DOCSLIB.ORG

DECOLONIZATION Through the Art of ROBERT HOULE DECOLONIZATION Through the Art of ROBERT HOULE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DECOLONIZATION Through the Art of ROBERT HOULE DECOLONIZATION Through the Art of ROBERT HOULE TEACHER RESOURCE GUIDE FOR GRADES 7–12 LEARN ABOUT DECOLONIZATION through the art of ROBERT HOULE DECOLONIZATION through the art of ROBERT HOULE TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO IS TIMELINE OF OVERVIEW ROBERT HOULE? HISTORICAL EVENTS & ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 10 LEARNING CULMINATING HOW ROBERT ACTIVITIES TASK HOULE MAKES ART: STYLE & TECHNIQUE PAGE 11 READ ONLINE DOWNLOAD ADDITIONAL ROBERT HOULE: ROBERT HOULE RESOURCES LIFE & WORK IMAGE FILE BY SHIRLEY MADILL EDUCATIONAL RESOURCE DECOLONIZATION through the art of ROBERT HOULE RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Robert Houle: Life & Work by Shirley Madill. The artworks within this guide and images required for the learning activities and culminating task can be found in the Robert Houle Image File provided. Robert Houle (b.1947) is one of Canada’s most celebrated contemporary artists. He is of Anishnabe Saulteaux heritage and a member of Sandy Bay First Nation, Treaty 1 Territory, in Manitoba. Houle’s work examines colonialism in Canada, from events that took place decades ago to ongoing practices, and he has described his work as a form of decolonization. Decolonization has been defined in different ways (it can be a personal transformation; a literal repatriation of land, goods, or cultural objects; or a visual or symbolic change within a space, institution, or community), but fundamentally it is about confronting colonialism by challenging it and undermining it, a process that can be empowering. This guide explores how Houle has confronted colonialism by appropriating colonial images and documents and by creating artworks that focus on Indigenous experience. Curriculum Connections Grades 7–8 Social Studies Grades 9–12 First Nations, Métis, and Inuit Studies Grades 9–12 History Grades 9–12 Visual Arts Themes Creative responses to historical events and treaties Decolonization Indigenous experiences of major historical events Importance of treaties nationally and within students’ communities Teaching Exercises The exercises in this guide explore decolonization through Robert Houle’s art, and they challenge students to explore their personal responsibilities to Fig 1. Robert Houle, Muhnedobe uhyahyuk understand Indigenous history in their own communities. (Where the gods are present) (Matthew), 1989. This work was created during Houle’s artist residency at the Winnipeg Art Gallery. Learning Activity #1: Revisiting Ways of Representing It is composed of four large panels (the other panels are titled Philip, Bartholomew, and Canadian History (page 4) Thomas); its title celebrates the origins of the Learning Activity #2: Exploration of Robert Houle’s Premises for name “Manitoba.” Self-Rule: Treaty No. 1 (page 6) Culminating Task: Creative Response to a Treaty Text (page 8) A Note on Using This Guide Decolonization is a complex and challenging topic, and it should be emphasized that this subject requires ongoing learning. This learning can be greatly enriched by dialogues with Indigenous people. If you are not Indigenous yourself, we encourage you to reach out to Indigenous people in your community and, if possible, invite an Indigenous speaker to visit the class (click here for advice about appropriate protocols). While this guide focuses on decolonization and on treaties, Robert Houle: Life & Work by Shirley Madill discusses other critical elements of Indigenous history and experiences in Canada. In particular, Madill’s writing addresses how Houle attended residential school and how in later life he was affected by a book about a boy who faced multigenerational residential-school violence and died of suicide. EDUCATIONAL RESOURCE 1 DECOLONIZATION through the art of ROBERT HOULE WHO IS ROBERT HOULE? Robert Houle was born in St. Boniface, Manitoba, in 1947. Until he started school, Houle lived with his extended family at Sandy Bay First Nation, where he was surrounded by the language and ceremonies of his Plains Ojibwa, or Anishnabe, Saulteaux culture. When Houle entered grade one, he had no choice but to leave home for Catholic residential school in Sandy Bay. Although the school was near his family’s house, he was only allowed to go home for school vacations. He was not allowed to speak Saulteaux, talk to his sisters (who were also at the school), or practice the spiritual traditions that were part of his life at home. After graduating from high school in Winnipeg, Houle enrolled at the University of Manitoba, receiving a BA in art history in 1972. He also took classes at McGill Fig 2. Robert Houle in 2015 with his University, in Montreal, pursuing an education degree with a focus on teaching art. triptych Colours of Love, 2015. While there, Houle began making paintings that were inspired by abstraction and the geometry of traditional Ojibwa designs. In 1977 Houle took a position as a curator at the National Museum of Man in Ottawa (now the Canadian Museum of History in Gatineau), becoming the first Indigenous curator of contemporary Indigenous art. However, Houle was troubled by the perception that Indigenous art was better suited to an ethnographic museum than an art gallery and by how the museum treated historical Indigenous artifacts, ignoring their spiritual significance. He resigned in 1980. Throughout the 1980s and 1990s, Houle lived in Toronto. He continued to make art that combined European modernism, his Saulteaux culture, and Indigenous spiritual practices. He was increasingly interested in abstract colour-field painting and in creating multidimen- sional art installations. He also curated exhibi- tions of works by contemporary Indigenous Fig 3. Robert Houle, Sandy Bay Fig 4. Robert Houle, Muhnedobe uhyahyuk artists. Slowly, Indigenous art was being Residential School Series (The (Where the gods are present), 1989. These shown in art galleries rather than only in Morning), 2009. Houle created a large abstract works were inspired by the series of works that explored the Manitoba landscape. anthropological museums, and Houle was a difficult experiences he endured in critical contributor to important exhibitions as residential schools. he fought to be acknowledged as a mainstream contemporary artist. As Houle witnessed major protests and confron- tations between Indigenous communities and Canadian institutions in Alberta, Saskatchewan, Ontario, and Quebec in the 1980s and 1990s, his art became more overtly political. He began incorporating specific references to colonial history into his work, addressing treaty rights, Fig 5. Robert Houle, Parfleches for Fig 6. Robert Houle, Kanehsatake, 1990–93. This work was inspired by Houle’s response Indigenous representation, and his own experi- the Last Supper (Matthew), 1983. Each parfleche in this work (which to the Oka Crisis, when Mohawks protested ences at the Sandy Bay residential school. In the contains thirteen in total, one of the encroachment of a golf course into twenty-first century, he has continued to make which you see here) is named for an their traditional territory and burial ground apostle, with one for Jesus Christ. in Quebec. art that foregrounds Indigenous experience and It is a bicultural work bringing spirituality and to write about the work of other together two spiritual traditions: Saulteaux and Christianity. Indigenous contemporary artists. EDUCATIONAL RESOURCE 2 DECOLONIZATION through the art of ROBERT HOULE NATIONAL & WORLD EVENTS ROBERT HOULE’S LIFE Treaty No. 1, the first of the 1871 Robert Houle is born in Numbered Treaties, is signed. St. Boniface, Manitoba. 1876 The Indian Act is passed. With this act, the Canadian government consolidates and extends their Houle attends the Oblates of control over many aspects of 1947 Mary Immaculate and Sisters Indigenous life, including land of St. Joseph of St. Hyacinth and education. 1952 residential schools in Sandy Bay, Manitoba. In 1961 Houle begins First Nations people gain 1953– attending Assiniboia Residential the right to vote in provincial Fig 10. Robert Houle 1961 High School in Winnipeg. elections in Manitoba. painting Sandy Bay in 1999. Houle often revisited Houle graduates from the his residential school On June 25, Leonard Marchand, University of Manitoba. experiences in his art. a member of the Okanagan 1968 Indian Band, becomes the Fig 7. Leonard Marchand first Indigenous member of on the occasion of his Parliament since Louis Riel. election to Parliament. 1972 Houle graduates from McGill University in Montreal with an education degree and becomes 1975 an art teacher. Canada and Great Britain sign Fig 11. Robert Houle, Paris/ Houle becomes the curator of the Constitution Act, which Ojibwa, 2009–2010. An 1977 contemporary Indigenous art at installation work that recognizes and affirms existing the National Museum of Man in represents four Ojibwa aboriginal and treaty rights. dancers who travelled from Ottawa. 1980 Canada to Paris in 1845. Houle resigns from his position Fig 8. Prime Minister 1982 and dedicates himself to the equal Pierre Elliott Trudeau and representation of contemporary Queen Elizabeth II sign the Brian Mulroney initiates Constitution Act on Indigenous art in institutions and the Royal Commission on April 17, 1982. in scholarship. Aboriginal Peoples. 1990 The Winnipeg Art Gallery (WAG) Fig 12. Robert Houle, The final report of the Royal hosts the first solo exhibition Everything You Wanted to Commission on Aboriginal Peoples 1991 of Houle’s work at a public art Know about Indians from makes 440 recommendations A to Z (detail), 1985. For gallery, and he accepts a position to change the relationships this work, Houle stencilled as professor at OCAD, becoming between Indigenous peoples, the letters of the alphabet the first person there to teach onto twenty-six rawhide non-Indigenous peoples, and Indigenous studies. parfleches. governmental bodies in Canada. 1992 Houle co-curates Land, Spirit, 1996 Power: First Nations at the The Truth and Reconciliation National Gallery of Canada. Commission formally begins 1999 its work. Houle has a second solo exhibition at the WAG, Sovereignty over 2000 Subjectivity: it addresses land The Truth and Reconciliation claims and cultural appropriation.
Load more

Recommended publications
  • Aird Gallery Robert Houle
    ROBERT HOULE LOOKING FOR THE SHAMAN CONTENTS INTRODUCTION by Carla Garnet ARTIST STATEMENT by Robert Houle ROBERT HOULE SELECTED WORKS A MOVEMENT TOWARDS SHAMAN by Elwood Jimmy INSTALL IMAGES PARTICIPANT BIOS LIST OF WORKS ABOUT THE JOHN B. AIRD GALLERY ROBERT HOULE CURRICULUM VITAE (LONG) PAMPHLET DESIGN BY ERIN STORUS INTRODUCTION BY CARLA GARNET The John B. Aird Gallery will present a reflects the artist's search for the shaman solo survey show of Robert Houle's within. The works included are united by artwork, titled Looking for the Shaman, their eXploration of the power of from June 12 to July 6, 2018. dreaming, a process by which the dreamer becomes familiar with their own Now in his seventh decade, Robert Houle symbolic unconscious terrain. Through is a seminal Canadian artist whose work these works, Houle explores the role that engages deeply with contemporary the shaman plays as healer and discourse, using strategies of interpreter of the spirit world. deconstruction and involving with the politics of recognition and disappearance The narrative of the Looking for the as a form of reframing. As a member of Shaman installation hinges not only upon Saulteaux First Nation, Houle has been an a lifetime of traversing a physical important champion for retaining and geography of streams, rivers, and lakes defining First Nations identity in Canada, that circumnavigate Canada’s northern with work exploring the role his language, coniferous and birch forests, marked by culture, and history play in defining his long, harsh winters and short, mosquito- response to cultural and institutional infested summers, but also upon histories.
    [Show full text]
  • Concepts of Spirituality in 'Th Works of Robert Houle and Otto Rogers Wxth Special Consideration to Images of the Land
    CONCEPTS OF SPIRITUALITY IN 'TH WORKS OF ROBERT HOULE AND OTTO ROGERS WXTH SPECIAL CONSIDERATION TO IMAGES OF THE LAND Nooshfar B, Ahan, BCom A thesis submitted to the Faculty of Graduate Studies and Research in partial filfillment of the requïrements for the degree of Master of Arts Department of Art History Carleton University Ottawa, Ontario 6 December 2000 O 2000, Nooshfar B. Ahan Bibliothéque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibIiographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada your me voue rélèreoca Our file Notre reMrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfomq vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis examines the use of landscape motifs by two contemporary Canadian artists to express their spiritual aspirations. Both Robert Houle and Otto Rogers, inspired by the Canadian prairie landscape, employ its abstracted form to convey their respective spiritual ideas.
    [Show full text]
  • Frank Zappa, Captain Beefheart and the Secret History of Maximalism
    Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville is a writer and musician living in Liège, Belgium. He is the author of several books including J.G. Ballard and The American Prose Poem, which won the 1998 SAMLA Studies Book Award. He teaches English and American literatures, as well as comparative literatures, at the University of Liège, where he directs the Interdisciplinary Center for Applied Poetics. He has been playing and composing music since the mid-eighties. His most recently formed rock-jazz band, the Wrong Object, plays the music of Frank Zappa and a few tunes of their own (http://www.wrongobject.be.tf). Andrew Norris is a writer and musician resident in Brussels. He has worked with a number of groups as vocalist and guitarist and has a special weakness for the interface between avant garde poetry and the blues. He teaches English and translation studies in Brussels and is currently writing a book on post-epiphanic style in James Joyce. Frank Zappa, Captain Beefheart and the Secret History of Maximalism Michel Delville and Andrew Norris Cambridge published by salt publishing PO Box 937, Great Wilbraham PDO, Cambridge cb1 5jx United Kingdom All rights reserved © Michel Delville and Andrew Norris, 2005 The right of Michel Delville and Andrew Norris to be identified as the authors of this work has been asserted by them in accordance with Section 77 of the Copyright, Designs and Patents Act 1988. This book is in copyright. Subject to statutory exception and to provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Salt Publishing.
    [Show full text]
  • Charting the Development of Indigenous Curatorial Practice by Jonathan A
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OCAD University Open Research Repository Charting the Development of Indigenous Curatorial Practice By Jonathan A. Lockyer A thesis presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts, 2014 Criticism and Curatorial Practice OCAD University Toronto, Ontario Canada, April 2014 ©Jonathan A. Lockyer, April 2014 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ ii Abstract Charting the Development of Indigenous Curatorial Practice Masters of Fine Arts, 2014 Jonathan A. Lockyer Criticism and Curatorial Practice OCAD University This thesis establishes a critical genealogy of the history of curating Indigenous art in Canada from an Ontario-centric perspective. Since the pivotal intervention by Indigenous artists, curators, and political activists in the staging of the Indians of Canada Pavilion at Expo 67 in Montreal, Quebec, the curation of Indigenous art in Canada has moved from a practice of necessity, largely unrecognized by mainstream arts institutions, to a professionalized practice that exists both within and on the margins of public galleries.
    [Show full text]
  • Get Smart with Art Is Made Possible with Support from the William K
    From the Headlines About the Artist From the Artist Based on the critics’ comments, what aspects of Albert Bierstadt (1830–1902) is Germany in 1830, Albert Bierstadt Bierstadt’s paintings defined his popularity? best known for capturing majestic moved to Massachusetts when he western landscapes with his was a year old. He demonstrated an paintings of awe-inspiring mountain early interest in art and at the age The striking merit of Bierstadt in his treatment of ranges, vast canyons, and tumbling of twenty-one had his first exhibit Yosemite, as of other western landscapes, lies in his waterfalls. The sheer physical at the New England Art Union in power of grasping distances, handling wide spaces, beauty of the newly explored West Boston. After spending several years truthfully massing huge objects, and realizing splendid is evident in his paintings. Born in studying in Germany at the German atmospheric effects. The success with which he does Art Academy in Düsseldorf, Bierstadt this, and so reproduces the noblest aspects of grand returned to the United States. ALBERT BIERSTADT scenery, filling the mind of the spectator with the very (1830–1902) sentiment of the original, is the proof of his genius. A great adventurer with a pioneering California Spring, 1875 Oil on canvas, 54¼ x 84¼ in. There are others who are more literal, who realize details spirit, Bierstadt joined Frederick W. Lander’s Military Expeditionary Presented to the City and County of more carefully, who paint figures and animals better, San Francisco by Gordon Blanding force, traveling west on the overland who finish more smoothly; but none except Church, and 1941.6 he in a different manner, is so happy as Bierstadt in the wagon route from Saint Joseph, Watkins Yosemite Art Gallery, San Francisco.
    [Show full text]
  • ROSALIE FAVELL | ​Www
    ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca ​ ​ EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) ​ ​ 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) ​ ​ 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) ​ ​ 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – ​ ​ ​ September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) ​ ​ 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) ​ ​ 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. ​ ​ (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – ​ ​ July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) ​ ​ 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) ​ ​ 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) ​ ​ 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada.
    [Show full text]
  • Indian Art in the 1990S Ryan Rice
    Document generated on 09/25/2021 9:32 p.m. RACAR : Revue d'art canadienne Canadian Art Review Presence and Absence Redux: Indian Art in the 1990s Ryan Rice Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Les années 1990 sont une décennie cruciale pour l’avancement et le Volume 42, Number 2, 2017 positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des URI: https://id.erudit.org/iderudit/1042945ar faits de cette période avec des détails fort nécessaires. Pensé comme une DOI: https://doi.org/10.7202/1042945ar historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont See table of contents suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la Publisher(s) communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle , du Musée d’art contemporain de Montréal, il UAAC-AAUC (University Art Association of Canada | Association d'art des V reste urgent de faire une analyse critique des préoccupations contemporaines universités du Canada) plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée. ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Rice, R.
    [Show full text]
  • Kansas City, Missouri
    Forty-Fourth Annual Conference Hosted by University of Missouri-Kansas City InterContinental Kansas City at the Plaza 28 February–4 March 2018 Kansas City, Missouri Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), the early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. Each member lists current topics or projects that are then indexed, providing a useful means of contact for those with shared interests.
    [Show full text]
  • Concrete Poetry : the Influence of Design and Marketing on Aesthetics
    Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1985 Concrete poetry : the influence of design and marketing on aesthetics Tineke Bierma Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the German Literature Commons, and the Poetry Commons Let us know how access to this document benefits ou.y Recommended Citation Bierma, Tineke, "Concrete poetry : the influence of design and marketing on aesthetics" (1985). Dissertations and Theses. Paper 3438. https://doi.org/10.15760/etd.5321 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF Tineke Bierma for the Master of Arts in German presented November 21, 1985. Title: Concrete Poetry: The Influence of Design and Marketing on Aesthetics. APPROVED BY MEMBERS OF THE THESIS COMMITTEE: Linda B. Parshall Thomas Buell This thesis exp lores the past and present of concrete poetry with the purpose of finding out whether concrete poetry is stm being produced in its original form, or whether it has changed. Concrete poets were not the first ones to create picture poems and similar texts. In chapter I an overview of earlier picture poetry is given. It and other precursors of concrete poetry are discussed and their possible contributions evaluated. Chapters 11 and 111 dea1 with the definition of concrete poetry of the mid-fifties and sixties ( pure, classic c.p.).
    [Show full text]
  • A Group Psychoeducational/Art
    ATHABASCA UNIVERSITY UNIVERSITY OF CALGARY UNIVERSITY OF LETHBRIDGE THE ART OF BEING SPIRITED: A GROUP PSYCHOEDUCATIONAL/ART THERAPY GUIDE FOR USE WITH ADOLESCENTS WITH EATING DISORDERS BY ELIZABETH MAY YOUNG MCKENNA A Final Project submitted to the Campus Alberta Applied Psychology: Counseling Initiative in partial fulfillment of the requirements for the degree of MASTER OF COUNSELING Alberta (November) (2005) All rights reserved. This work may not be reproduced in whole or part by photocopy or other means without permission of the author. ii iii ABSTRACT This project is a guide that combines spiritual, cognitive, creative, expressive and experiential elements into a group process to help health care professionals support adolescents with an eating disorder. The process embraces a holistic approach towards therapeutic interventions that incorporates Eastern and Western philosophies towards healing and art history with cross cultural links to develop the critical being through mindfulness practice, consciousness raising and communal experiential processes. Literature reviews on spirituality, eating disorders, art therapy, creativity, critical thinking, self and group process identify themes, topics and strategies which form the foundation for interventions. Theoretical underpinnings, ethic of care, suggested topics, format for sessions, psychoeducational material for facilitators and participants, and ways to evaluate the product, process and facilitator are included. iv DEDICATION To my husband for his love, fidelity, acerbic wit, sense of humour and unwavering support and encouragement. To my children Nairn, Noel and Kirsty who have taught me the most of what I know about adolescents, and forced me to embrace change. To my siblings for providing a good model for what it means to be a family.
    [Show full text]
  • Art, Artist, and Witness(Ing) in Canada's Truth and Reconciliation
    Dance with us as you can…: Art, Artist, and Witness(ing) in Canada’s Truth and Reconciliation Journey by Jonathan Robert Dewar A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Indigenous and Canadian Studies Carleton University Ottawa, Ontario © 2017, Jonathan Robert Dewar Abstract This dissertation explores, through in-depth interviews, the perspectives of artists and curators with regard to the question of the roles of art and artist – and the themes of community, responsibility, and practice – in truth, healing, and reconciliation during the early through late stages of the 2008-2015 mandate of the Truth and Reconciliation Commission of Canada (TRC), as its National Events, statement taking, and other programming began to play out across the country. The author presents the findings from these interviews alongside observations drawn from the unique positioning afforded to him through his professional work in healing and reconciliation-focused education and research roles at the Aboriginal Healing Foundation (2007-2012) and the Shingwauk Residential Schools Centre (2012-2016) about the ways art and artists were invoked and involved in the work of the TRC, alongside it, and/or in response to it. A chapter exploring Indigenous writing and reconciliation, with reference to the work of Basil Johnston, Jeannette Armstrong, Tomson Highway, Maria Campbell, Richard Wagamese, and many others, leads into three additional case studies. The first explores the challenges of exhibiting the legacies of Residential Schools, focusing on Jeff Thomas’ seminal curatorial work on the archival photograph-based exhibition Where Are the Children? Healing the Legacy of Residential Schools and Heather Igloliorte’s curatorial work on the exhibition ‘We were so far away…’: The Inuit Experience of Residential Schools, itself a response to feedback on Where Are the Children? Both examinations draw extensively from the author’s interviews with the curators.
    [Show full text]
  • An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960S-1980S Abney Louis Henderson University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 7-10-2014 Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s Abney Louis Henderson University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Race, Ethnicity and Post-Colonial Studies Commons Scholar Commons Citation Henderson, Abney Louis, "Four Women: An Analysis of the Artistry of Black Women in the Black Arts Movement, 1960s-1980s" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5236 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Four Women: An Analysis of the Artistry and Activism of Black Women in the Black Arts Movement, 1960’s–1980’s by Abney L. Henderson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts with a concentration in Africana Studies Department of Africana Studies College of Art and Sciences University of South Florida Major Professor: Cheryl Rodriquez, Ph.D. Kersuze Simeon-Jones, Ph.D. Navita Cummings James, Ph.D. Date of Approval: July 10, 2014 Keywords: Black Revolution, Cultural Identity, Creative Expression, Black Female Aesthetics Copyright © 2014, Abney L. Henderson DEDICATION “Listen to yourself and in that quietude you might hear the voice of God.” -Dr. Maya Angelou April 4,1928-May 28, 2014 For my mother, Germaine L.
    [Show full text]