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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. -
TRANSFORMING RELATIONSHIPS First Nations & China
First NatioNs & ChiNa Transforming BC Firstr NatioelaNs i ChiTNa strategyionships © august 2011 Cover Photo: heiltsuk Nation transformation mask dancerBC First NatioNs ii ChiNa strategy CoNteNts IntroduCtioN................................................................................................5 shariNg the Wealth.....................................................................................5 First.Nations.Energy.and.Mining.Council.................................................................6 Why develop a First NatioNs/ChiNa strategy?.............................................7 Historical.Relationship/Cultural.Affinity.................................................................8 Chinese.Investment.and.Development.in.Canada......................................................9 First.Nations.Rights.and.Title............................................................................ 10 Strengthening.Ties........................................................................................ 10 A.Proactive.Approach..................................................................................... 11 First NatioNs-ChiNa strategy.....................................................................13 Goals........................................................................................................ 13 Action.Areas................................................................................................ 14 MoviNg ForWard....................................................................................... -
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. -
Amtout~Tt~ BOX 004 &Tallon MAIN TERRACE BC VSO 4A2 November 30, 2016
pARTnerships pARTnerships pARTnerships pARTnerships pARTnerships TERRACE & Dl RICT Amtout~tt~ BOX 004 &TAllON MAIN TERRACE BC VSO 4A2 November 30, 2016 Regional District ofKitimat-Stikine 300-4545 Lazelle Avenue Terrace BC Attention: Vema Wickie Re: Annual funding grant This is in application for the annual Community Grant for 2017. Terrace & District Arts Council- TDAC- has traditionally received an annual grant from the City of Terrace in the amount of $22,500, 30% of which had been provided by the Regional District. As the City has directed all grant decisions and distribution to the Terrace Community Foundation, and as the Regional District will not be investing in the Foundation, we have been advised to apply directly to the District. Our application is for the previous 30% of$22,500 = $6,750. Included here: Description of our organization How our organization benefits the community Summary of Community Assistance Financial Statements Budget July 112016- June 30/2017 List of directors The Terrace & District Arts Council wishes to acknowledge and thank the Regional District for its continued support over the many years it has been active in Terrace and surrounding area. Through this support, our arts community has continued to flourish. A broad community which is able to claim a large professional performing arts theatre, Community Band, Little Theatre Group, Symphony Orchestra, Choral Groups, Art Gallery, local heritage site, Concert Society, Music Festival and many other similar organizations is one that will continue to attract residents and visitors alike. Sincerely, ~ ~ Ann Kantakis president pARTicipate pARTicipate pARTicipate pARTicipate pARTicipate pARTicipate DESCRIBE YOUR ORGANIZATION The Terrace & District Arts Council (TDAC) has been a strong voice for the arts community for over 40 years. -
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. -
Proquest Dissertations
The Anti-Trickster At Play: Representing First Nations Artists And Art In The Art Galleries And Museums Of Northern British Columbia Annette Catherine Schroeter B.Des., Open University of British Columbia and Emily Carr College of Art and Design, 1992 Graphic Design Major B.A., University of Northern British Columbia, 1997 Anthropology and History Majors Thesis Submitted in Partial Fulfillment Of The Requirements For The Degree Of Master Of Arts In First Nations Studies The University Of Northern British Columbia January 2008 © Annette Catherine Schroeter, 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: 978-0-494-48819-5 Our file Notre reference ISBN: 978-0-494-48819-5 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. -
NWCC July2017 Aboriginal Student Support FINAL.Indd
Aboriginal Student Support at Northwest Community College 2016 – 2017 To honour their accomplishments, new NWCC graduates were drummed into the theatre by Gitlaxdax Drummers at the 2016 convocation ceremony. TABLE OF CONTENTS Introduction 1 Programs and Courses with Aboriginal Focus 2 Administration of Education Policy 2 Centre of Learning Transformation 3 Creative Programming and Curriculum Development 4 Pedagogy and Course Content 7 Training Partnerships and Community Engagement 8 Student Supports 11 Team Approach 11 Cultural and Spiritual Activities 12 Additional Supports 12 Aboriginal Service Plan (ASP) Funding 17 Fostering a Culture of Respect 18 Representation 18 Cultural Awareness 19 Conclusion 21 Appendix A: In the Context of Key Documents 24 Appendix B: In-community Courses and Training Partnerships 30 Cover image: NWCC students participating Appendix C: Detailed Course Descriptions 34 in the Kitsumkalum fi eld school in 2016. Aboriginal Student Support at Northwest Community College 2016 – 2017 | i NWCC’S EDUCATION IS UNITY POLE This contemporary totem pole was carved to recognize the importance of education to First Nations of the northwest, now and for future generations. Originally initiated to commemorate the 25-year anniversary of the College, the purpose and meaning of the project grew as we acknowledged the role of post-secondary education in the lives of First Nations people in the region. It symbolizes the unity felt by the Wet’suwet’en, Gitxsan, Haisla, Talhtan, Nisga’a, Tsimshian, and Haida when it comes to meeting the educational needs of their people. The fi rst pole to be raised on the NWCC Terrace campus, it represents the four crests common to the northwest coast First Nations people: Wolf, Killer Whale, Raven and Eagle. -
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INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project. -
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.