This article examines transmotion in Anishinaabeg arts, which enrich and challenge Western orientation that behold the "world in purely material terms" leading to "the objectification, secularization, and scientification of the world" (Cajete, 2000, p. 53) to refute an essentialized understanding of Indigenous peoples and their cultures. Legacy discourse conflating land and resource management with honoring American Indians falsely projects honor while beholding environments as resources and Indigenous peoples as wards of the government. The author politically challenges these oversimplified stances with a more critical and complex interpretative lens that ruptures de Chateaubriand's view that beheld American Indians living idealized "primitive liberty" (Vizenor, 1998, p. ix) within romanticized landscapes. The article examines Anishinaabeg sovereign and traditional ecological practices of harvesting, cooking, and preserving blueberries documented in the arts through visual ethnography, exemplified in this article, to enrich cultural pedagogies and literacies. Indigenous arts are inherently interdisciplinary contexts in art education and can be leveraged as inspirational, critical thought for K-12 students' creative endeavors intended for meaningful, reflective, and generative embodied, literary, and arts-based expressions.