, like culture, stories, and ways of life.” It’s a bittersweet truth—offering hope for what was saved, but also mourning what was lost.

On historical trauma, Ch’igiioonta’ doesn’t dwell on pity. Instead, she focuses on resilience and personal responsibility. She acknowledges the painful legacies of boarding schools, the welfare system, and family separation, but emphasizes that healing comes from how people choose to move forward, and not from remaining stuck in what was done to them. For her, it’s about reclaiming both cultural values and the power to tell your own story—on your own terms.


What’s Next

Ch’igiioonta’ is already thinking ahead to her next book, which may examine how these forces played out differently in each community.

She encourages readers to explore stories beyond their own regions: “Nobody lives in isolation. If you want to learn about what happened in your region, look at other regions. Everyone sees different aspects of it.” Her work reflects shared knowledge, where she’s helped build a framework readers can use to compare stories and oral histories.

“I’m going to start some fires,” she says with a smile.

From ancient migrations to the modern challenges of identity and place, Ïyaġaaġmiut offers a layered view of survival and continuity. As Ch’igiioonta’ puts it, “Alaska Native—competitive.” And with this book, she reminds us just how strong that spirit of adaptation has always been.


Congratulations Ch’igiioonta’ She Holds A Child on her latest book! Find Ïyaġaaġmiut: People Who Live Among the Rock Caches on Amazon, in Kindle, paperback, and hardcover formats.

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