Native American Coppers of the Northwest Coast
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Francophone Historical Context Framework PDF
Francophone Historic Places Historical Context Thematic Framework Canot du nord on the Fraser River. (www.dchp.ca); Fort Victoria c.1860. (City of Victoria); Fort St. James National Historic Site. (pc.gc.ca); Troupe de danse traditionnelle Les Cornouillers. (www. ffcb.ca) September 2019 Francophone Historic Places Historical Context Thematic Framework Francophone Historic Places Historical Context Thematic Framework Table of Contents Historical Context Thematic Framework . 3 Theme 1: Early Francophone Presence in British Columbia 7 Theme 2: Francophone Communities in B.C. 14 Theme 3: Contributing to B.C.’s Economy . 21 Theme 4: Francophones and Governance in B.C. 29 Theme 5: Francophone History, Language and Community 36 Theme 6: Embracing Francophone Culture . 43 In Closing . 49 Sources . 50 2 Francophone Historic Places Historical Context Thematic Framework - cb.com) - Simon Fraser et ses Voya ses et Fraser Simon (tourisme geurs. Historical contexts: Francophone Historic Places • Identify and explain the major themes, factors and processes Historical Context Thematic Framework that have influenced the history of an area, community or Introduction culture British Columbia is home to the fourth largest Francophone community • Provide a framework to in Canada, with approximately 70,000 Francophones with French as investigate and identify historic their first language. This includes places of origin such as France, places Québec, many African countries, Belgium, Switzerland, and many others, along with 300,000 Francophiles for whom French is not their 1 first language. The Francophone community of B.C. is culturally diverse and is more or less evenly spread across the province. Both Francophone and French immersion school programs are extremely popular, yet another indicator of the vitality of the language and culture on the Canadian 2 West Coast. -
Media Images
MEDIA IMAGES High-res images of 81 works in the Royal BC Museum Google Art Project available on request. All images and content at: http://www.google.com/culturalinstitute/project/art-project Media contact: Royal BC Museum Media Inquiries, 250-387-3207 or [email protected] Raven and Whale Photograph © Royal BC Museum, BC Archives. Chief Nakaṕankam, Mungo Martin, Raven and Whale, 1960. Watercolour on paper. RBCM14429 Chief Nakaṕankam, Mungo Martin, was born about 1881 in the Kwagu’ł village of Tsaxis (Fort Rupert) on the east coast of Vancouver Island. He was raised in the traditional culture of his people and was an expert carver and singer. In 1947, he was hired by the University of British Columbia Museum of Anthropology in Vancouver to restore and replicate totem poles in their collection. In 1952, when he was about 72 years old, he moved to Victoria on Vancouver Island to be Chief Carver on staff at the British Columbia Provincial Museum (now the Royal BC Museum), where he created more than two dozen poles and built Wawadiťła, a version of a traditional Kwakwaka’wakw bighouse, in Thunderbird Park. For the opening of Wawadiťła in 1953, Martin gave the first legal potlatch after the law against potlatching was dropped from the Indian Act in 1951. Wawadiťła continues to be used for First Nations events with the permission of Martin’s grandson. Poles carved by Mungo Martin at the Royal BC Museum are now in Athens, Mexico City, London and many other world cities. Martin died on August 16, 1962. Hundreds of people came to pay their respects when the Chief lay in state in Wawadiťła. -
JACK DAVY Worked for the British and Horniman Museums Before
DOI BIO: JACK DAVY worked for the British and Horniman museums before earning a PhD from University College London, where he studied miniature artifacts from the Northwest Coast of the United States and Canada. He is currently a senior research assistant at the University of East Anglia for Beyond the Spectacle: Native North American Presence in Britain, a three- year project funded by the United Kingdom Arts and Humanities Research Council. The “Idiot Sticks”: Kwakwaka’wakw Carving and Cultural Resistance in Commercial Art Production on the Northwest Coast Jack Davy Between 1884 and 1951 a ban on potlatching prohibited Indigenous communities of British Columbia from practicing traditional economic, ceremonial, and political activities, restricting them to state-sanctioned gatherings and celebrations. Unable to perform traditional dances and wear the associated regalia, Native artistic practices, in particular carving, began to fall into disuse as demand dried up. Restricted to only a few artistic forms permitted by local authorities, carvers turned to the growing tourist market, a field dominated by non- Native dealers but also disdained by government as inauthentic and thus, ostensibly non- threatening. Among art forms most popular with the Kwakwaka’wakw people of Vancouver Island and the corresponding British Columbia coast were model totem poles, which have often been overlooked as facile souvenir art and even sometimes derided as “idiot sticks.” In reality, however, drawing from both historical accounts and contemporary interviews with Kwakwaka’wakw carvers, this article demonstrates that these model totem poles were a subversive method of Indigenous defiance of Canadian authority. Carvers satirically enacted resistance through these model poles, not only mocking those who would presume to judge without knowledge, but in preserving information for future generations, could ensure the survival of traditional designs and techniques and register protest at their treatment by non-Native government and society. -
PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY
PROVINCE OF BRITISH COLUMBIA DEPARTMENT OF EDUCATION PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY REPORT FOR THE YEAR 1958 Printed by DON MCDIARMID, Printer to the Queen's Most Excellent Majesty in right of the Province of British Columbia. 1959 To His Honour FRANK MACKENZIE ROSS, C.M.G., M.C., LL.D., Lieutenant-Governor of the Province of British Columbia. MAY IT PLEASE YOUR HONOUR: The undersigned respectfully submits herewith the Annual Report of the Provincial Museum of Natural History and Anthropology for the year 1958. L. R. PETERSON, Minister of Education. Office of the Minister of Education, January, 1959. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY, VICTORIA, B.C., January 19th, 1959. The Honourable L. R. Peterson, Minister of Education, Victoria, B.C. SIR,—The undersigned respectfully submits herewith a report covering the activities of the Provincial Museum of Natural History and Anthropology for the calendar year 1958. I have the honour to be, Sir, Your obedient servant, G. CLIFFORD CARL, Director. DEPARTMENT OF EDUCATION The Honourable LESLIE RAYMOND PETERSON, LL.B., Minister. J. F. K. ENGLISH, M.A., Ed.D., Deputy Minister and Superintendent. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY Staff G. CLIFFORD CARL, Ph.D., Director. CHARLES J. GUIGUET, M.A., Curator of Birds and Mammals. WILSON DUFF, M.A., Curator of Anthropology. ADAM F. SZCZAWINSKI, Ph.D., Curator of Botany. J. E. MICHAEL KEW, B.A., Assistant in Anthropology. FRANK L. BEEBE, Illustrator and Museum Technician. MARGARET CRUMMY, B.A., Senior Stenographer. BETTY C. NEWTON, Museum Technician. SHEILA Y. NEWNHAM, Assistant in Museum Technique. -
MAKING HISTORY VISIBLE Culture and Politics in the Presentation of Musqueam History
MAKING HISTORY VISIBLE Culture and Politics in the Presentation of Musqueam History Susan Roy B.A., University of British Columbia. 1993 THESIS SUBMITTED IN PARTIAL FULFIL,LMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Susan Roy I999 SIMON F;RASER UNIVERSlTY November 1999 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. National Library Bibliith&que nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis .nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent itre imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT The ongoing struggle for aboriginal rights in British Columbia has been matched by an ongoing attempt on the part of scholars to analyze it. The focus of many of these studies has been the court room, that is, the legaI battles to define aboriginal title and sovereignty. -
THE KWAKIUTL TOTEM POLE and ITS SYMBOLIC VALUE Redacted for Privacy Abstract Approved: (John A
AN ABSTRACT OF THE THESIS OF Marie Mauzefor the degree of Master of Arts Interdisciplinary Studies: in Anthropology, History, Education, Art presented on August 18, 1975 Title: THE KWAKIUTL TOTEM POLE AND ITS SYMBOLIC VALUE Redacted for Privacy Abstract approved: (John A. Dunn) The antiquity of the Northwest Coast Indian pole is the subject of a great deal of controversy. A few viewpoints referring to that topic are given. The symbolic value of the Kwakiutl totem pole is examined with respect to art, style and culture; more generally "primitive" art is considered as being completely integrated with the major aspects of human existence. Theories concerning totemism are described here and totemism among the Kwakiutl is examined with re- spect to the social structure, mythology, the poles, and their inter- relationships. The Kwakiutl Totem Pole and Its Symbolic Value by Marie - France Mauze A THESIS submitted to Oregon State University in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies Completed August 18, 1975 Commencement June 1976 APPROVED: Redacted for Privacy Associate( ofessor of Anthropology for Privacy (Redacted Chairman and Professor History Redacted for Privacy Professor of Education Redacted for Privacy Dean ;t College of Liberal Ar s Redacted for Privacy Chairman of Orrisciplinary Studies Redacted for Privacy Dian of 13raduate5Xchoot Date thesis is presented August 18, 1975 Typed by Secretarial Services for Marie Mauze TABLE OF CONTENTS Introduction 1 I. Northwest Coast Pole Antiquity 5 II. Iconography 11 Social Analysis 11 Art and Material Symbolism 13 Toward a Definition 15 Technique 17 Organization of Spaces and Forms 19 Material Symbolism 22 III. -
Totem Poles of Alert Bay Located Near BC Ferry Terminal Was Carved by Chief Doug Cranmer in the What Is a Totem Pole? 19 Early 1970’S
19 Pole-Eagle, Killer Whale located at current ‘Namgis Burial Grounds carved by Don Svanvik Bert Svanvik, Sean Whonnock, Johnathan Henderson in 2005. Memorial for Grandparents 25 Gideon and Edith Whonnock 20 Sisiyutl ‘Namgis Welcome Archway Totem Poles of Alert Bay located near BC Ferry Terminal was by Chief Doug Cranmer in the What is a Totem Pole? carved 19 early 1970’s. Relocated summer 2000 Totem poles are primarily visual statements about the ceremonial privileges and from Port Hardy when gifted by Finning identity of those who erected them. The figures represented on totem poles are Tractor to the ‘Namgis First Nation. those beings from mythical times who became, or were encountered by, the ancestors of the group that later took them as crests. For instance, some Kwakwaka'wakw families claim as a crest the Thunderbird, who descended 20 from the sky and took off his regalia and became their human ancestor. Others claim crests on the basis of encounters their ancestors had with supernatural 21 Pole-Thunderbird, Man holding beings. The erection of a totem pole would usually be celebrated by a potlatch. At this time, the stories pertaining to the crests they displayed were shown, and Copper, ‘Namxxelagiyu located near the rights of the family to claim the privileges were publicly witnessed. ‘Namgis First Nation Office carved Especially important totem poles were those raised in honour of Chiefs by their by Stephen Bruce in 2000 21 successors. When a totem pole was commissioned, the artist was told which 22 23 crest it was to show, but there is considerable evidence that he was given some degree of freedom as to how he chose to portray them. -
PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY
PROVINCE OF BRITISH COLUMBIA DEPARTMENT OF EDUCATION PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY REPORT FOR THE YEAR 1953 VICTORIA, B.C. Printed by DoN McDIARMID, Printer to the Queen's Most Excellent Majesty 1954 To His Honour CLARENCE WALLACE, C.B.E., Lieutenant-Governor of the Province of British Columbia. MAY IT PLEASE YouR HoNouR: The undersigned respectfully submits herewith the Annual Report of the Provincial Museum of Natural History and Anthropology for the year 1953. R. W. BONNER, Minister of Education. Office of the Minister of Education, March, 1954. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY, VICTORIA, B.C., March 5th, 1954. The Honourable R. W. Bonner, Q.C., B.A., LL.B., Minister of Education, Victoria, B.C. SIR,-The undersigned respectfully submits herewith a report of the activities of the Provincial Museum of Natural History and Anthropology for the calendar year 1953. I have the honour to be, Sir, Your obedient servant, G. CLIFFORD CARL, Director. DEPARTMENT OF EDUCATION The Honourable R. W. BoNNER, Q.C., B.A., LL.B., Minister. H. L. CAMPBELL, B.A., M.Ed., Deputy Minister and Superintendent. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY Staff: G. CLIFFORD CARL, Ph.D., Director. GEORGE A. HARDY, Botanist and Entomologist (to August 31st). CHARLES J. GUIGUET, M.A., Biologist. WILSON DUFF, M.A. , Anthropologist. WILLIAM A. HuBBARD, M.A., Botanist (from September 8th). FRANK L. BEEBE, Illustrator and Museum Assistant. MARGARET CRUMMY, B.A., Senior Stenographer. BETTY C. NEWTON, Artist. SHEILA Y. DAVIES, Clerk. MARY ELEANORE WHEELDON, Clerk. E. J. MAXWELL, Attendant. J. MoFFAT, Relief Attendant. -
Totem Poles of Alert Bay Carved by Chief Doug Cranmer in the What Is a Totem Pole?
19 Pole-Eagle, Killer Whale located at No t on site current ‘Namgis Burial Grounds carved by Don Svanvik, Bert Svanvik, Sean Whonnock, Johnathan Henderson in 2005. 25 Memorial for Grandparents Gideon and Edith Whonnock 20 Sisiyutł ‘Namgis Welcome Archway 21 located near BC Ferry Terminal was Totem Poles of Alert Bay carved by Chief Doug Cranmer in the What is a Totem Pole? early 1970’s. Relocated summer 2000 19 Totem poles are primarily visual statements about the ceremonial privileges and from Port Hardy when gifted by Finning identity of those who erected them. The figures represented on totem poles are Tractor to the ‘Namgis First Nation. those beings from mythical times who became, or were encountered by, the ancestors of the group that later took them as crests. For instance, some 23 Kwakwaka'wakw families claim as a crest the Thunderbird, who descended 20 from the sky and took off his regalia and became their human ancestor. Others 22 claim crests on the basis of encounters their ancestors had with supernatural 21 Pole-Thunderbird, Man holding Copper, Namxiyalagiyu located near ‘Namgis First Nation Office carved by Stephen beings. The erection of a totem pole would usually be celebrated by a potlatch. Bruce in 2000. No longer on site. At this time, the stories pertaining to the crests they displayed were shown, and the rights of the family to claim the privileges were publicly witnessed. 22 Pole-Chief holding Copper above his head, Dzunuk̓wa, Especially important totem poles were those raised in honour of Chiefs by their located at the U’mista Cultural Centre carved by Stephen successors. -
European Ways of Talking About the Art of Northwest Coast First Nations
EUROPEAN WAYS OF TALKING ABOUT THE ART OF THE NORTHWEST COAST FIRST NATIONS F. Graeme Chalmers Department of Curriculum Studies Faculty of Education University of British Columbia Vancouver, British Columbia Canada, V6T 1Z4 Abstract / Resume The ways in which we, Aboriginal and non-Aboriginal people alike, view the Aboriginal art of the Northwest Coast, have been profoundly affected by European accounts of the art. For a long time Northwest Coast art was compared to European art and treated as a quaint variant of “real” art. In recent decades we have begun to view this work as art by itself, that is art which is inherently valuable. Les façons dont nous, les autochtones et les allogènes aussi, voyons l'art autochtone de la côte nord-ouest ont été profondément influencées par les exposés européens sur l'art. On compare, depuis longtemps, l'art de la côte nord-ouest avec l'art européen et considère le premier comme une variante bizarre du “vrai” art. Au cours des dernières décennies, on a commencé à considérer ce travail comme un art en soi, c'est-à-dire comme un art qui est de grande valeur profonde. 114 Graeme Chalmers In his book, Textual Spaces: Aboriginality and Cultural Studies, the Australian Stephen Muecke argued that European ways of talking about Aboriginal people limit ways of knowing what Aborigines might be (1992:20). Canadian and international views, as well as the understandings of Aboriginal peoples themselves, of First Nations art on the Northwest Pacific Coast have been profoundly and similarly colored by value-laden European accounts and definitions. -
Richard Pearson "Retires;" Goat Lake Petroglyph Site; Marjorie Halpin Remembered; Permits 2000; Index Volume 31 ARCHAEOLOGICAL SOCIETY of a MIDDEN BRITISH COLUMBIA
TilE• Publication of the Archaeological Society of British Columbia ISSN 0047-7222 Vol. 32, No. 2 - 2000 SERVICES RE!;IEIVED NO\/ 15 2~00 ., '0., .,c (.) Q) "' .,"Q) -E ~ ~ Richard Pearson "retires;" Goat Lake petroglyph site; Marjorie Halpin remembered; Permits 2000; Index Volume 31 ARCHAEOLOGICAL SOCIETY OF A MIDDEN BRITISH COLUMBIA Published four times a year by the Dedicated to the protection of archaeological resources Archaeological Society of British Columbia and the spread of archaeological knowledge. Editorial Committee President Editor: Heather Myles (274-4294) Andrew Mason (874-9221) [email protected] andrew_mason @golder.com Assistant Editor: Helmi Braches (462-8942) [email protected] Membership Permit Lists: Richard Brolly ( 689-1678) Leah Pageot (687-7754) [email protected] [email protected] News Editor: Heather Myles Annual membership includes a year's subscription to Field Editor: vacant Publications Editor: Monica Karpiak (215-1746) The Midden and the ASBC newsletter, SocNotes. [email protected] Membership Fees Production & Subscriptions: Fred Braches ( 462-8942) Individual: $25 Family: $30 Seniors/Students: $18 braches@netcom. ca Send cheque or money order payable to the ASBC to: SuBSCRIPTION is included with ASBC membership. ASBC Membersh-ips Non-members: $14.50 per year ($17.00 USA and overseas), P.O. Box 520, Bentall Station payable in Canadian funds to the ASBC. Remit to: Vancouver BC V6C 2N3 Midden Subscriptions, ASBC ASBC on Internet P.O. Box 520, Bentall Station http://asbc.bc.ca Vancouver BC V6C 2N3 SuBMISSIONS: We welcome contributions on subjects germane to BC archaeology. Guidelines are available on request. Sub Affiliated Chapters missions and exchange publications should be directed to the appropriate editor at the ASBC address. -
A Man from Roundup: the Life and Times of Bill Holm
A Man from Roundup: The Life and Times of Bill Holm Lloyd J. Averill 2 About the Author Lloyd J. Averill, a faculty colleague at the University of Washington, and longtime friend of Bill Holm, is also the co-author (with Daphne K. Morris), of Northwest Coast Native and Native-Style Art: A Guidebook for Western Washington (University of Washington Press, 1995), and (with Steven C. Brown) of Sun Dogs and Eagle Down: The Indian Paintings of Bill Holm (University of Washington Press, 2000), as well as of 11 other books on higher education, religious history, and sociology, and one novel. Copyright Ó2003 by Lloyd J. Averill 2 3 This book is dedicated to Marty, Carla, and Karen Holm, and to that larger family of unnumbered women and men around the world who honor Bill Holm as examplar and friend 3 4 Acknowledgements A number of people, who have had a significant relationship over the years with Bill Holm, generously gave me time for tape-recorded interviews in preparation for this biography. I could not have written it without them, and their contributions are gratefully acknowledged: Steve Brown, Donn Charnley, Joe David, Robert Davidson, Barry Herem, Karen Holm, Marty Holm, Jack Hudson, Nathan Jackson, Aldona Jonaitis, Carla Holm Martens, Betty Holm Odle, Marvin Oliver, Duane and Katie Pasco, Bill and Martine Reid, Cheryl Samuel, Judge Alfred Scow, Henry Seaweed, David Stephens, and Robin Wright. Otherwise unattributed direct quotations are drawn from the tape- recorded interviews. Many other people, who also have had a significant relationship with him, might have been included, but time is a stern taskmaster and sets difficult limits.