Pacific Coast Salish Art and Artists: Educator Resource Guide
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First Nations Nutrition and Health Conference
First Nations Nutrition and Health Conference Proceedings Alfred Wong, Editor June 19 - 20, 2003 Recreation Centre, 100 Lower Capilano Road, Squamish Nation Sponsored by Friends of Aboriginal Health 2 Notice The Friends of Aboriginal Health through a copyright agreement with Arbokem Inc. permits the unlimited use of the content of the proceedings of the First Nations Nutrition and Health Conference, for the non-commercial promotion of health and wellness among the people of the First Nations. ISBN: 0-929020-02-3 © Arbokem Inc., Vancouver, Canada, 2003-2004 www.aboriginalhealth.net Printed in Canada AK25818W2 Proceedings of the First Nations Nutrition and Health Conference, 2003 3 Table of Content Page Notice 2 Table of Content 3 Foreword 5 Conference Program 6 Time for justice, sovereignty and health after more than 200 years of foreign 8 colonization and cultural destruction. Ovide Mercredi The Present Status of Aboriginal Health in British Columbia. Lydia Hwitsum 9 Health of the people and community. Gerald Amos 16 Loss of Use of a Traditional Fishery – The Kitamaat Eulachon. Michael Gordon 17 Wellness Governing Mode: The Union of Our Two Worlds and Traditional 18 Knowledge. Andy Carvill and David Anthony Ravensdale Environmental Impact on Food and Lifestyle. :Wik Tna A Seq Nakoo (Ida John) 19 “Our Food is Our Medicine”: Traditional Plant Foods, Traditional Ecological 22 Knowledge and Health in a Changing Environment. Nancy J. Turner and Rosemary Ommer Acculturation and natural food sources of a coastal community. Wata (Christine 40 Joseph) Impact of Fish Farming on the Natural Food Resources of 41 First Nations People. Sergio Paone Overall Health - Mental, Emotional, Spiritual and Physical Aspects. -
Songhees Pictorial
Songhees Pictorial A History ofthe Songhees People as seen by Outsiders, 1790 - 1912 by Grant Keddie Royal British Columbia Museum, Victoria, 2003. 175pp., illus., maps, bib., index. $39.95. ISBN 0-7726-4964-2. I remember making an appointment with Dan Savard in or der to view the Sali sh division ofthe provincial museum's photo collections. After some security precautions, I was ushered into a vast room ofcabi nets in which were the ethnological photographs. One corner was the Salish division- fairly small compared with the larger room and yet what a goldmine of images. [ spent my day thumbing through pictures and writing down the numbers name Songhees appeared. Given the similarity of the sounds of of cool photos I wished to purchase. It didn't take too long to some of these names to Sami sh and Saanich, l would be more cau see that I could never personally afford even the numbers I had tious as to whom is being referred. The oldest journal reference written down at that point. [ was struck by the number of quite indicating tribal territory in this area is the Galiano expedi tion excellent photos in the collection, which had not been published (Wagner 1933). From June 5th to June 9th 1792, contact was to my knowledge. I compared this with the few photos that seem maintained with Tetacus, a Makah tyee who accompanied the to be published again and again. Well, Grant Keddie has had expedi tion to his "seed gathering" village at Esquimalt Harbour. access to this intriguing collection, with modern high-resolution At this time, Victoria may have been in Makah territory or at least scanning equipment, and has prepared this edited collecti on fo r high-ranking marriage alliances gave them access to the camus our v1ewmg. -
The Coast Salish: Connecting Art, Environment and Traditions
THE COAST SALISH: CONNECTING ART, ENVIRONMENT AND TRADITIONS Welcome to 21st Century Learning – Links to Our Collection. This online module and supplemental education guide was developed to allow access to hundreds of digitized images and lesson plans from Glenbow Museum’s collections. Our hope is to extend our vision of ‘More people, interacting with art, culture and ideas more often.’ Please visit and enjoy 21st Century Learning – The Coast Salish: Connecting Art, Environment and Traditions. 1 This educator’s package presents the traditional way of life of the Coast Salish people. The information encourages students to examine artifacts from the Glenbow Museum’s collection and connects them to other cultures, communities and environments from within Canada. Included in this guide are: Information on the Coast Salish people including high-resolution photographs artifacts, archival photographs and essays. Lesson plans including discussions for looking at primary sources, curriculum connections and lesson plans for a variety of ages and abilities. Detailed listing of vocabulary and concepts. Suggested sources for further research and other information. 2 HISTORY OF GLENBOW MUSEUM Glenbow Museum began with the remarkable vision of petroleum entrepreneur and lawyer Eric Lafferty Harvie. Mr. Harvie came into his fortune when oil was discovered in 1949 on land near Leduc and Redwater, for which he held the mineral rights. With this prosperity, he decided to pursue his favourite passion — collecting — and simultaneously return some of his good fortune back to the region that had been so generous to him. Mr. Harvie's goal was to collect the objects representing the history and culture of Western Canada as well as from around the world. -
Tribal Element
Tribal Element Three federally-recognized Indian Tribes, the Sauk-Suiattle Tribe, the Stillaguamish Tribe, and the Tulalip Tribes, occupy areas of present-day Snohomish County. These Tribes and their ancestors are a land and water based people, part of a larger group of aboriginal Tribes and First Nations known as the Coast Salish peoples, who live around the Salish Sea in what is now Washington State and the Canadian Province of British Columbia. The Coast Salish Tribes and First Nations have lived here since time immemorial, enjoying a landscape rich in natural resources. Coast Salish lifeways are tied to the natural environment of the Pacific Northwest, especially the Salish Sea. Today the Sauk-Suiattle, Stillaguamish, and the Tulalip Tribes are sovereign nations recognized by the United States government. Each Tribe has its own government with its own governing charter or constitution and set of general laws. These Tribes reserved lands in what is now Snohomish County as Indian reservation homelands. The Tribes have important historic and cultural sites both on and off their reservations. Each Tribe continues to exercise off-reservation rights reserved under treaty with the United States, including the right to fish in usual and accustomed fishing grounds and the right to hunt and gather on open and unclaimed lands. Snohomish County acknowledges the historic and present-day connection between tribal people and the land base, and recognizes each Tribe’s sovereignty. Snohomish County is committed to partnering with the Tribes to protect and preserve Tribal cultural and treaty resources, the natural environment, and sacred cultural areas. The relationship between these Tribes and Snohomish County is especially important when activities of county government, particularly land use regulation, have implications for one or more Tribes. -
Welcome to the 44Th Annual Seattle International Film Festival!
BETH BARRETT SARAH WILKE Artistic Director Executive Director DEAR MEMBERS OF THE PRESS: Welcome to the 44th annual Seattle International Film Festival! We are so happy to have you join this year as a partner at the Festival. It's your work that helps bring filmmakers and audiences together around the powerful stories of film. We could never have become the SIFF we are today without the knowledge, skill, and passion you bring to your work. Our 2018 Media Guide is filled with all the pertinent information you'll need to navigate the next 25 days: media guidelines and contacts, film listings, forums, and events. Many of you are already familiar with SIFF's extensive Festival offerings. For those of you who are attending for the first time, we are here to help you discover the depth and range of our programming. The greater press community has always been an integral part of the Festival and we look forward to sharing with you all that SIFF has to offer over the Festival. Sincerely, SIFF.NET · 206.464.5830 · PRESS OFFICE 206.315.0690 · [email protected] 1 TABLE OF CONTENTS 3 . PRESS INFORMATION 5 . SIFF STAFF 10 . BOARD OF DIRECTORS 11 . ABOUT SIFF 12 . SIFF BY THE NUMBERS 13 . SIFF FACT SHEET 14 . EVENT SCHEDULE 18 . MEDIA GUIDELINES 19 . HOLD REVIEWS 23 . VENUES 24 . TICKETING 27 . FEATURE FILMS BY MOOD 39 . FEATURES BY COUNTRY/REGION 44 . TOPICS OF INTEREST 57 . AWARDS & COMPETITIONS 64 . 360/VR STORYTELLING 65 . EDUCATION 67 . SPECIAL GUESTS 69 . SPOTLIGHT PRESENTATIONS 70 . 2017 RECAP 73 . FESTIVAL 2017 HIGHLIGHTS 74 . -
Ryan Molenkamp
RYAN MOLENKAMP Selected solo exhibitions 2018 The Last Frontier, Kirkland Arts Center/Kirkland Public Library, Kirkland, WA 2017 Vancouver! Vancouver! This is It!, Linda Hodges Gallery, Seattle, WA 2016 Still Afraid, Linda Hodges Gallery, Seattle, WA 2016 New Paintings, Duplex Gallery, Portland, OR 2014 Fear of Volcanoes, Linda Hodges Gallery, Seattle, WA 2011 The Watcher, Bryan Ohno Gallery, Seattle, WA 2010 Flood, Gallery4Culture, Seattle, WA Sound Plans, Handforth Gallery @ Tacoma Public Library, Tacoma, WA 2008 View Lots, SOIL Gallery, Seattle, WA 2003 Automatic Style, Brick and Mortar Gallery, Tacoma, WA Selected group exhibitions 2018 Collectors Choice, SAM Gallery, Seattle, WA 2018 Outside Influences, SAM Gallery, Seattle, WA 2017 Point of View, LAUNCH LA/KP Projects, Los Angeles, CA 2017 Seeing Northwest Nature, SAM Gallery, Seattle, WA 2016 Urban Artist Showcase, Chehalem Cultural Center, Newberg, OR 2015 Bellingham National 2015, Whatcom Museum, Bellingham, WA 2014 Made in the Northwest, SAM Gallery, Seattle, WA 2013 Suburbia: Dream or Nightmare?, Linda Hodges Gallery, Seattle, WA Connections, Cuchifritos Gallery, New York, NY Cascadia, Collar Works Galley, Troy, NY 2012 Conditions of Possibility, Umpqua Valley Arts Center, Roseburg, OR 2011 Earth Matters, SAM Gallery, Seattle, WA Home Away From Home, Jacob Lawrence Gallery, Seattle, WA Mad Homes, public art exhibition presented by MadArt, Seattle, WA Forecast: Communicating Weather and Climate, WA State Convention Center Bloom + Collapse, SOIL, Seattle, WA 2010 KAC Links Invitational, -
Indigenous History in Burnaby Resource Guide
Tsleil-Waututh community members paddling Burrard Inlet, June 18, 2014. Copyright Tsleil-Waututh Nation, Photograph by Blake Evans, 2014. Indigenous History in Burnaby Resource Guide 6501 Deer Lake Ave, Burnaby, BC V5G 3T6 | 604-297-4565 | burnabyvillagemuseum.ca 2019-06-03 The Burnaby School District is thankful to work, play and learn on the traditional territories of the hən̓q̓əmin̓əm̓ and Sḵwxwú7mesẖ speaking people. As we inquire into learning more about the history of these lands, we are grateful to Burnaby Village Museum for working with our host First Nation communities. The knowledge being shared in this resource guide through our local communities supports the teaching and learning happening in our classrooms. It deepens our understanding of the history of our community and will increase our collective knowledge of our host First Nations communities’ history in Burnaby. In our schools, this guide will assist in creating place-based learning opportunities that will build pride for our Indigenous learners through the sharing of this local knowledge, but also increase understanding for our non-Indigenous learners. Through this guide, we can move closer to the Truth and Reconciliation’s Call to Action 63 (i and iii): 63. We call upon the Council of Ministers of Education, Canada to maintain an annual commitment to Indigenous education issues, including: i. Developing and implementing Kindergarten to Grade Twelve curriculum and learning resources on Indigenous peoples in Canadian history, and the history and legacy of residential schools. iii. Building student capacity for intercultural understanding, empathy, and mutual respect. We would like extend thanks to Burnaby Village Museum staff for their time and efforts in creating this resource guide. -
M E D I a R E L E A
M e d i a R e l e a s e Mother-Son Artist Team Selected to Create Public Art to Enhance Johnson Street Parkade Date: Friday, August 21, 2015 For Immediate Release VICTORIA, BC — Yesterday, City Council selected a Vancouver-based, mother and son Musqueam First Nation artist team, Susan Point and Thomas Cannell, for their Woven Together proposal to create contemporary First Nations artwork to enhance the exterior of the Johnson Street Parkade. The artwork will be installed in April. “The extraordinary piece of art proposed by Susan Point and Thomas Cannell will celebrate the history of the local Coast Salish people and will make Johnson Street Parkade more welcoming, while enlivening Victoria’s downtown streetscape,” said Councillor Pamela Madoff, Council Liaison to the City’s Art in Public Places Committee. “Public art sends a strong message about a community and its values. It demonstrates that a city is tended and cared for and that its public realm is celebrated.” Woven Together will consist of colourful, powder-coated aluminum circular forms that are often used in Coast Salish art to represent the cycle of life, but also the traditional weaving spindle whorl and transportation. Colour will play a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre will be made up of four eye motifs that create four butterfly images symbolizing the ability to accept change, metamorphosis, and the beauty of nature. The number four is important within First Nations culture as it represents the four winds, seasons, directions, elements, moons and peoples. -
Squamish Community: Our People and Places Teacher’S Package
North Vancouver MUSEUM & ARCHIVES SCHOOL PROGRAMS 2018/19 Squamish Community: Our People and Places Teacher’s Package Grade 3 - 5 [SQUAMISH COMMUNITY: OUR PEOPLE AND PLACES KIT] Introduction SQUAMISH COMMUNITY: OUR PEOPLE AND PLACES KIT features 12 archival photographs selected from the Skwxwú7mesh Úxwumixw: The Squamish Community: Our People and Places exhibit presented at the North Vancouver Museum & Archives in 2010. This exhibit was a collaborative project undertaken by the North Vancouver Museum & Archives and the Squamish Nation. These archival images were selected by the Squamish Elders and Language Authority to represent local landscapes, the community and the individual people within the Squamish Nation. The Squamish Elders and Language Authority also contributed to the exhibit labels which are included on the reverse of each picture. This Kit has been designed to complement BC’s Social Studies curriculum for grades 3 - 5, giving students the opportunity to explore themes related to First Nations cultures in the past and cultural First Nations activities today. Included within this Kit is a detailed teacher’s package that provides instructors with lesson plan activities that guide students in the analysis of archival photographs. The recommended activities encourage skills such as critical thinking and cooperative learning. Altogether, the lesson plan activities are estimated to take 1 hour and 45 minutes and can easily be stretched across several instructional days. Through photo analysis worksheets and activities, students will be introduced to the Squamish Nation and historical photographs. Teachers are encouraged to read through the program and adapt it to meet the learning abilities and individual needs of their students. -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Coast Salish Textiles: from ‘Stilled Fingers’ to Spinning an Identity
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2010 Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity Eileen Wheeler Kwantlen Polytechnic University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Wheeler, Eileen, "Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity" (2010). Textile Society of America Symposium Proceedings. 59. https://digitalcommons.unl.edu/tsaconf/59 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. NOMINATED FOR FOUNDING PRESIDENTS AWARD COAST SALISH TEXTILES: FROM STILLED FINGERS TO SPINNING AN IDENTITY EILEEN WHEELER [email protected] Much that had been theirs that was fine was destroyed and lost. Much that they were proud of still remains, but goes unnoticed by those who have not the eyes to see nor the desire to comprehend.1 ~ Oliver Wells, 1965 I feel free when I weave. ~ Frieda George, 2010 When aboriginal women of south western British Columbia, Canada undertook to revisit their once prolific and esteemed ancestral textile practices, the strand of cultural knowledge linking this heritage to contemporary life had become extremely tenuous. It is through an engagement with cultural memory, painstakingly reclaimed, that Coast Salish women began a revival in the 1960s. It included historically resonant weaving and basketry, as well as the more recent adaptive and expedient practice of knitting. -
COAST SALISH SENSES of PLACE: Dwelling, Meaning, Power, Property and Territory in the Coast Salish World
COAST SALISH SENSES OF PLACE: Dwelling, Meaning, Power, Property and Territory in the Coast Salish World by BRIAN DAVID THOM Department of Anthropology, McGill University, Montréal March, 2005 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy © Brian Thom, 2005 Abstract This study addresses the question of the nature of indigenous people's connection to the land, and the implications of this for articulating these connections in legal arenas where questions of Aboriginal title and land claims are at issue. The idea of 'place' is developed, based in a phenomenology of dwelling which takes profound attachments to home places as shaping and being shaped by ontological orientation and social organization. In this theory of the 'senses of place', the author emphasizes the relationships between meaning and power experienced and embodied in place, and the social systems of property and territory that forms indigenous land tenure systems. To explore this theoretical notion of senses of place, the study develops a detailed ethnography of a Coast Salish Aboriginal community on southeast Vancouver Island, British Columbia, Canada. Through this ethnography of dwelling, the ways in which places become richly imbued with meanings and how they shape social organization and generate social action are examined. Narratives with Coast Salish community members, set in a broad context of discussing land claims, provide context for understanding senses of place imbued with ancestors, myth, spirit, power, language, history, property, territory and boundaries. The author concludes in arguing that by attending to a theorized understanding of highly local senses of place, nuanced conceptions of indigenous relationships to land which appreciate indigenous relations to land in their own terms can be articulated.