Windspeaker February 1996
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Olive Dickason
Dickason first became aware of her Métis ancestry as a young adult upon meeting some Métis relatives in Regina. Honouring her ancestors properly became a goal that would give her future academic work the deepest personal meaning. But before that, she entered the workforce. She began a 24-year career in journalism at the Regina Leader-Post and subsequently, worked as a writer and editor at The Winnipeg Free Press, The Montreal Gazette, and The Globe and Mail. She pro- moted coverage of First Nations and Women’s issues, becoming the Women’s Editor at both The Montreal Gazette, and later The Globe and Mail’s daily newspaper and magazine. At age 50, Dickason decided to continue her education, entering the Graduate program at the University of Ottawa. She had to struggle with faculty preconceptions regarding Aboriginal History – including arguments that it did not exist – before finally finding a professor to act as her academic advisor. Dickason completed her Master’s degree at the Olive Patricia Dickason University of Ottawa in 1972, at the age of 52. She Honorary Doctor of Letters went on to successfully defend her Doctoral Thesis, entitled The Myth of the Savage. Born in Winnipeg, Olive Dickason is widely Dickason then authored Canada’s First Nations: acknowledged as the key figure in making A History of Founding Peoples from the Earliest Times, Aboriginal History serious study in Canada’s the most definitive text on the subject at the time, academic world. and still widely in use. She has had to face much adversity in her life and, Dickason taught at the University of Alberta from throughout, she has persevered in the roles of student, 1975 to 1992, and is currently an adjunct professor journalist, mother, scholar, elder, and role model. -
National Aboriginal Achievement Foundation
NATIONAL ABORIGINAL ACHIEVEMENT FOUNDATION • ANNUAL REPORT 2006/2007 • Table of Contents Message from the Chair. page 2 Message from the CEO . page 3 National Aboriginal Achievement Foundation . page 5 Corporate Development . page 6 Communications . page 6 Finance & Operations . page 7 Education . page 7 Special Projects . page 8 Taking Pulse. page 10 Blueprint for the Future . page 12 The 2007 National Aboriginal Achievement Awards . page 14 The 2007 National Aboriginal Achievement Award Recipients . page 16 Special Named Scholarships . page 18 2006-2007 Scholarship Recipients . page 19 Supporters . page 49 Financial Statements. page 55 Message from the Chair of the Board As we move forward, we find ourselves on stronger ground, as The reason for the Foundation’s existence, our First Nations, we have overcome a number of challenges these past few years Inuit and Métis youth of Canada, never cease to amaze me as to owing much to the leadership of Roberta Jamieson. Her drive their resiliency, and their ability to overcome challenges in order and determination to bring the Foundation into the 21st to pursue their dreams. The Aboriginal youth of Canada exude Century ensuring that we are providing the standard of service the promise of greatness and I am honoured to serve them as that the Foundation has become known for – Excellence – is part of the National Aboriginal Achievement Foundation, they remarkable and we are grateful to have a person such as Roberta truly are Canada’s future. leading the Foundation. On behalf of the Board of Directors, I congratulate her and the Foundation staff for another fantastic The future is bright due to the continued support of our many job well done. -
Analyse D'œuvres Du Style Artistique Woodland
TRACES DE PEINTURE ARTIDAVI_VF1_Fiche1 Analyse d’œuvres du style artistique Woodland Norval Morrisseau est considéré comme le père du style artistique Woodland. Au cours des années 1970, il s’est affilié à une coopérative d’artistes, desquels certains ont adopté des aspects de ce langage artistique du style Woodland. Par la suite, il y a eu une relève formée d’une nouvelle génération de peintres qui ont trouvé leur inspiration dans ce style, et ce courant se poursuit encore aujourd’hui. Dans cet exercice, tu exploreras des œuvres de ces deux groupes d’artistes : ceux qui étaient à l’origine, et ceux de la relève. Citation de Daphne Odjig : « Nous sommes un peuple vivant et une culture vivante. Je suis convaincue que notre destin est de progresser, d’expérimenter et de développer de nouveaux modes d’expression, comme le font tous les peuples. Je n’ai pas l’intention de rester figée dans le passé. Je n’suis pas une pièce de musée. » Source : Les dessins et peintures de Daphne Odjig : Une exposition rétrospective, Bonnie Devine, Robert Houle et Duke Redbird, 2007. Consigne Tu analyseras deux œuvres, une de chaque groupe. Les œuvres du premier groupe sont celles d’artistes qui ont côtoyé Norval Morrisseau et comme lui, ont adopté un langage artistique similaire. Leurs couleurs plutôt ternes avec l’ocre très présent rappellent celles des pictogrammes et peintures rupestres sur les rochers dans la région des Grands Lacs où ce style est né. Bien que ces œuvres présentent des ressemblances, le style de plusieurs de ces artistes se transformera dans une forme personnelle, surtout à partir des années 1980, quand on verra émerger l’usage de couleurs éclatantes. -
2002-03 MIH Media Guide
2002-03 Bemidji State Men’s Ice Hockey Table of Contents IFC Tradition Never Graduates 1 Table of Contents 2 BSU Hockey Quick Facts 2 2002-03 Season Outlook 4-6 Coaching & Support Staff 4 Head Coach Tom Serratore 5 Assistant Coaches Bert Gilling & Shawn Kurulak 6 Grad Assistant Marc Lafl eur & Support Staff 7-20 2002 Bemidji State Beavers 7 2002 Roster 8-18 Returning Student-Athlete Bios 19 Incoming Student-Athlete Bios 20 Pre-Season Line Chart 21-26 2002-03 Opponents 21-22 Non-Conference Opponents 23-24 College Hockey America opponents 24 2002-03 Travel Itineraries 25 Series Records vs 2002-03 Opponents 26 2002-03 College Hockey America Composite Schedule 27-40 2001-02 Season in Review 27 A Look Back at 2001-02 28 2001-02 Schedule & Results 29 2001-02 Final Statistics 30-31 2001-02 Player Game-by-Game Scoring 30 BSU’s record when... 31 The Last Time 32-37 2001-02 Game Recaps 38 College Hockey America 39 2001-02 CHA Recap 40 CHA Players of the Week / Statistical Leaders 41-67 BSU History and Records 41 Year-by-Year Results 42-47 All-Time Results 47 All-Time Series Standings 48-49 Year-by-Year Team Stats 50-51 Individual Year-by-Year Statistical Leaders 52-53 Individual Career Scoring Leaders 52 BSU Career Records 53 Division I-era Scoring Leaders 54 Individual Career Goaltending Leaders 54 BSU Season and Game Records 55 Team Records / Individual Single-Season Leaders 56-57 R.H. “Bob” Peters 58-61 BSU’s 13 National Champions 62-65 BSU Hockey Alumni 66-67 BSU All-Americans 68-76 Welcome to Bemidji State University 68 Welcome to Bemidji 69 Bemidji State University 70-71 John S. -
Which Canadian Charities Had the Largest Assets in 2015?
www.canadiancharitylaw.ca Which Canadian charities had the largest assets in 2015? By Mark Blumberg (June 10, 2017) We recently reviewed the T3010 information for 2015. It covers about 84,442 of the 86,000 registered charities that have so far filed their return and that have been entered into the CRA’s database. Canadian registered charities are currently required to disclose on the T3010 their assets. The total assets of all the 84,442 registered charities were about $397,833,310,726.00. Below we have a table of Canadian charities that had assets of over $10 million as identified for the 2015 fiscal year. Thank you to Celeste Bonas, an intern at Blumbergs, for helping with this project. The Sean Blumberg Transparency Project is in memory of my youngest brother Sean Blumberg. Sean was a sweet, kind person, a great brother who helped me on a number of occasions with many tasks including the time consuming and arduous task of reviewing T3010 databases and making them into something useful. As part of the Sean Blumberg Transparency Project, Blumbergs has been releasing information on the Canadian charity sector to provide a better understanding of the size, scope, complexity and challenges of the sector. Please review my caveats at the end about the reliability and usage of T3010 information. 1 www.canadiancharitylaw.ca List of Canadian charities with the largest assets in 2015 Line 4200 Name of Canadian Registered Charity Largest assets 1. THE MASTERCARD FOUNDATION $12,704,351,331.00 2. ALBERTA HEALTH SERVICES $10,140,366,000.00 3. -
Knowledge Organiser: How Do Artists Represent Their Environment
Knowledge Organiser: How do Artists represent their environment through painting? Timeline of key events 1972 – Three First Nations artists did a joint exhibition in Winnipeg 1973 – Following the success of the exhibition, three artists plus four more, created Indian Group Of Seven to represent Indian art and give it value and recognition. 1975 – Group disbanded Key Information Artists choose to work in a particular medium and style. They represent the world as they see it. Key Places Winnipeg, Manitoba, Ontario, British Columbia, Alberta Key Figures Daphne Odjig 1919 – 2016 Woodland style, Ontario; moved to British Columbia Alex Janvier 1935 – present Abstract, represent hide-painting, quill work and bead work; Alberta Jackson Beardy 1944 - 1984, Scenes from Ojibwe and Cree oral traditions, focusing on relationships between humans and nature. Manitoba. Eddy Cobiness 1933 – 1996 Life outdoors and nature; born USA moved to winnipeg Norval Morrisseau 1931 – 2007 Woodland stlye; Ontario, also known as Copper Thunderbird Carl Ray 1943 – 1978 Woodland style, electrifying colour (founder member); Ontario Joseph Sanchez 1948 – present Spritual Surrealist; Born USA moved to Manitoba Christi Belcourt 1966 – present Metis visual artist, often paints with dots in the style of Indian beading – Natural World; Ontario Key Skills Drawing and designing: Research First Nations artists. Identify which provinces of Canada they come from. Compare and contrast the works of the different artists. Take inspiration from the seven artists to plan an independent piece of art based on the relevant artist: • Give details (including own sketches) about the style of some notable artists, artisans and designers. • type of paint, brush strokes, tools Symbolic representation • Create original pieces that show a range of influences and styles based on the Indian Group of Seven and their work. -
From Truth to Reconciliation : Transforming the Legacy of Residential Schools
AHF_School_cover_JAN23.qxd:Layout 1 1/23/08 3:57 PM Page 1 RESILIENCE OF THE FLOWER BEADWORK PEOPLE Christi Belcourt 1999 Acrylic on Canvas We have survived through incredible odds. We very easily could have been absorbed into the mainstream society. The pressures were there from all sides. No matter. We are here. Despite direct assimilation attempts. Despite the residential school systems. Despite the strong influences of the Church in Métis communities to ignore and deny our Aboriginal heritage and our Aboriginal spirituality. We are still able to say we are proud to be Métis. We are resilient as a weed. As beautiful as a wildflower. We have much to celebrate and be proud of. – Christi Belcourt (excerpt from www.belcourt.net) T r a F n s r BLOOD TEARS f o o Alex Janvier r m m 2001 i Acrylic on linen n T g From Truth to Reconciliation th r Painted on the artist’s 66 birthday, t u h Blood Tears is both a statement of e t Transforming the Legacy of Residential Schools Mr. Janvier’s sense of loss and a h L celebration of his resilience, made all e t g the more powerful with the inclusion o a c of a lengthy inscription painted in his y R own hand on the rear of the canvas. o e f The inscription details a series of c R losses attributed to the ten years o e he spent at the Blue Quills Indian s n i d Residential School: loss of childhood, c e language, culture, customs, parents, Aboriginal Healing Foundation i n l t grandparents, and traditional beliefs. -
Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept
DOCUMENT RESUME ED 400 143 RC 020 735 AUTHOR Bagworth, Ruth, Comp. TITLE Native Peoples: Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1305-6 PUB DATE 95 NOTE 261p.; Supersedes fourth edition, ED 350 116. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MFO1 /PC11 Plus Postage. DESCRIPTORS American Indian Culture; American Indian Education; American Indian History; American Indian Languages; American Indian Literature; American Indian Studies; Annotated Bibliographies; Audiovisual Aids; *Canada Natives; Elementary Secondary Education; *Eskimos; Foreign Countries; Instructional Material Evaluation; *Instructional Materials; *Library Collections; *Metis (People); *Resource Materials; Tribes IDENTIFIERS *Canada; Native Americans ABSTRACT This bibliography lists materials on Native peoples available through the library at the Manitoba Department of Education and Training (Canada). All materials are loanable except the periodicals collection, which is available for in-house use only. Materials are categorized under the headings of First Nations, Inuit, and Metis and include both print and audiovisual resources. Print materials include books, research studies, essays, theses, bibliographies, and journals; audiovisual materials include kits, pictures, jackdaws, phonodiscs, phonotapes, compact discs, videorecordings, and films. The approximately 2,000 listings include author, title, publisher, a brief description, library -
Turtle Island Education Guide
The Alberta Foundation for the Arts Travelling Exhibition Program Interpretive Guide & Hands-on Activities Turtle Island The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. -
Witnesswitness
Title Page WitnessWitness Edited by Bonnie Devine Selected Proceedings of Witness A Symposium on the Woodland School of Painters Sudbury Ontario, October 12, 13, 14, 2007 Edited by Bonnie Devine A joint publication by the Aboriginal Curatorial Collective and Witness Book design Red Willow Designs Red Willow Designs Copyright © 2009 Aboriginal Curatorial Collective and Witness www.aboriginalcuratorialcollective.org All rights reserved under international copyright conventions. Published in conjunction with the symposium of the same title, October 12 through 15, 2007. Photographs have been provided by the owners or custodians of the works reproduced. Photographs of the event provided by Paul Gardner, Margo Little and Wanda Nanibush. For Tom Peltier, Jomin The Aboriginal Curatorial Collective and Witness gratefully acknowledge the financial support of the Canada Council for the Arts and the Ontario Arts Council Cover: Red Road Rebecca Belmore October 12 2007 Image: Paul Gardner Red Willow Designs Aboriginal Curatorial Collective / Witness iii Acknowledgements This symposium would not have been possible without the tremendous effort and support of the Art Gallery of Sudbury. Celeste Scopelites championed the proposal to include a symposium as a component of the Daphne Odjig retrospective exhibition and it was her determination and vision that sustained the project through many months of preparation. Under her leadership the gallery staff provided superb administrative assistance in handling the myriad details an undertaking such as this requires. My thanks in particular to Krysta Telenko, Nancy Gareh- Coulombe, Krista Young, Mary Lou Thomson and Greg Baiden, chair of the Art Gallery of Sudbury board of directors, for their enthusiasm and support. -
Breaking Barriers the Artist Inside
Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Breaking Barriers The Artist Inside youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. -
Woodlands the Alberta Foundation for the Arts Travelling Exhibition Program the Interpretive Guide
Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Woodlands The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels.