A Dakota, possibly Yankton, beaded knife sheath dating to the last quarter of the nineteenth century. Two beaded tassels are attached to the sheath's bottom; one tassel ends in metal cones. A string ending in metal cones connects the sheath's sides on either side of its opening. The reverse side of the sheath is undecorated save for a few rows of blue beads near the opening.

Double string of beads includes glass, clay and agate beads; the strand is divided into four rings that are separated by a flat white bead with double holes. The beads are mostly amber colored with a few faceted, round, or cylindrical beads. Additional colors range from plain blue, yellow, or green to multicolored figured beads. The beads were restrung in 1962, but the original bead order has since been restored.

Dakota necklace made from a string of light pink amber glass beads of various sizes and shapes. The beads are European glass of the type used in the fur trade, are worn, and have been restrung on a nylon cord. Made ca. 1890.

Three opaque light blue pony beads made between 1700 and 1837.

A Dakota beaded and quilled leather storage or "possibles" bag. The bag is rectangular in shape, with porcupine-quilled red lines on the front and beaded geometrics on the sides, and is decorated with tufts of yellow and purple horsehair emerging from metal cones. Made by Nancy McClure Faribault, wife of David Faribault, circa 1880.

Family members of Jean-Baptiste and Pelagie Faribault, ca. 1850. Pictured are their son Alexander (standing at left); their grandson George (seated at left); and George’s bride, Euphrasine St. Antoine (seated at center). Jean-Baptiste is seated on the far right. Father Augustin Ravoux stands between Jean-Baptiste and Euphrasine.

A cradleboard ornament made of hide decorated with dyed porcupine quills, created by a Dakota woman between 1775 and 1850. Pelagie Faribault would have made quillwork ornaments in a similar style.

Oil-on-canvas painting depicting a Dakota family using a horse-drawn travois (an animal skin stretched between two poles) to haul their possessions. Painted in 1869 by Seth Eastman. From the art collection of the US House of Representatives; used with permission.

AIM—the American Indian Movement—began in Minneapolis, Minnesota, on July 28, 1968. It took form when 200 Native people turned out for a meeting called by a group of community activists led by George Mitchell, Dennis Banks, and Clyde Bellecourt. In this video, Bellecourt talks about about the movement and its growth over the past fifty years.

Much of the still photography in this piece was taken by Dick Bancroft, author of We Are Still Here: A Photographic History of the American Indian Movement (Minnesota Historical Society Press, 2013). The remaining images are courtesy of the American Indian Movement Interpretive Center.