Healing Words
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARTH 315/CANS 315 Indigenous Art and Culture: Contemporary Indigenous Art in Canada Mcgill University, Montreal, Canada Fall 2020
ARTH 315/CANS 315 Indigenous Art and Culture: Contemporary Indigenous Art in Canada McGill University, Montreal, Canada Fall 2020 Lecture: Tuesday and Thursday, 1:05-1:50 pm, Arts W-215 (Lectures will be recorded on Zoom and posted after) Instructor: Dr. Gloria Bell Email: [email protected] Office Hours: Mondays 1:40 pm – 2:40pm. Tuesdays 2:30pm – 3:30 pm. Teaching Assistant: Rach Klein Email: tbd* Office Hours: (will be posted on MyCourses) Course Description: This course will examine the production of contemporary First Nations, Métis and Inuit artists in Canada from the 1990s to the present. A diverse range of contemporary art practices – including painting, drawing, photography, film, performance, installation and new media art – will be considered in relation to key aspects of the cultural, political and social life of Indigenous peoples in Canada. Much of the work examined reflects and responds to the continuing legacy of colonization and successive Canadian governments’ policies of assimilation and segregation. Artists, artworks and exhibitions examined will therefore be both historically and contemporarily contextualized. We will discuss the impact of the Indian Act, the establishment of Reserves and conflicts surrounding sovereignty and status, as well as the portrayal of Indigenous identity in art, popular culture and news media. Additionally, we will engage with the recent scholarship in Indigenous studies and material culture, and current events related to the theme of the course. The course is divided thematically, rather than chronologically, with weekly topics addressing significant aspects of Indigenous art and culture in Canada today. Objectives and Expectations: This course offers students the opportunity to critically engage with key themes in contemporary Indigenous art and culture. -
Cosmology and Shamanism and Shamanism INTERVIEWING INUIT ELDERS
6507.3 Eng Cover w/spine/bleed 5/1/06 9:23 AM Page 1 INTERVIEWINGCosmology INUIT ELDERS and Shamanism Cosmology and Shamanism INTERVIEWING INUIT ELDERS Mariano and Tulimaaq Aupilaarjuk, Lucassie Nutaraaluk, Rose Iqallijuq, Johanasi Ujarak, Isidore Ijituuq and Michel Kupaaq 4 Edited by Bernard Saladin d’Anglure 6507.5_Fre 5/1/06 9:11 AM Page 239 6507.3 English Vol.4 5/1/06 9:21 AM Page 1 INTERVIEWING INUIT ELDERS Volume 4 Cosmology and Shamanism Mariano and Tulimaaq Aupilaarjuk, Lucassie Nutaraaluk, Rose Iqallijuq, Johanasi Ujarak, Isidore Ijituuq and Michel Kupaaq Edited by Bernard Saladin d’Anglure 6507.3 English Vol.4 5/1/06 9:21 AM Page 2 Interviewing Inuit Elders Volume 4 Cosmology and Shamanism Copyright © 2001 Nunavut Arctic College, Mariano and Tulimaaq Aupilaarjuk, Bernard Saladin d’Anglure and participating students Susan Enuaraq, Aaju Peter, Bernice Kootoo, Nancy Kisa, Julia Saimayuq, Jeannie Shaimayuk, Mathieu Boki, Kim Kangok, Vera Arnatsiaq, Myna Ishulutak, and Johnny Kopak. Photos courtesy Bernard Saladin d’Anglure; Frédéric Laugrand; Alexina Kublu; Mystic Seaport Museum. Louise Ujarak; John MacDonald; Bryan Alexander. Illustrations courtesy Terry Ryan in Blodgett, ed. “North Baffin Drawings,” Art Gallery of Ontario; 1923 photo of Urulu, Fifth Thule Expedition. Cover illustration “Man and Animals” by Lydia Jaypoody. Design and production by Nortext (Iqaluit). All rights reserved. The use of any part of this publication, reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without written consent of the publisher is an infringement of the copyright law. ISBN 1-896-204-384 Published by the Language and Culture Program of Nunavut Arctic College, Iqaluit, Nunavut with the generous support of the Pairijait Tigummivik Elders Society. -
Contemporary Inuit Drawing
Cracking the Glass Ceiling: Contemporary Inuit Drawing Nancy Campbell A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY, YORK UNIVERSITY TORONTO, ONTARIO. January 2017 © Nancy Campbell, 2017 Abstract The importance of the artist’s voice in art historical scholarship is essential as we emerge from post-colonial and feminist cultural theory and its impact on curation, art history, and visual culture. Inuit art has moved from its origins as an art representing an imaginary Canadian identity and a yearning for a romantic pristine North to a practice that presents Inuit identity in their new reality. This socially conscious contemporary work that touches on the environment, religion, pop culture, and alcoholism proves that Inuit artists can respond and are responding to the changing realities in the North. On the other side of the coin, the categories that have held Inuit art to its origins must be reconsidered and integrated into the categories of contemporary art, Indigenous or otherwise, in museums that consider work produced in the past twenty years to be contemporary as such. Holding Inuit artists to a not-so-distant past is limiting for the artists producing art today and locks them in a history that may or may not affect their work directly. This dissertation examines this critical shift in contemporary Inuit art, specifically drawing, over the past twenty years, known as the contemporary period. The second chapter is a review of the community of Kinngait and the role of the West Baffin Eskimo Cooperative in the dissemination of arts and crafts. -
Inuit Art & Culture Tours
Inuit Art & Culture Tours A Teacher’s Guide Dear Teacher, Thank you for participating in an Inuit Cultural Tour or the Inuit Partnership Program at the Dennos Museum Center. We are excited to see you and your students at the museum soon! This packet gives you some background on the Inuit people and outlines the goals of the Inuit Cultural Tours. Specific details of the tour (length of tour, art project, etc.) will vary with each group. Please refer to your tour confirmation sheet to verify specific details of your tour. There are three suggested pre- or post-activities and a list of possible lesson extensions included in the packet. Please use and alter any of these lessons as you wish to create an integrated unit of study and complete the museum learning experience for your students. If your class is participating in the printmaking activity during your museum visit, please make sure that the students prepare their sketches on the worksheet provided outside of this packet. There is also an evaluation included in your materials. Please fill it out and return it to the museum. Your feedback on the packet and tour experience is vital for planning future programming! Thank you, Jason Dake Curator of Education (231) 995-1029 [email protected] 2 INUIT CULTURAL TOURS TOUR OVERVIEW This tour program is built around the Dennos Museum Center’s collection of Inuit Art and Michigan State Social Studies and Art Curriculum standards. Combined with the included lessons, this program also addresses curriculum standards for English/Language Arts. It combines art production, hands-on learning, games, and aesthetics to engage students with the Inuit people. -
Discover Inuit
) DiscoverDiscover InuitInuit ArtArt What do polar bears look like when they stand up on their hind legs? What kinds of creatures are the heroes of Inuit legends? How did Inuit mothers keep their babies warm through the freezing arctic days and nights? What does an Inuit summer camp look like? What are some of the big concerns for young Inuit today? You’ll learn the answers) to all these questions, and The detail in Inuit sculpture hundreds more, through and colourful drawings will open more doors than you can imagine. the wonderful world Many of the older Inuit artists working today grew up in a traditional way. They of Inuit art. lived in igloos in winter and tents made of animal skins in summer. Their families returned to their winter and summer camps each year when the sea mammals and animals (like seals, whales and caribou), came in greatest numbers. Mothers carried their babies in an amauti — the big hood on their parkas. When the family travelled, it was on a sled pulled by a dog team. What Inuit art shows This traditional way of life is one of the big subjects in Inuit art. By showing us in drawings and sculptures how their ancestors lived, Inuit artists are keeping their history alive. Art helps them remember, and treasure, the ways their ancestors hunted and made protective clothing and shelter. In their Stories of ) art, many Inuit are making a visual history to show how their ancestors adapted to living in one of the harshest climates shamans tell on earth. -
Portraits of Aboriginal People by Europeans and by Native Americans
OTHERS AND OURSELVES: PORTRAITS OF ABORIGINAL PEOPLE BY EUROPEANS AND BY NATIVE AMERICANS Eliana Stratica Mihail and Zofia Krivdova This exhibition explores portraits of Aboriginal peoples in Canada, from the 18th to the 21st centuries. It is divided thematically into four sections: Early Portraits by European Settlers, Commercially-produced Postcards, Photographic Portraits of Aboriginal Artists, and Portraits of and by Aboriginal people. The first section deals with portraits of Aboriginal people from the 18th to the 19th century made by Europeans. They demonstrate an interest in the “other,” but also, with a few exceptions, a lack of knowledge—or disinterest in depicting their distinct physical features or real life experiences. The second section of the exhibition explores commercially produced portraits of First Nations peoples of British Columbia, which were sold as postcards. These postcards date from the 1920s, which represents a period of commercialization of Native culture, when European-Canadians were coming to British Columbia to visit Aboriginal villages and see totem poles. The third section presents photographic portraits of Aboriginal artists from the 20th century, showing their recognition and artistic realizations in Canada. This section is divided into two parts, according to the groups of Aboriginal peoples the artists belong to, Inuit and First Nations. The fourth section of the exhibition explores portraits of and by Aboriginals. The first section sharply contrasts with the last, showing the huge gap in mentality and vision between European settlers, who were just discovering this exotic and savage “other,” and Native artists, whose artistic expression is more spiritual and figurative. This exhibition also explores chronologically the change in the status of Aboriginal peoples, from the “primitive other” to 1 well-defined individuals, recognized for their achievements and contributions to Canadian society. -
THE ONTARIO CURRICULUM, GRADES 9 to 12 | First Nations, Métis, and Inuit Studies
2019 REVISED The Ontario Curriculum Grades 9 to 12 First Nations, Métis, and Inuit Studies The Ontario Public Service endeavours to demonstrate leadership with respect to accessibility in Ontario. Our goal is to ensure that Ontario government services, products, and facilities are accessible to all our employees and to all members of the public we serve. This document, or the information that it contains, is available, on request, in alternative formats. Please forward all requests for alternative formats to ServiceOntario at 1-800-668-9938 (TTY: 1-800-268-7095). CONTENTS PREFACE 3 Secondary Schools for the Twenty-first Century � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3 Supporting Students’ Well-being and Ability to Learn � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �3 INTRODUCTION 6 Vision and Goals of the First Nations, Métis, and Inuit Studies Curriculum � � � � � � � � � � � � � �6 The Importance of the First Nations, Métis, and Inuit Studies Curriculum � � � � � � � � � � � � � � �7 Citizenship Education in the First Nations, Métis, and Inuit Studies Curriculum � � � � � � � �10 Roles and Responsibilities in the First Nations, Métis, and Inuit Studies Program � � � � � � �12 THE PROGRAM IN FIRST NATIONS, MÉTIS, AND INUIT STUDIES 16 Overview of the Program � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �16 Curriculum Expectations � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � -
Interviewing Inuit Elders
6507.1 Volume 2 covers 5/1/06 1:35 PM Page 1 INTERVIEWINGPerspectives INUIT onELDERS Traditional Law erspectives on Traditional Law P INTERVIEWING INUIT ELDERS Mariano Aupilaarjuk, Marie Tulimaaq, Akisu Joamie, Emile Imaruittuq, Lucassie Nutaraaluk 2 Edited by Jarich Oosten, Frédéric Laugrand and Wim Rasing 6507.5_Fre 5/1/06 9:11 AM Page 239 6507.1OralHistory2 LAW 5/1/06 8:25 AM Page 1 INTERVIEWING INUIT ELDERS Volume 2 Perspectives on Traditional Law Mariano Aupilaarjuk, Marie Tulimaaq, Akisu Joamie, Emile Imaruittuq, Lucassie Nutaraaluk Edited by Jarich Oosten, Frédéric Laugrand and Wim Rasing 6507.1OralHistory2 LAW 5/1/06 8:25 AM Page 2 Interviewing Inuit Elders Volume 2 Prespectives on Traditional Law Copyright ©1999: Nunavut Arctic College and Mariano Aupilaarjuk, Marie Tulimaaq, Akisu Joamie, Emile Imaruittuq, Lucassie Nutaraaluk, Jarich Oosten and Frédéric Laugrand, Wim Rasing, Alexina Kublu and participating students (as listed within). Photos by Nick Newbery (Acknowledgements), Frédéric Laugrand and Sally Mikijuk. Cover illustration “Man and Animals” by Lydia Jaypoody Design and production by Nortext (Iqaluit) All rights reserved. The use of any part of this publication, reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without written consent of the publisher is an infringement of the copyright law. ISBN 1-896-204-341 Published by the Language and Culture Program of Nunavut Arctic College, Iqaluit, Nunavut X0A 0H0 with the generous -
Negotiating Research Relationships with Inuit Communities
NEGOTIATING RESEARCH RELATIONSHIPS WITH INUIT COMMUNITIES A GUIDE FOR RESEARCHERS T ABLE OF C ONTENTS ❖ Why we wrote this guide 1 Community Perceptions of Research 1 Advantages of community involvement in research 5 Key Issues to Address 7 Elements of a negotiated research relationship 7 Determining the level of community involvement 10 Initiating community contact 13 Research licensing 16 Communication strategy 18 Negotiating a Research Relationship 21 Useful Links 22 Appendix A 23 Appendix B 25 Why we wrote this guide Northern researchers are ever-aware of the growing expectations on them to ensure that northern communities are involved in, and benefit from, research. But what are researchers really being asked to do? How can community members participate in research? What level of community involvement is appropriate in a given project? What are the best ways to communicate with local people? How can researchers initiate and maintain a meaningful relationship with community members? This guide is an attempt to address these questions, and provide practical advice to assist researchers who plan to work with, or in the vicinity of, Canadian Inuit communities in the regions of Nunatsiavut (Labrador), Nunavik (northern Québec), Nunavut, and the Inuvialuit Settlement Region of the Northwest Territories (NWT) (Map 1). This guide presents some core “universal” themes in communication and relationship-building that apply to natural, physical, biological, and social scientists working in the Canadian North. A range of information is provided in order for researchers to tailor ideas to their specific project objectives, whether they are just beginning or they wish to improve ongoing community-researcher relationships. -
Changing the Role of Non-Indigenous Research Partners in Practice to Support Inuit Self-Determination in Research1
127 ARTICLE Changing the role of non-Indigenous research partners in practice to support Inuit self-determination in research1 K.J. Wilson, T. Bell, A. Arreak, B. Koonoo, D. Angnatsiak, and G.J. Ljubicic Abstract: Efforts to date have not advanced Indigenous participation, capacity building and knowledge in Arctic environmental science in Canada because Arctic environmental science has yet to acknowledge, or truly practice decolonizing research. The expanding liter- ature on decolonizing and Indigenous research provides guidance towards these alternative research approaches, but less has been written about how you do this in practice and the potential role for non-Indigenous research partners in supporting Inuit self-determination in research. This paper describes the decolonizing methodology of a non-Indigenous researcher partner and presents a co-developed approach, called the Sikumiut model, for Inuit and non-Indigenous researchers interested in supporting Inuit self-determination. In this model the roles of Inuit and non-Indigenous research partners were redefined, with Inuit governing the research and non-Indigenous research partners training and mentoring Inuit youth to conduct the research themselves. The Sikumiut model shows how having Inuit in decision-making positions ensured Inuit data ownership, accessibility, and control over how their Inuit Qaujimajatuqangit is documented, communicated, and respected for its own scientific merit. It examines the benefits and potential to build on the existing research capacity of Inuit youth and describes the guidance and lessons learned from a non-Indigenous researcher in supporting Inuit self-determination in research. Pinasuktaujut maannamut pivaallirtittisimangimmata nunaqarqaarsimajunik ilautitaunin- ginnik, pijunnarsivallianirmik ammalu qaujimajaujunik ukiurtartumi avatilirinikkut kikli- siniarnikkut kanata pijjutigillugu ukiurtartumi avatilirinikkut kiklisiniarnikkut ilisarsisimangimmata, uvaluunniit piliringimmata issaktausimangittunik silataanit qauji- sarnirmut. -
Nunavut, a Creation Story. the Inuit Movement in Canada's Newest Territory
Syracuse University SURFACE Dissertations - ALL SURFACE August 2019 Nunavut, A Creation Story. The Inuit Movement in Canada's Newest Territory Holly Ann Dobbins Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Dobbins, Holly Ann, "Nunavut, A Creation Story. The Inuit Movement in Canada's Newest Territory" (2019). Dissertations - ALL. 1097. https://surface.syr.edu/etd/1097 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract This is a qualitative study of the 30-year land claim negotiation process (1963-1993) through which the Inuit of Nunavut transformed themselves from being a marginalized population with few recognized rights in Canada to becoming the overwhelmingly dominant voice in a territorial government, with strong rights over their own lands and waters. In this study I view this negotiation process and all of the activities that supported it as part of a larger Inuit Movement and argue that it meets the criteria for a social movement. This study bridges several social sciences disciplines, including newly emerging areas of study in social movements, conflict resolution, and Indigenous studies, and offers important lessons about the conditions for a successful mobilization for Indigenous rights in other states. In this research I examine the extent to which Inuit values and worldviews directly informed movement emergence and continuity, leadership development and, to some extent, negotiation strategies. -
Proquest Dissertations
UNIVERSITY OF CALGARY The Role of Fur Trade Technologies in Adult Learning: A Study of Selected Inuvialuit Ancestors at Cape Krusenstern, NWT (Nunavut), Canada 1935-1947 by David Michael Button A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF EDUCATION GRADUATE DIVISION OF EDUCATIONAL RESEARCH CALGARY, ALBERTA August 2008 © David Button 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-44376-7 Our file Notre reference ISBN: 978-0-494-44376-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation.