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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. -
The SAA Archaeological Record (ISSN 1532-7299) Is Published five Times a Year Andrew Duff and Is Edited by Andrew Duff
the archaeologicalrecord SAA SEPTEMBER 2007 • VOLUME 7 • NUMBER 4 SOCIETY FOR AMERICAN ARCHAEOLOGY the SAAarchaeologicalrecord The Magazine of the Society for American Archaeology Volume 7, No. 4 September 2007 Editor’s Corner 2 Andrew Duff Letters to the Editor 3 From the President 6 Dean R. Snow In Brief 7 Tobi A. Brimsek Archaeopolitics 8 Dan Sandweiss and David Lindsay Probing during cemetery Vancouver in 2008 9 Dana Lepofsky, Sue Rowley, delineation in Coweta Andrew Martindale, County, Georgia. and Alan McMillan Photo by Ron Hobgood. RPA: The Issue of Commercialism: Proposed Changes 10 Jeffrey H. Altschul to the Register’s Code of Conduct Archaeology’s High Society Blues: Reply to McGimsey 11 Lawrence E. Moore Amerind-SAA Seminars: A Progress Report 15 John A. Ware Email X and the Quito Airport Archaeology 20 Douglas C. Comer Controversy: A Cautionary Tale for Scholars in the Age of Rapid Information Flow Identifying the Geographic Locations 24 German Loffler in Need of More CRM Training Can the Dissertation Be All Things to All People? 29 John D. Rissetto Networks: Historic Preservation Learning Portal: 33 Richard C. Waldbauer, Constance Werner Ramirez, A Performance Support Project for and Dan Buan Cultural Resource Managers Interfaces: 12V 35 Harold L. Dibble, Shannon J.P. McPherron, and Thomas McPherron Heritage Planning 42 Yun Shun Susie Chung In Memoriam: Jaime Litvak King 47 Emily McClung de Tapia and Paul Schmidt Calls for Awards Nominations 48 positions open 52 news and notes 54 calendar 56 EDITOR’S CORNER the SAAarchaeologicalrecord The Magazine of the Society for American Archaeology Volume 7, No. -
Aboriginal Participation in the 2010 Olympic Games Planning Process
RIGHTS, RITUALS, AND REPERCUSSIONS: ABORIGINAL PARTICIPATION IN THE 2010 OLYMPIC GAMES PLANNING PROCESS by Priya Vadi BSc (Honours), University of the West of England, 2006 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of Geography © Priya Vadi 2010 SIMON FRASER UNIVERSITY Fall 2010 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. APPROVAL Name: Priya Vadi Degree: Master of Arts Title of Thesis: Rights, Rituals, and Repercussions: Aboriginal Participation in the 2010 Olympic Games Planning Process Examining Committee: Chair: ________________________________________ Dr. Paul Kingsbury Assistant Professor, Department of Geography ________________________________________ Dr. Meg Holden Senior Supervisor Associate Professor, Urban Studies Program and Department of Geography ________________________________________ Dr. Geoff Mann Supervisor Associate Professor, Department of Geography ________________________________________ Dr. Peter Williams External Examiner Professor, School of Resource and Environmental Management Date Defended/Approved: October 5 2010 ii Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. -
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. -
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. -
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. -
FRAMING STORIES Northwest Coast Art Planning Your Visit
Education Program Teacher’s Notes Grades 9 to 12 FRAMING STORIES Northwest Coast Art Planning Your Visit PLANNING YOUR VISIT Booking Information Booking information,information, including including details detailsabout rates about and rates directions, and directions, can be found canat www.moa.ubc.ca/school-programs be found at www.moa.ubc.ca/ . school-programs. Prepare for your Visit • Review and circulate the guidelines for supervising adults (page 15). • Review the outline, resources and activities in advance. Notes • All Educational Programs are led by trained Volunteer Associates (VAs). The Volunteer Associate will meet you in the lobby. • Upon arrival, please check in with the Admissions desk and make arrangements for payment. • Supervising adults and First Nations Outside, on the grounds of the UBC Museum of Anthropology. students receive free admission. Vancouver, British Columbia. Photo courtesy of the UBC Museum of • The program does not include a full Anthropology. tour of the museum, so we welcome you to extend your visit to explore the Museum. Framing Stories: Northwest Coast Art 2 Education Program | Grades 9 to 12 | 2019 Program Description PROGRAM DESCRIPTION Students will be introduced to a diverse range of stories through a tour of the Northwest Coast collection at MOA. In considering contemporary works by First Nations artists, students will have an opportunity to explore and discuss themes surrounding the importance of considering various perspectives. This program will introduce why it is vital for society to consider Indigenous perspectives within day-to-day life. From remembering the histories, to being mindful of politics, bans and contemporary practice. MOA Program Goals • Develop students’ capacity to actively look, listen, and report findings. -
Curriculum Vitae ALEXANDRA HARMON American Indian Studies
Curriculum Vitae ALEXANDRA HARMON American Indian Studies C-514 Padelford Hall, Box 354305 University of Washington Seattle, Washington 98195 [email protected] PROFESSIONAL EMPLOYMENT Professor Emerita of American Indian Studies and History, University of Washington, July 2015-present Professor of American Indian Studies and Adjunct Professor of History, University of Washington, September 2011-2015 Associate Professor of American Indian Studies and Adjunct Associate Professor of History, University of Washington, September 2001-September 2011 Assistant Professor of American Indian Studies and Adjunct Assistant Professor of History, University of Washington, September 1995-September 2001 Adjunct Professor, Federal Indian Law, University of Puget Sound School of Law, 1991 On-Reservation Staff Attorney, Suquamish Indian Tribe, October 1983-September 1988 ** Coordinator, Evergreen Legal Services Native American Project, Seattle, Washington, February 1980-September 1983 On-Reservation Staff Attorney, Skokomish Indian Tribe, September 1976-January 1980 ** Adjunct Professor, Federal Indian Law, University of Texas School of Law, 1976 Staff Attorney, Small Tribes Organization of Western Washington, September 1974- August 1975 ** Staff Attorney, Seattle Legal Services, September 1972-August 1974 ** Services provided to the tribes by contract with Seattle Legal Services or its successor, Evergreen Legal Services. EDUCATION B.A., Stanford University, 1966 J.D., Yale Law School, 1972 M.A., History, University of Washington, 1991 Ph.D. History, University of Washington, 1995 Curriculum Vitae, Alexandra Harmon Page 2 BOOKS AND ARTICLES Rich Indians: Native People and the Problem of Wealth in American History. Chapel Hill: University of North Carolina Press, 2010. The Power of Promises: Perspectives on Pacific Northwest Indian Treaties (editor). Seattle: University of Washington Press, 2008. -
Pacific Coast Salish Art and Artists: Educator Resource Guide
S’abadeb— TheGifts: PacificCoast SalishArt &Artists SEATTLE ART MUSEUM EDUCATOR RESOURCE GUIDE Grades3-12 SeattleArtMuseum S’abadeb—The Gifts: Pacific Coast Salish Art and Artists 1300 First Avenue is organized by the Seattle Art Museum and made Seattle, WA 98101 206.654.3100 possible by a generous leadership grant from The Henry seattleartmuseum.org Luce Foundation and presenting sponsors the National Endowment for the Humanities and The Boeing Company. © 2008 Seattle Art Museum This project is supported in part by an award from the National Endowment for the Arts with major support Pleasedirectquestionsabout thisresourceguideto: provided by the Mayor’s Office of Arts & Cultural Affairs, Adobe Systems, Incorporated, PONCHO, Washington State School & Educator Programs Arts Commission, and U.S. Bancorp Foundation. Additional Seattle Art Museum, 206.654.3146 [email protected] support provided by the Native Arts of the Americas and Oceania Council at the Seattle Art Museum, Thaw Exhibitionitinerary: Charitable Trust, Charlie and Gayle Pancerzewski, Suquamish Seattle Art Museum Clearwater Casino Resort, The Hugh and Jane Ferguson October 24, 2008–January 11, 2009 Foundation, Humanities Washington, Kreielsheimer Exhibition Endowment and contributors to the Annual Fund. Royal British Columbia Museum November 20–March 8, 2010 Art education programs and resources supported in Editing: John Pierce part by PONCHO and the Harrington-Schiff Foundation. Author: Nan McNutt Illustrations: Greg Watson ProjectManager: -
Bibliography for S'abadeb-- the Gifts: Pacific Coast Salish Art and Artists Prepared by Traci Timmons, SAM Librarian, and Anna Elam, TRC Coordinator
Bibliography for S'abadeb-- The Gifts: Pacific Coast Salish Art and Artists Prepared by Traci Timmons, SAM Librarian, and Anna Elam, TRC Coordinator Books for Adults: the SAM/Dorothy Stimson Bullitt Library Books are available in the Reading Room of the Bullitt Library (Seattle Art Museum, Fifth Floor, South Building). *= books selected for in-gallery reading areas American Indian sculpture: a study of the Northwest coast, by special arrangement with the American Ethnological Society by Wingert, Paul S. (American Indian sculpture: a study of the Northwest coast, by special arrangement with the American Ethnological Society, 1949). E 98 A7 W46 * Aunt Susie Sampson Peter: the wisdom of a Skagit elder by Hilbert, Vi; Miller, Jay et al. (Federal Way, WA: Lushootseed Press, 1995). E 99 S2 P48 Coast Salish essays by Suttles, Wayne P. et al. (Vancouver, BC: Talonbooks; Seattle: University of Washington Press, 1987). E 99 S2 S8 The Coast Salish of British Columbia by Barnett, Homer (Eugene: University of Oregon, 1955). E 99 S2 B2 * Contemporary Coast Salish art by Blanchard, Rebecca and Davenport, Nancy. (Seattle: Stonington Gallery : University of Washington Press, 2005). E 99 S2 B6 Crow's shells: artistic basketry of Puget Sound by Marr, Carolyn and Thompson, Nile. (Seattle: Dushuyay Publications, 1983). E 98 B3 T5 * Eyes of Chief Seattle by the Suquamish Museum. (Suquamish, WA: Suquamish Museum, 1985). E 99 S7 S8 * Gram Ruth Sehome Shelton: the wisdom of a Tulalip elder by Hilbert, Vi; Miller, Jay et al. (Federal Way, WA: Lushootseed Press, 1995). E 99 S2 S43 Haboo: Lushootseed literature in English by Hilbert, Vi and Hilbert, Ron. -
Meeting and Weaving with Your 100 Grandparents
Cover of new book by Ed Carriere, Suquamish Elder and Master Basketmaker and Dale Croes, Wet Site Archaeologist, Washington State University. (Left, back cover) Ed’s Archaeology Basket representing ancient weaves from 4,500, 3,000, 2,000 and 1,000 years ago in the Salish Sea, (Right, cover) Dale and Ed with their replicated 2,000 year old Biderbost wet site pack baskets (Carriere and Croes 2018; available on Amazon.com). Meeting and Weaving with your 100th Grandparents Ed Carriere, Suquamish Elder (84) and Master Basketweaver and Canoe Carver, and Dale R. Croes, Washington State University (WSU) wet/waterlogged archaeological site and ancient basket specialist (71), have written a book documenting their partnership in understanding and replicating the over 2,000 years, or 100 generations, of ancient Salish Sea basketry artifacts. This article takes excerpts from this new book in Ed’s own words as he contributes half the text in this 300 page book, accompanied with details by 314 color plates, 100 line drawings, maps and charts, bibliography, list of suggested readings, a glossary and full index. The book, Re- Awakening Ancient Salish Sea Basketry, Fifty Years of Basketry Studies is published by Northwest Anthropology, LLC. and available through Amazon.com. Search for Carriere and click on his Author’s page for a great video featuring him making his traditional clam baskets that he had made for his family (Figure 1). 1 Figure 1. Ed Carriere, Suquamish Elder and Master Basketmaker and Dale Croes, Ph.D., WSU Wet site archaeologist in front of replicated Biderbost and other baskets they made and use to explain a new approach they are proposing that involves both ongoing cultural transmission and archaeological analysis: Generationally-Linked Archaeology. -
First Nations Public Art to Be Installed This Week at Johnson Street Parkade
M e d i a R e l e a s e First Nations Public Art to be Installed This Week at Johnson Street Parkade Date: Wednesday, August 24, 2016 For Immediate Release VICTORIA, BC — Public art will soon enhance the exterior of the Johnson Street Parkade and the downtown streetscape. Work is underway to install Woven Together , the contemporary First Nations artwork by Vancouver-based mother and son Musqueam artist team Susan Point and Thomas Cannell. Woven Together consists 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 plays a significant role in symbolizing cultures and different beliefs around the world all coming together to complete the circle. The centre is 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. Approximately six metres wide by eight metres high, Woven Together contains 82 pieces which will be mounted to the building’s façade. A template will be used to mark and pre-drill holes in which to secure each art piece. The Johnson Street Parkade will remain open during the artwork’s installation but parking customers may experience minor delays entering the parkade. The work will take place daily this week from 9 a.m. – 8 p.m. and is anticipated to be completed by Friday.