DOCSLIB.ORG

As Practiced by the Plains Cree and Saulteaux of the Pasqua Reserve, Saskatchewan, in Their Contemporary W Dance Ceremones

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
As Practiced by the Plains Cree and Saulteaux of the Pasqua Reserve, Saskatchewan, in Their Contemporary W Dance Ceremones A Description and Analysis of Sacrificial Stall Dancing: As Practiced by the Plains Cree and Saulteaux of the Pasqua Reserve, Saskatchewan, in their Contemporary Rain Dance Ceremonies A Thesis Subrnitred to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of Interdisciplinary Master of Arts in Native Studies at the University of Manitoba by Randall J. Brown Winnipeg, Manitoba Copyright, 1996. R. J. Brown National Library Bibliothèque nationale I*B of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services seMces bibliographiques 395 Wellington Street 395. rue Wellington OttawaON KlAON4 OnawaON KtAON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou cûpies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/- de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copy~$$t in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fi-om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. FACULTY OF GROUATE STUDXES ta*++ COPYRIGHT PERMISSION PAGE A DESCRIPTION AND ANALYSlS OF SACRfFICLAL STALL DANCING AS PRACTICED BY THE PLAINS CREE AND SAULTEAUX OF THE PASQUA RESERVE, SASKATCHEWAN, IN THEIR CONTEMPORARY W DANCE CEREMONES RANDALL J. BROWN A ThesWPracticam submitted to the Facalty of Graduate Studies of The University of Manitoba in partial fulfiilment of the requirements of the degree of MASTER OF ARTS Rardall J- Brown 1997 (c) Permission has been granted to the Library of The University of Manitoba to lend or seil copies of this thesidpracticum, to the National Library of Canada to microfilm this thesis and to lend or sel1 copies of the film, and to Dissertations Abstracts International to publish an abstract of this thesidpracticum. The author resemes other publication rights, and neither this thesidpracticum nor extensive extracts from it may be printed or othetwise reproduced without the author's written permission. Abstract This thesis, based on ten years of field work and ethnohistorical research, describes and analyzes the beliefs, purpose and practices of Sacrificial Stall Dancing within the parameters of the Rain Dance, with particular reference to the Plains Cree and Saulteaux of Southern Saskatchewan from 1977 to the present. Sacrificial Dancing, being a form of Sacred Dancing involving physical renunciation to gain some significant favor, is a universally practiced method for gaining spiritual assistance frorn an omnipotent and omnipresent source. Unfortunately, the role and importance of Sacrificial Dancing, especially as it related to Stall Dancing, have not been weli understood nor documented by past researchers. Its inclusion, as a form of individual worshiping within the Rain Dance. allows for community participation and contributes significantly to the cultural identity and spiritual unity of both the Plains Cree and Saulteaw. This study will be of interest and value to First Nations bands, Native agencies, and cultural centers, and would be of value to students of history, ethnology, dance. religious studies, cultural symbolism and museum curators. The Cree Rain Dance By Randall J. Brown (adapted from Brown, 1988, p. 25) 1 had a dream last night of men and women, proud and ta11 - dancing and fasting to their vision's call. I talked to a man last night who was tied and wanted rest - for he had danced with skewers in his chest. 1 saw a Thunderbird last night who had recently brought them rain - to quench their thirst and ease their pain. 1 heard drumming last night that made me want to dance and sing - and with it came a mystical ring. 1 listened to prayers last night by old men wno talked in Cree - having much eloquence and majesty. I smelled sweetgrass last night and my whole being was scented by the smoke - yet the road seemed clear when the Sponsor spoke- 1 felt spiritual last night as the bright moon sunk rapidly low - pasr where my cloth hung on the Center Pole. iii Acknowledgrnents 1 would like to thank the members of my advisory Committee. Professor Herb EMS of the Architecture Department, Dr. David Stymeist of the Anthropology Department, Dr. Katherine Pettipas of the Native Ethnology Department at the Manitoba Museum in Winnipeg, Ken Courchene. Addiction Counselor and a Rain Dance leader of the Sagkeeng First Nation at Fort Alexander, and especially Dr. Ji11 Oakes, my main advisor, whose assistance was invaluable. Over tha rnany years spent working and participating in the various religious ceremonies among the Alberta and Saskatchewan Natives 1 have gained many valuable friends and much insight. Many of these individuals. who have shared their knowledge of traditional beliefs and ceremonies, wish to remain anonymous. They know who they are - I gratefully acknowledge their assistance and cooperat ion and thank them for their tolerance and patience. Special thankç go to rny Cree grandparents, the late Thomas (Three Eagle Man) and Lola (Paçcal) Asham of Pasqua Reserve. Harvey Iron Eagle and the late Douglas Shingoose, both from the Pasqua Reçerve, provided me with much persona1 support and information. 1 am especially grateful to Mr. Iron Eagle who was kind enough to check my written description of the Pasqua Rain Dance for accuracy. Many rnuseums and archiva1 staff at various institutions both in Canada and the United States have provided their unconstrained assistance iv in tracking down photographs and pieces of information. My thanks go to Stanley A. Freed, Josephine M. DtOrsiand Barbara Mathe of the American Museum of Natural History in New York; Andrea Garnier and Lynette Walton of the Glenbow Archives in Calgary; Elizabeth Blight of the Provincial Archives of Manitoba in Winnipeg; G. C. Watson and Dr. Ian Dyck of the Royal Saskatchewan Museum in Regina; J. Alexandra of the Museum of the American Indians in New York; Pam Moncricff and Louise Dallaire of the Canadian Museum of Civilization in Ottawa; Joan E. Dryden of the Provincial Archives of Alberta; Ian E. Wilson, Janet Stoll, Jean Goldie and Marie-Louise Perron of the Saskatchewan Archives Board in Regina; and James A. Davis of the State Historical Society of North Dakota in Bismark. Several people deserve special recognition for taking many extra steps to get me information or pictures. They include Alice Kehoe of Milwaukee Institution and Koozma Tarasoff of Ottawa who provided me with copies of some ethnological photographs from his collection. The late Dr. David Mandelbaum, formerly of the University of California in Berkeley, supplied me with his unpublished field notes and copies of his photographs that were very helpful. Many people provided continuous support and moral encouragement to my Native Studies work over the years, for which 1 am very grateful. Thanks go to my two co-students in the Masters Program, Bret Nickels and v Barb Pritchard, and to my close friend Silvia Vidal of Calgary who has steadfastly believed in me and always offered words of reassurance. In addition, 1 owe a special debt of gratitude to my parents, Dr. Gordon D. and Betty K. Brown, who have long supported and encouraged my interest in Native culture. My father passed away in April of 1997. This thesis is dedicated to his memory. Contents Abst ract Acknowledgments List of Illus~rations Chapter One: Introduction Significance of the Topic Thesis Purpose, Objectives and Outline Methodologies and Methods Source Material Review Chapter Two: The Plains Cree, Saulteaux and the Rain Dance The Cree and Saulteaux An Introduction to the Rain Dance An Introduction to Stall Dancing An Introduction to Sacrificial and Sacred Dancing Chapter Three: A Description of a Contemporary Pasqua Rain Dance Introduction The Vow and Initial Preparations of the Dancers Activities on the First Day (Camping Day) Activities on the Second Day (Lodge Building Day) Activities on the Third Day (First Full Dancing Day) Activities on the Fourth Day (Final Day) vi i Chapter Four: Interpretation of Stall Dancing and Relaced Activities Introduction 145 The Function and Purpose of the Center Pole 145 The Symbolism of the Dance Lodge and Dancing Stalls 151 The Spiritual Purpose of Sacrificial Stall Dancing 154 Secular Function of Sacrificial Stall Dancing 160 Chapter Five: Historical Changes in Stall Dancing from 1880-1976 Introduction Flesh-sacrifices Martial Components Time and Date Alternations Sacrificial Offerings Dress and Adomment of the Dancers Use of Power Items Rain Making and Miraculous Water Procurement Non-Native Stall Dancers Chapter Six: Contemporary Comparison of Stall Dancing from 1977-1996 Introduction 200 Similarities and Differences Among Al1 Stall Dancers 200 Differences Between Pasqua and Sagkeeng 202 Differences Between Pasqua and Hobbema 206 Inter-tribal Dance Differences 208 vi ii Chapter Seven: Conclusion Conclusion The Future of Stall Dancing Recomrnendations for Future Research Appendixes The Pasqua People Archival Material and Ethnological Collections Consulted List of Cree and Saulteaux Rain Dances That 1 Have Attended Location of Cree and Saulteaux Rain Dance photographs
Load more

Recommended publications
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • The Rose Collection of Moccasins in the Canadian Museum of Civilization : Transitional Woodland/Grassl and Footwear
    THE ROSE COLLECTION OF MOCCASINS IN THE CANADIAN MUSEUM OF CIVILIZATION : TRANSITIONAL WOODLAND/GRASSL AND FOOTWEAR David Sager 3636 Denburn Place Mississauga, Ontario Canada, L4X 2R2 Abstract/Resume Many specialists assign the attribution of "Plains Cree" or "Plains Ojibway" to material culture from parts of Manitoba and Saskatchewan. In fact, only a small part of this area was Grasslands. Several bands of Cree and Ojibway (Saulteaux) became permanent residents of the Grasslands bor- ders when Reserves were established in the 19th century. They rapidly absorbed aspects of Plains material culture, a process started earlier farther west. This paper examines one such case as revealed by footwear. Beaucoup de spécialistes attribuent aux Plains Cree ou aux Plains Ojibway des objets matériels de culture des régions du Manitoba ou de la Saskatch- ewan. En fait, il n'y a qu'une petite partie de cette région ait été prairie. Plusieurs bandes de Cree et d'Ojibway (Saulteaux) sont devenus habitants permanents des limites de la prairie quand les réserves ont été établies au XIXe siècle. Ils ont rapidement absorbé des aspects de la culture matérielle des prairies, un processus qu'on a commencé plus tôt plus loin à l'ouest. Cet article examine un tel cas comme il est révélé par des chaussures. The Canadian Journal of Native Studies XIV, 2(1 994):273-304. 274 David Sager The Rose Moccasin Collection: Problems in Attribution This paper focuses on a unique group of eight pair of moccasins from southern Saskatchewan made in the mid 1880s. They were collected by Robert Jeans Rose between 1883 and 1887.
    [Show full text]
  • Hip Hop America Pdf, Epub, Ebook
    HIP HOP AMERICA PDF, EPUB, EBOOK Nelson George | 256 pages | 31 May 2005 | Penguin Putnam Inc | 9780143035152 | English | New York, NY, United States Hip HOP America PDF Book Kool Herc -- lay the foundation of the hip-hop movement. Stylistically, southern rap relies on exuberant production and direct lyrics typically about the southern lifestyle, trends, attitudes. Hill's brilliant songwriting flourished from song to song, whether she was grappling with spirituality "Final Hour," "Forgive Them, Father" or stroking sexuality without exploiting it "Nothing Even Matters". According to a TIME magazine article, Wrangler was set to launch a collection called "Wrapid Transit," and Van Doren Rubber was putting out a special version of its Vans wrestling shoe designed especially for breaking [source: Koepp ]. Another key element that's helping spread the hip-hop word is the Internet. Late Edition East Coast. Most hip-hop historians speak of four elements of hip-hop: tagging graffiti , b-boying break dancing , emceeing MCing and rapping. Taking Hip-Hop Seriously. Related Content " ". Regardless, the Bay Area has enjoyed a measurable amount of success with their brainchild. And then, in the mid to late s, there was a resurgence in the popularity of breaking in the United States, and it has stayed within sight ever since. Depending on how old you are, when someone says "hip-hop dance," you could picture the boogaloo, locking, popping, freestyle, uprocking, floor- or downrocking, grinding, the running man, gangsta walking, krumping, the Harlem shake or chicken noodle soup. Another thing to clear up is this: If you think hip-hop and rap are synonymous, you're a little off the mark.
    [Show full text]
  • Thistle Indian-Trader.Pdf
    THE UNIVERS]TY OF MANITOBA INDIAN--TRADER RELATIONS: AN ETHNOH]STORY OF WESTERN WOODS CREE.-HUDSONIS BAY COMPANY TRADER CONTACT IN THE CUMBERLAND HOUSE--THE PAS REGION TO 1840 A thesis subnitted to the Faculty of Graduate Studies in partial fulfillment of the requirenents for the degree of Master of Art s in the Indívidual Tnterdisciplinary Programne (Anthropology, History, Educat i on) by Paul Clifford Thistle .Tu 1v 19 8 3 INDIAN--TRADDR REI-ATIONS: AN ETHNOII ISTORY 0F I¡]ESTERN WOODS CREE--HUDSONTS BAY COMPANY TRADER CONTACT IN THE CUMBERLAND HOUSE--THE PAS REGION TO I84O by PauI Cl ifford Thistle A tlìesis submitted to the Faculty of G¡aduate Studies ol the University of Manitobâ in partial fulfillment of the requirenìer.ìts of the degree of MASTER OF ARTS @ 1983 Pe¡missjon has been granted to the LIBRARY OF THE UNIVER- SITY OF MANITOBA to lend or sell copies of this thesis. to the NATIONAL LIBRARY OF CANADA to microfilnr this thesis and to lend or sell copies of the film, and UNIVERSITy MICROFILMS to publish an abstract of this thesis. The author reserves other publication rights, and neither the thesis nor extensive extracts from it may be printed or other- wise reproduced without the autho¡'s w¡ittelr perurissiotr. TABLE OF CONTENTS ACKNOWLEDGEMENTS ABSTRACT vl1 CHAPTER I ]NTRODUCT ION 1 The Prob 1em 1 Purpose 3 Scope 4 S igni ficance 5 Method 11 The o ry T4 (i) Ethnic/Race Relations Theory 16 (ii) Ethnicity Theory 19 (iii) Culture Change and Acculturat i on Theory 22 Sumrnary Discussion 26 II ETHNOGRAPHY OF THE RELATION z8 Introduction .
    [Show full text]
  • Europeanfolkdanc006971mbp.Pdf
    CZ 107911 EUROPEAN FOLK DANCE EUROPEAN FOLK DANCE .-<:, t "* ,,-SS.fc' HUNGARIAN COSTUME most elaborate costume in Europe EUROPEAN FOLK DANCE ITS NATIONAL AND MUSICAL CHARACTERISTICS By JOAN LAWSON Published under the auspices of The Teachers Imperial Society of of Dancing Incorporated WITH ILLUSTKATIONS BY IRIS BROOKE PITMAN PUBLISHING CORPORATION NEW YORK TORONTO LONDON First published 1953 AHSOOrATKI) SIR ISAAC PITMAN & SONS. I/TT>. London Mblbourne Johannesburg SIR ISAAC PITMAN & SONS (CANADA), LTD. Toronto MADB IN QIUtAT DRTTACN AT TTIK riTMAN PRBSB^ BATH For DAME NZNETH DB VALOIS With Gratitude and Admiration Hoping it will answer in some part Iter a the request for classification of historical and musical foundation of National Dance Preface MrlHE famous Russian writer has said: and warlike Gogol "People living proud lives I that same in their a free life that express pride dances; people living show same unbounded will and of a diniate A poetic self-oblivion; people fiery express in their national dance that same and passion, languor jealousy," There is no such as a national folk dance that a dance thing is, performed solely within the boundaries as are known political they to-day. Folk dances, like all other folk arts, follow it would be to define ethnological boundaries; perhaps possible the limits of a nation from a of the dances the and the arts study people perform they practise. The African native of the Bantu tribe who asks the do great stranger "What you dance?" does so because he that the dance will knows, perhaps instinctively, stranger's him to understand of that man's life.
    [Show full text]
  • Edmund Morris Among the Saskatchewan Indians and the Fort Qu'appelle Monument
    EDMUND MORRIS AMONG THE SASKATCHEWAN INDIANS AND THE FORT QU'APPELLE MONUMENT By Jean McGill n 1872 the government of Canada appointed Alexander Morris the first Chief Justice of Manitoba. The same year he succeeded A. G. Archibald as Lieu­ I tenant-Governor of Manitoba and the North-West Territories. Archibald had already acted as a commissioner of the federal government in negotiating Treaties Nos. 1 and 2 with the Indians of Manitoba. Morris was com­ missioned in 1873 to carry on negotiations with Indians of the western plains and some Manitoba Indians not present at the first two treaties. By the time Alexander Morris's term of office had expired in 1877 he had negotiated the signing of Treaties No. 3 (North-West Angle), 4 (Fort Qu'Appelle), 5 (Lake Winnipeg), 6 (Forts Carlton and Pitt), and the Revision of Treaties Nos. 1 and 2. Morris later documented the meetings, negotiations, and wording of all of the treaties completed prior to 1900 in a book entitled The Treaties of Canada with the Indians ofManitoba and the North­ west Territories which was published in 1888. He returned to Toronto with his family and later was persuaded to run for office in the Ontario legislature where he represented Toronto for a number of years. Edmund Morris, youngest of a family of eleven, was born two years before the family went to Manitoba. Indian chiefs and headmen in colourful regalia frequently came to call on the Governor and as a child at Government House in Winnipeg, Edmund was exposed to Indian culture for the Indians invariably brought gifts, often for Mrs.
    [Show full text]
  • An Indian Chief, an English Tourist, a Doctor, a Reverend, and a Member of Ppparliament: the Journeys of Pasqua’S’S’S Pictographs and the Meaning of Treaty Four
    The Journeys of Pasqua’s Pictographs 109 AN INDIAN CHIEF, AN ENGLISH TOURIST, A DOCTOR, A REVEREND, AND A MEMBER OF PPPARLIAMENT: THE JOURNEYS OF PASQUA’S’S’S PICTOGRAPHS AND THE MEANING OF TREATY FOUR Bob Beal 7204 76 Street Edmonton, Alberta Canada, T6C 2J5 [email protected] Abstract / Résumé Indian treaties of western Canada are contentious among historians, First Nations, governments, and courts. The contemporary written docu- mentation about them has come from one side of the treaty process. Historians add information from such disciplines as First Nations Tradi- tional Knowledge and Oral History to draw as complete a picture as possible. Now, we have an additional source of written contemporary information, Chief Pasqua’s recently rediscovered pictographs showing the nature of Treaty Four and its initial implementation. Pasqua’s ac- count, as contextualized here, adds significantly to our knowledge of the western numbered treaty process. The pictographs give voice to Chief Pasqua’s knowledge. Les traités conclus avec les Indiens de l’Ouest canadien demeurent liti- gieux pour les historiens, les Premières nations, les gouvernements et les tribunaux. Les documents contemporains qui discutent des traités ne proviennent que d’une seule vision du processus des traités. Les historiens ajoutent des renseignements provenant de disciplines telles que les connaissances traditionnelles et l’histoire orale des Autochto- nes. Ils bénéficient désormais d’une nouvelle source écrite contempo- raine, les pictogrammes récemment redécouverts du chef Pasqua, qui illustrent la nature du Traité n° 4 et les débuts de son application. Le compte rendu du chef, tel que replacé dans son contexte, est un ajout important à notre connaissance du processus des traités numérotés dans l’Ouest canadien.
    [Show full text]
  • The Symbolic Role of Animals in the Plains Indian Sun Dance Elizabeth
    17 The Symbolic Role of Animals in the Plains Indian Sun Dance 1 Elizabeth Atwood Lawrence TUFTS UNIVERSITY For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. For many tribes of Plains Indians whose buffalo-hunting culture flowered during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Although details of the event differed in various groups, certain elements were common to most tribal traditions. Generally, the annual ceremony was held in late spring or early summer when people from different bands gathered together again following the dispersal that customarily took place in winter. The sun dance, a ritual of sacrifice performed by virtually all of the High Plains peoples, has been described among the Arapaho, Arikara, Assiniboin, Bannock, Blackfeet, Blood, Cheyenne, Plains Cree, Crow, Gros Ventre, Hidatsa, Kiowa, Mandans, Ojibway, Omaha, Ponca, Sarsi, Shoshone, Sioux (Dakota), and Ute (Spier, 1921, p.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Arm Aitor MI 48106-1346 USA 313/761-4700 800/521-0600 V,: "he dreamed of dancing with the blue faced people ..." (Hosteen Klah in Paris 1990: 178; photograph by Edward S. Curtis, courtesy of Beautyway). THE YÉ’II BICHEII DANCING OF NIGHTWAY: AN EXAMINATION OF THE ROLE OF DANCE IN A NAVAJO HEALING CEREMONY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sandra Toni Francis, R.N., B.A., M.
    [Show full text]
  • LANGUAGES of the LAND a RESOURCE MANUAL for ABORIGINAL LANGUAGE ACTIVISTS
    LANGUAGES of THE LAND A RESOURCE MANUAL FOR ABORIGINAL LANGUAGE ACTIVISTS Prepared by: Crosscurrent Associates, Hay River Prepared for: NWT Literacy Council, Yellowknife TABLE OF CONTENTS Introductory Remarks - NWT Literacy Council . 2 Definitions . 3 Using the Manual . 4 Statements by Aboriginal Language Activists . 5 Things You Need to Know . 9 The Importance of Language . 9 Language Shift. 10 Community Mobilization . 11 Language Assessment. 11 The Status of Aboriginal Languages in the NWT. 13 Chipewyan . 14 Cree . 15 Dogrib . 16 Gwich'in. 17 Inuvialuktun . 18 South Slavey . 19 North Slavey . 20 Aboriginal Language Rights . 21 Taking Action . 23 An Overview of Aboriginal Language Strategies . 23 A Four-Step Approach to Language Retention . 28 Forming a Core Group . 29 Strategic Planning. 30 Setting Realistic Language Goals . 30 Strategic Approaches . 31 Strategic Planning Steps and Questions. 34 Building Community Support and Alliances . 36 Overcoming Common Language Myths . 37 Managing and Coordinating Language Activities . 40 Aboriginal Language Resources . 41 Funding . 41 Language Resources / Agencies . 43 Bibliography . 48 NWT Literacy Council Languages of the Land 1 LANGUAGES of THE LAND A RESOURCE MANUAL FOR ABORIGINAL LANGUAGE ACTIVISTS We gratefully acknowledge the financial assistance received from the Government of the Northwest Territories, Department of Education, Culture and Employment Copyright: NWT Literacy Council, Yellowknife, 1999 Although this manual is copyrighted by the NWT Literacy Council, non-profit organizations have permission to use it for language retention and revitalization purposes. Office of the Languages Commissioner of the Northwest Territories Cover Photo: Ingrid Kritch, Gwich’in Social and Cultural Institute INTRODUCTORY REMARKS - NWT LITERACY COUNCIL The NWT Literacy Council is a territorial-wide organization that supports and promotes literacy in all official languages of the NWT.
    [Show full text]
  • Jtc1/Sc2/Wg2 N3427 L2/08-132
    JTC1/SC2/WG2 N3427 L2/08-132 2008-04-08 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation Internationale de Normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to encode 39 Unified Canadian Aboriginal Syllabics in the UCS Source: Michael Everson and Chris Harvey Status: Individual Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2008-04-08 1. Summary. This document requests 39 additional characters to be added to the UCS and contains the proposal summary form. 1. Syllabics hyphen (U+1400). Many Aboriginal Canadian languages use the character U+1428 CANADIAN SYLLABICS FINAL SHORT HORIZONTAL STROKE, which looks like the Latin script hyphen. Algonquian languages like western dialects of Cree, Oji-Cree, western and northern dialects of Ojibway employ this character to represent /tʃ/, /c/, or /j/, as in Plains Cree ᐊᓄᐦᐨ /anohc/ ‘today’. In Athabaskan languages, like Chipewyan, the sound is /d/ or an alveolar onset, as in Sayisi Dene ᐨᕦᐣᐨᕤ /t’ąt’ú/ ‘how’. To avoid ambiguity between this character and a line-breaking hyphen, a SYLLABICS HYPHEN was developed which resembles an equals sign. Depending on the typeface, the width of the syllabics hyphen can range from a short ᐀ to a much longer ᐀. This hyphen is line-breaking punctuation, and should not be confused with the Blackfoot syllable internal-w final proposed for U+167F. See Figures 1 and 2. 2. DHW- additions for Woods Cree (U+1677..U+167D). ᙷᙸᙹᙺᙻᙼᙽ/ðwē/ /ðwi/ /ðwī/ /ðwo/ /ðwō/ /ðwa/ /ðwā/. The basic syllable structure in Cree is (C)(w)V(C)(C).
    [Show full text]
  • The Emergence and Decline of the Delaware Indian Nation in Western Pennsylvania and the Ohio Country, 1730--1795
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2005 The emergence and decline of the Delaware Indian nation in western Pennsylvania and the Ohio country, 1730--1795 Richard S. Grimes West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Grimes, Richard S., "The emergence and decline of the Delaware Indian nation in western Pennsylvania and the Ohio country, 1730--1795" (2005). Graduate Theses, Dissertations, and Problem Reports. 4150. https://researchrepository.wvu.edu/etd/4150 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Emergence and Decline of the Delaware Indian Nation in Western Pennsylvania and the Ohio Country, 1730-1795 Richard S. Grimes Dissertation submitted to the Eberly College of Arts and Sciences at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History Mary Lou Lustig, Ph.D., Chair Kenneth A.
    [Show full text]