Preparing For My 3rd Indigenous Fashion Week

“The Aikido of Marketing: Go where your customer is and your competition is not willing to go!” Martin Brossman

Join me as I prepare to participate in my third Indigenous Fashion Week in three years.  It’s an honor and privilege that I don’t take lightly to represent the textiles cultural traditions of the dispersed and scattered historical North Carolina Tuscarora Confederacy.  I teach workshops demonstrating color transformation on cloth from plants, flowers, nuts and insects.  My Momma taught me that if we witness transformation before our eyes, it gives us hope that regardless of our present circumstances, we can transform our lives.  The lessons my mother, two grandmothers, a great-grandmother and the elder women in their circles taught me through creating color, stitching and cooking are life lessons that enable me to be strong and resilient.  It was my dying mother’s prayer that I share our survival stories through creative hands experiences associated with natural dyeing and stitching.

This season, I’m enlisting technology to help me share my journey to Indigenous Beauty, Fashion and Design Week at Otahpiaaki 2019 in Calgary, Canada.  The theme this year is Isstoiyitahsinni or Winter Count.  Indigenous Fashion is a gathering place that includes intellectual, physical, emotional and spiritual connections to the patterns, designs and garments we choose to wear.

Dried Indigo

I will be broadcasting live on Facebook and Instagram showing what I’m doing and why I’m doing it with a weekly Fiber Fridays where you can ask me questions.  At long last, I’ve figured out how to make videos of my creative process to post on YouTube even though I’m working solo.  And, I will be podcasting once a week on my new channel Seed2Runway.  I will share educational information about events, creative processes and indigenous design elements and interview movers and shakers from the world of indigenous fashion who inspire and influence me.

So where do I begin. I took three workshops sponsored by my local Small Business Center at Wilson Community College:

I purchased the Seed2Runway domain from Google Domains for my podcasts, which in my opinion is better than Go Daddy.  Google is $12 a year and includes email@yourdomain and privacy protection is included.  I’m beginning my podcast endeavor with just my iPhone.  My thinking is to just jump in the podcasting waters and learn by doing. I am writing a script and planning my podcast episodes.  I’m going live one week from today, Friday, October 11th. In the meantime, I’m redesigning my Facebook business page to focus on my new creative direction. Will also be updating my Linkedin profile and taking a more active role in managing that SM platform, since teaching workshops seems to be part of my here and now.

“Life is an adventure which can take you to unknown and unexpected places!” Carola Jones

Autumnal Equinox

I did what I knew … when I knew better, I did better.

Maya Angelou
Dried Indigo Bundles

All the natural moon signs of 2019 pointed to the fact that 2020 was going to be an eventful year.  However, none of us realized that 2020 was destined to be such a life changing event.  This year has brought me to rock bottom emotionally and physically.  My tribulations started on Ash Wednesday, February 26th, when I was evicted from my home studio.  I take full responsibility for letting it happen because I let the depression of grief overwhelm me.  I did the best that I could but my best was a failure.  I didn’t see The Blues of failure and disappointment coming, and I’ve been wallowing in self pity for six months.  And now on the Autumnal Equinox, I’ve got to pick up the broken pieces of my life and create joy that comes from peaceful contentment.  Now that I know better, I will do better because the past six months have been brutal.

What I lost is gone and I must seek gratitude for what I have, and smile through my tears.  I lost my pottery studio but I’ve got textiles and my dying mother’s prayers anointing me with multi-generations of indigenous fiber arts knowledge.  Art heals!  And textile making heals women.  Once you have lived through hell it changes you.  Elders say what doesn’t kill you makes you stronger.  When I’m suffering and every breath is a struggle hearing those words are like a slap in the face.  The death of one’s parents, grandparents and all nurturing family members as an only child is a tribe no one wants to be a part of.  Never being married or giving birth to a child further isolates me.  Society overlooks us for the most part and fails to see what an incredible group of women we are.  We are survivors!  Historically, we heal ourselves through textile making.

Only through my struggles since Ash Wednesday, am I realizing a deeper understanding of my dying mother’s prayers.  In order to demonstrate the healing power of growing color, making bundles, dyeing cloth and stitching I had to reach rock bottom.  And on the last day of summer in 2020 that’s where I found myself.  But yesterday is gone forever, and today is a new day.  Today is full of the promise of renewal.  My prayers are for steadfast persevering faith and unshakeable hope.  Join me as I sojourn my way up from rock bottom practicing indigenous ways of knowing through traditional textile making.

Juneteenth: Dance With Ancestors Day

One of my most  memorable Juneteenth memories of a community celebration happened over three days in 1955.  Paul Randolph drove Howell Woodard, Mama, Mat and I to a “Picnic” on Roanoke Island with our relations.  It was back in the woods on sandy soil.  Men sat in a circle and beat ancient rhythms on skin drums.  We danced around them in a circle.  When I turned 21 and attended my first Pow Wow, I realized the ‘Picnic” of my childhood was a family Pow Wow celebration.  Indigenous gatherings were against the law during Jim Crow so we celebrated by having a Juneteenth family picnic.  I was still wearing casts on my feet because I was born crippled but tied on either Mama’s or Yat’s back with a sheet, the heartbeat of the drum captured my tender heart.

We wore three-tier tear cloth skirts and matching long sleeve blouses with bertha collars sewn by my Momma before she left to attend summer school at Penn State University.  Our outfits were on indigo dyed cloth.  We wore aprons sewn from tea stained hemp cloth.  The top of the bib had a round pinecone quilted puff.  The bottom of the apron had rows of ribbons and sea shells.

My great-grandfather was Howell Running Deer Woodard. He was born on Roanoke Island to a Mattamuskeet Tuscarora mother named Fawn and a father named Buck “Trapper” Etheridge who was born near Fort Chicamacomico.  He told me Tusky blood was strong in me because I was the only one who was his.  We shared a unique relationship, and he was the first person to tell me about ourselves. He knew his grandparents and three of his great-grandparents and passed down their stories and ways of knowing to me. Our stories are told through pottery and textiles connected to the Outer Banks from around Jones & Pennys HIlls, Salvo, Silver Lake harbor, Chicamacomico and Fort Neyuheruke.

His grandfather was a slave who escaped on the Underground Railroad to the Mattamuskeet End Stop.  Remnants of the pre-Anglo Mattamuskeet township are at the bottom of Lake Mattamuskeet.  My grandpa was very fair skinned like Mama, and made a living fishing, trapping, and as a river guide. He was born after the Civil War during Reconstruction. The Etheridge last name comes from the son of the Freedman. Nothing in my family stories is known about him until he showed up at Mattamuskeet.  My grandpa knew him during his lifetime and described him as mulatto. He took up with an Algonquin female ancestor and adopted her ways. Most of my other ancestors from this time were free indigenous people who didn’t have last names. They were masters of blending in, hiding out in plain sight and living off the land, ocean and sound.

I’m the last living Toisnot Tuscarora. I’m 73% Native. My father was a full blood Seminole from the Big Cypress Rez in Florida. I started doing genealogy in high school when an African American teacher told me I was lying about being Native and gave me an F until I could prove it. So I proved it. Most of my family lineage is accounted for. I’m a mixed blood but I’ve always known I was Tusky. I knew two blood great grandparents and one Algonquin step great grandfather and one Algonquin Tusky great great grandmother.  Each of these ancestors knew their grandparents and some of their great-grandparents.

I have proof that I’m a daughter of the American Revolution and a daughter of the Confederacy but those relationships were forced upon my female ancestors by rape.  I carry their polluted hate filled colonizer blood but I refuse to acknowledge their Anglo Saxon/Roman cultural history.

Juneteenth 2020 I dance with my ancestors from Currituck around Jones & Pennys HIlls, Salvo, Silver Lake harbor and Chicamacomico.  My prayer is Divine Mercy for the world, and I dance to the Drum of Northern Cree.  Round Dance Song.


What is round dance?

What is a Native American Round Dance?  History, Music, Meaning

I dance Cree Round Dance to honor Riley Kucheran, an Assistant Professor at Ryerson University’s School of Fashion, Biigtigong Nishnaabeg (Pic River First Nation).  Riley transferred an important Cree teaching to me as an Algonquin Elder to share with indigenous children.  To honor the sacredness of the knowledge transfer, I dance Cree Round Dance to the Drum of Northern Cree.

What is Cree Round Dance?

Women’s Northern Cree Round Dance Example >> YouTube

DIY Saturday: Quarantine Beading Supply List

Live Online Demo Saturday, May 16 @ Noon on Facebook >> Seed 2 Runway

#seed2runway DIY Kumihimo 8-Strand Braiding With Beads
Tools Needed

  • Round Kumihimo Braiding Loom >> Jewelry Supply
  • Weight >> Make my own using a large 2 1/2 metal washer, waxed linen and a clip
  • Scissors
  • Ruler or Yardstick
  • Glue (Satellite City Hot Stuff Special T) >> My Supplies Source
  • Big Eye Needle >> Beadaholique

Materials Suggested For Beginners

  • S-Lon Beading Cord >> Etsy Stores have the largest collection.
  • Japanese Seed Beads Size 6/0 | These are the “paint” of your braiding.  Beads are uniform in size made with precision technology in durable colors.  There are two brands Miyuki and Toho beads.  Most of my beads are Miyuki, which I purchase in 20g tubes.  When I started bead weaving, there was a bead outlet store in Smithfield and retail stores in Raleigh and Chapel Hill.  The Smithfield and Raleigh stores are now out of business and I don’t recommend the Chapel Hill store.  I order my beads online from the following places:
    • Auntie’s Beads >> Sold as 25 grams.  Great selection but often sold out.
    • Beads Direct USA >> My Go-To Favorite.  Good selection and prices.  Beads sold in tubes of 20 grams.
    • Caravan Beads >> Beads sold in 20, 125 and 250 gram lots.

NOTE:  All of the beads I’m using for my quarantine beadwork are coming from my stash.  This has caused me to be creative with designing my beading patterns.  My goal is to work out design patterns in different ways so I’ll have necklaces in different lengths.

Clasps For Necklaces
To finish off a necklace you will need a clasp of some kind.  Several options are available including 1) Glue in bell end caps with either lobster, toggle or slide lock clasps; and 2) Glue in magnetic clasps.  I purchase my clasps from Beads Direct USA.

Quarantine Beading

Fiber Friday 002 | #seed2runway
Fiber Art by Carola Blog
Do What The Spirit Says Do

Indigenous Women & Beads
Like so many indigenous women in what my Lumbee Sister, Patricia Brayboy , calls “Lock Down,” when we look around to start creating something with what we have — it’s beading!  We love beading!  We collect beads!  We trade beads!  We’ve got beads!

White & Crystal Seed Bead Mix

When studying with Christine Zoller @ ECUtextiles, I started collecting beads when I saw how many beads she had.  I never saw all of her stash but when she said she had a room for her beads I was impressed and knew I needed to step-up my game.  In 2018 I was a visiting artist in New Orleans with Desmond Melancon, Big Chief of the Young Seminole Hunters.  When I visited his home studio and saw his collection and organization of beads, I was amazed.  My collection of beads is modest compared to both Christine and Big Chief.  I have then organized by color on a 4-shelf unit in my living room next to my beading work desk.

With my home studio in chaos, my sewing room trashed, no space to do embroidery or oil painting and the pandemic raging, I felt depression swirling around me.  I was in danger of falling down The Blues rabbit hole of loneliness, despair and feelings of being a motherless child since the death of my momma.  Looking around while crying tears from the stress of feeling overwhelmed, I saw my neatly organized collection of glass seed beads.  It’s not much in terms of quantity but opening the plastic bins of colored beads helped me realize that I could survive this pandemic.  I hadn’t done bead weaving since a cousin and childhood friend and I had fallen out over my beading.  The pain of the drama had caused me to neatly pack up my bead weaving supplies and set them aside.  The joy from Kumihimo beading was gone!

However, in these quarantine circumstances with the blessings of Divine Mercy what was lost is resurrected and made new.  My little stash of glass seed beads helps me to relax and focus on being kind to myself.  In turn I have energy to demonstrate love and friendship to others.  In the two months of quarantine, I’m reconnecting with my childhood association with glass seed beads.  We never had many beads on Down East Tusky land because historically you had to have sex with the traders to acquire beads.  What seed beads that were available during my childhood we used for bead embroidery and crochet beading.  Now that I’m living in lock down, I’m falling in love with Kumihimo braiding with beads because it’s something that I can do in the middle of the night or early in the morning.  I rarely sleep all night.  When I wake instead of stressing about having little money and being isolated at home, I can sit up in bed and start beading.  Kumihimo is self-contained once you set up the form board.  It’s ideal for starting and stopping and working on the fly.  It requires focus, attention to details and it’s relaxing.

My quarantine beaded necklace patterns are born from using what I have to create something new.  My goal is to make accessories for my regalia until I’m able to sew.  Now my niece, Allison Lowery, wants to learn.  I’m the proud auntie to Allison and Chana Smith.  My necklaces are meant to honor calmness and inner peace during difficult circumstances.  There are three versions, the white necklace is called Something New, so I can remember my grandmother’s teaching that each sunrise is a new beginning.  The candy stripe lavender and white I call Algonquin Dreams to remind me to hold on to my ancestral heritage and don’t let myself get dead in this pandemic.  The purple necklace which is a different pattern is called Purple Love.  It’s meant to help me meditate on love and kindness to others.

Woke Up This Morning With My Mind Stayed On Freedom

May 02, 2020 | First Saturday in May Devotional
Fiber Art by Carola Blog

Music is the key that opens the lock to our healing.  Music empowers us with the energy to transform ourselves.  My Momma would say, “you don’t know what love is until you know the meaning of The Blues!”  Life 101 is about The Blues!  The Blues hurts and stings like a hard slap in the face but it’s part of our humanity.  Life isn’t fair, never has been and never will be.  It’s just how it is.  For indigenous people “Waiting On The World To Change,” our time to stand up and say “Not Today Colonizer” is now.  It begins with us applying the lessons of Sage Paul Cardinal and the healing philosophy of Tala Toostoosis to take ownership of what we wear.  We need to take responsibility for healing our own intergenerational trauma by healing ourselves and our land.  Take action by learning to bead, machine sew and slow stitch by hand.  The process of creating something from nothing with your hands, will help heal you.  Let music open your heart and mind to “What If?” possibilities.

My Take Action Music Playlist
*Drum | Northern Cree | Dancerz Groove
Dance with Me
Dancerz Groove
Earth Angel

  • Turtle Island Waltz | Robert Tree Cody & Will Clipman | Heart of the Wind
  • Ancient Mi’kmaq | Ulali > Eastern Eagle Singers | Eagle Song
  • Buffalo Song | Olivia Tailfeathers
  • Waiting On the World to Change | John Mayer
  • Woke Up This Morning With My Mind Stayed on Freedom | James Horner & Sweet Honey In the Rock | Freedom Song
  • New Woman’s Shuffle Dance | Young Nation | Creation’s Journey
  • Round Dance | Smokey Town Singers | Round Dance Song
  • Do What the Spirit Say Do | Sweet Honey In the Rock | Experience 101
  • A Cappella Native American Church Song | LeeAnn Brady | Songs of Native American Women
  • Tapwe Oma | Fawn Wood | Songs of Native American Women
  • Beautiful Dawn | Radmilla Cody | Songs of Native American Women
  • Euphony | Nitanis “Kit” Largo | Songs of Native American Women
  • Never Let Go | Nitanis “Kit” Largo | Songs of Native American Women
“My Eye On The Prize,” Pencil Drawing on Paper

I began my weekly Fiber Friday Blogs dancing with the world wearing flowers in my hair.  I’ll share something that I know about textiles from a Tosinot Skaru’re Curricuk point of view each Friday.  These are teachings that I learned from my momma, Doris Jones, who was a Home Economics teacher for 43 years.  I’ll also share teachings from two grandmothers, Minnie Haskins and Mattie Randolph, and two great-grandmothers, Mary Burnette and Hattie Harris.

Artistically, I’m a result of the Art Department at Carolina through Xavier Toubes, Marvin Saltzman, Carol Mavor,  Dr. Sherman Lee, Jayne Bomberg and David Branch Sutton.  My arts and crafts philosophy comes from participating in The Penland Experience on top of a Tsalagi Energy Vortex.  Mentors include Eva Kwong, Kirk Mangus, Paulus Berensohn, Cynthia Bringle, Edwina Bringle and Gay Smith. Special thanks to Cherokee Studies at Western Carolina University.  I dance in The Sacred Circle because it connects me with both my past, my present and my future. The dance is my medium for active prayer for Divine Mercy for the world. The dance given to me by Mattie Burnette and Minnie Haskins at an Algonquin Picnic (unofficial Pow Wow) on Roanoke Island in 1955 is Women’s Southern  Cloth. I’m also gifted old fashion flat footed Jingle by Dr. Karlee Feller, Cree/Metis, Associate Professor at University of Calgary, Canada in honor and support of Poo’miikapii: Niitsitapii Approaches to Wellness.

I’ve also learned from Christine Zoller at East Carolina University’s Textiles Department, and from textile workshops at Penland School of Crafts with Charllotte and Sophia Kwon from Maiwa, Luke Haynes and Katherine Diuguid.  My indigenous teachers and mentors are Sage Paul Cardinal and Pura  Fe and Tala Tootoosis.

Feeling Something Drawing Me On

Fiber Friday 001 | #seed2runway
Fiber Art by Carola Blog
Feeling Something Drawing Me On
Happy May Day! | Solidarity 2 All!

May Day 2020

Flowers in hair | Sacred Drum Circle Ceremony | Dance with the world | Song: Harvest to the World | Isley Brothers >>

May Pole Dancing

Memories of wearing white on May Day at Nash County Training School. Momma was making red candied apples with her students. Mrs. Clyde Harris, had all third grade girls dressed in white. Boys wore dark pants and a clean shirt. We all wore finger woven sashs in bright colors woven by Elders. My Yat wove mine in green, pink and yellow wool yarn. The band played. We danced. We sank. We wrapped a pine pole with every color crepe paper streamers weaving ourselves over and under each other.

Fiber Friday: Algonquin Embroidery

Indigenous Stitching Tips, Tricks & Traps

  • Indigenous embroidery differs from European embroidery because it doesn’t use a hoop.  A hoop is a useful modern tool that makes it easy to embroider. However, all wearables and decorative objects aren’t going to fit in a hoop. Also a hoop can distort some fabrics. If you learn how to embroider off a hoop, then using a hoop is an easy transition. But, if you can ONLY use a hoop, being off a hoop can be a difficult and frustrating process to master.
  • Good lighting is essential. If you use a lamp a daylight bulb works best.
  • Thread has a grain that runs from the cut end to the spool. Threading the cut end makes threading easier.
  • “Long Thread, Lazy Gal!” For faster stitching and to keep thread from becoming tangled it should be half a wing (finger tip to elbow – single), or a wing (finger tip to shoulder – double).
  • Needle your thread instead of threading your needle. Choke your thread between your thumb and index finger, then move your needle to it.
  • Pray on your thread by running two fingers over it to condition it from the oils in your fingers. Ask the thread to bring abundant blessings to the garment and anyone who wears it.
  • “The Knot Is The Tie That Binds!” An overhand triple knot for the “Three Sisters” (corn, beans and squash) with a tail is best. We are stitching for the next generation, and a single knot and short tail can come undone with repeated washing and wearing.
  • Keep a supply of Band-Aids and some antibiotic salve in your embroidery supplies. At some point everyone pricks a finger. My favorite antibiotic salves are either honey with CBD oil or black walnut with honey. They both work great!
  • If you add appliqué techniques to fabric that you intend to embroider (with or without beads), you really need to add a stabilizer to the background fabric. I select the stabilizer based on the fabric and/or garment. See the PDF Pellon Guide at Seed 2 Runway link @ http://www.indigofibershed.com. Wool on wool appliqué doesn’t require a stabilizer backing.
  • When adding beads to wearables, “button/craft” thread is best. My Momma was a Home Economics teacher for 42 years and taught me this. I didn’t follow her teaching when I added beads to the silk dress shown below. Instead I used Nymo nylon beading thread. When dress was dry cleaned, I lost beads. Lesson learned!
Silk Printed with Natural Dyes Embellished with bead embroidery

Transformative Thursday: Indigenous Ways of Knowing

Transformative Thursday Step #3: Time and Space as Parameters | 12.12:12.12

Long Nights Moon / Cold Moon 12.12.19 @ 12.12 AM ET

“And we begin again transformed by the process and lessons of the past 13 Moons”

POV | USA Indigenous Southern Creole:  Finding A Point of Balance ~ Centering ~ Letting Go ~ Stepping Out On Faith ~ Wading In The Water ~ Finding Preserving Steadfast Faith & Unshakable Hope 

Our endpoints are the Daughter of Posh between Winter Solstice and the Spring Equinox, laid out as cosmic dots of alignment synching us to the land beneath our feet.  We have a new beginning with the last full moon of this year and decade on 12.12 at 12.12 AM ET. That’s my sign from the universe that I can officially walk out of The Blues.  My journey through grief has delivered me to rock bottom.

I’m broken but through Divine Mercy I’m healing from the inside out.  Being at rock bottom gives clarity that only comes from climbing up the rock face side of salvation mountain.  So, I’m teaching myself and being my own best student as I experience my own transformative healing through marks of resistance made with needle and thread. Marks of Resistance Online is about participating in a creative hands activity in a season connected to long-standing traditional indigenous practices from the days of Algonquin Moon Lodges.  These traditional indigenous ways of knowing are lifted up by the prayers, joys and heartaches of our ancestors.

Wampum Wednesday: Indigenous Ways of Knowing

Step #3: Anointing Your Hands With Creativity Through Land Connections

Wampum Wednesday is all about creativity through indigenous textiles.  Who we are is just as important as what we create, so we will practice the rituals of smudging, offering tobacco and dancing as forms of giving thanks.   Hand-made is an indigenous way of connecting with our cultural identity that is coded in our DNA. No force in the universe can beat it out of us. It’s who we are!  It’s how and why we survived all the horrors committed against us! It’s our spiritual connection to the land of our ancestors that gives us power and authority.

Here is where I say I only know my truth.  The place of my strongest connection through land is the Outer Banks of North Carolina from Jones Hill at Currituck to Chicamacomico.  The energy from the sand, surf and ocean enables me to let go of my pain and focus my energy on a spirit of kindness, forgiveness and joy. The ocean waves rolling over the sand on my feet floats my pain into the energy of the Atlantic.  I have a new spiritual connection to the ancestral homeland of the Blackfoot under the big sky on the high prairie of Alberta, Canada. As individuals you’ll need to discover the place of your ancestral power vortex. Once discovered you offer tobacco and prayers of gratitude to facilitate your own healing from the inside out.

Indigenous hand-made is a very jealous process and demands all of you with unconditional devotion to lifelong learning.  There are no short-cuts! No instant fame or glory! It’s work, work and more work exploring “What If?” possibilities! Learning indigenous ways of knowing isn’t an instant process.  You get out of it, what you put in. This class is taught according to Blackfoot Poo’miikapii concepts, and Algonquin North Carolina Tuscarora teachings on The Four Daughters and 13 Moons to facilitate collective unity, harmony and balance.

Tech Tuesday: Indigenous Ways of Knowing

Step #2: Understanding How An Online Class Works

Marks of Resistance: Indigenous Embroidery will be taught online using Google Classroom.  Don’t Panic!!!  This course seems like a lot if you’ve never done it, but it can be a shared learning experience and help you connect with an online community.  The other choice for presenting this information was a Facebook group, but because Middle School children need to access the content that choice wasn’t feasible.  Plus, Facebook isn’t our friend.

Online learning requires active participation on your part.  This course requires reading, writing, speaking and making things with your hands.  Think of this as a bonding experience and opportunity to make new friends. No one has all the answers and everyone has something to share.  We are all learners together!

The computer hardware that I’m using consists of an Apple iPad with a bluetooth keyboard and a stylus pencil.  Other hardware includes a Shure MV88 digital stereo microphone, an iPad tripod mount adapter and a tripod. In addition to Google Classroom, I’m using Google Drive to organize documents into folders, creating text documents in Google Docs and slide presentations in Google Slides.  The registration form was created using Google Forms and the data collected from the form is stored in Google Sheets.

To access the class materials you will be an email address.  You can use any email but if you want to access and collaborate on the Google platform, you will need a Gmail account. I will create instructional graphics, videos and podcasts through the course to help you.  Everything associated with the course will be linked to Google Classroom. To participate in the class you will need a class code that will be emailed to you with instructions. To design, create and organize class materials, I’ll be using the iPad apps listed below.  When this course content is delivered to school children it will include learning the technology side. However, in the hands-on online version, we’ll only concentrate on learning indigenous embroidery.

iPads Apps

Apple Notes — iCloud | Note taking app provided on iPadOS that can be synced between devices on iCloud.  Can use with short text notes, photos, videos, contacts and calendar.

iMovie — video editing software app on iOS devices.

  • Apple Office — iWork on iPadOS
  • Pages: a word processor app.
  • Numbers:  a spreadsheet app.
  • Keynote:  a slide presentation app.

Google 4 Education Apps — Need a Gmail Account to Access

Classroom:  a streamlined, easy-to-use tool for managing coursework, distributing assignments, encouraging collaboration and fostering better educational communications.
>>>Drive:  a file storage service that allows users to sync files across devices and share files.  Offers 15 gigs of free storage.
>>>Docs:  an online word processor that lets you create and format documents and work with other people.
>>>Slides:  a presentation program that allows users to create and edit slides online while collaborating with others in real-time.
>>>Sheets:  a spreadsheet program that is compatible with Microsoft Excel file formats.

My Favorite iPad Instructional Technology Apps

  • Noteability:  Subscription Fee $8.99 | Note taking and sketching app that combines handwriting, photos and typing in a single note.  Can also add and annotate PDFs.
  • Canva:  A drop-and-drag graphic design tool that can be used for both web and print media.  It provides access to photos, vector images, graphics and fonts. Some elements are free but Canva Pro has a subscription of $12.95/month/user.  An annual subscription rate is also available.