Arctic Studies Center Newsletter 2020
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Wearing Our Identity – the First People's Collection
Wearing our Identity – The First People’s Collection Texts of the exhibition Table of content Introduction 2. Fashioning identity 2. 1 – Wearing who I am 3. 1.1 – Wearing where I come from 3. 1.2 – Wearing life’s passages 3. 1.3 – Wearing my family 6. 1.4 – Wearing my rank 7. 2 – Wearing our culture 10. 2.1 – Wearing our traditions 10. 2.2 – Wearing our legends 15. 2.3 – Wearing our present 16. 3 – Wearing our history 17. 3.1 – Wearing our honour 18. 3.2 – Wearing our struggles 20. 3.3 – Wearing our resilience 21. 4 – Wearing our beliefs 23. 4.1 – Wearing our universe 23. 4.2 – Wearing animal power 24. 4.3 – Wearing spiritual respect 25. 2 Wearing our Identity – The First People’s Collection © McCord Museum, 2013 0 – Introduction Wearing Our Identity The First Peoples Collection Questions of identity lie at the heart of many debates in today’s rapidly changing world. Languages and traditions are threatened with extinction. When this happens, unique knowledge, beliefs and histories are wiped out. First Peoples understand well the challenges and tensions that can erode a sense of self and belonging. Yet, they have shown remarkable resilience in both preserving ancient identities and forging new ones. Whether building on the rich textures of the past or fearlessly transforming contemporary fashion, First Nations, Inuit and Métis use clothing to communicate the strength and meaning of their lives. An exploration of First Peoples dress is a compelling and emotional experience – one that must follow interwoven threads of community and spirituality, resistance and accommodation, history and innovation. -
GENERAL AGREEMENT on Ï^^We TARIFFS and TRADE Limited Distribution
RESTRICTED GENERAL AGREEMENT ON ï^^we TARIFFS AND TRADE Limited Distribution '--•••-•• ••-•- Originals English NOTIFICATIONS OF IMPORT RESTRICTIONS OF NEWLY INDEPENDENT COUNTRIES Addendum BARBADOS The Government of Barbados has submitted the following information concerning import restrictions in force in Barbados up to 30 September 1968. 1. The information attached shows the goods which are subject to import restrictions and details concerning the application of such restrictions. 2. The Government of Barbados permits entry on open general licence for all goods, other than those set out in the Second Schedule of the Exports and Imports (General Open Import Licence) Order 1962 as amended by the Exports and Imports (General Open Import Licence) (Amendment) (No.2) Order 1968, from all countries of the world except those listed in the First Schedule of the 1962 Order. 3. It should be noted that no discrimination exists in relation to trade with Japan. In view of the non-reciprocity of trade with that country, it has been decided that the quantity and value of imports should be kept under constant review in order not to widen an already adverse imbalance of trade with that country and to protect certain local infant industries. 4. Trade with socialist countries is not prohibited. In order, however, that control can be exercised on trade relations with these countries the Government considers it necessary to licence imports. 5. Because of South Africa's apartheid policy and the illegal régime which has been established in Southern Rhodesia,.trade with these two countries has been prohibited. 6. Detailed information concerning the applicable.import régime and.the reason for restriction concerning items mentioned in the export and import, order s following are__co.ntain.ed in .the. -
Cosmology and Shamanism and Shamanism INTERVIEWING INUIT ELDERS
6507.3 Eng Cover w/spine/bleed 5/1/06 9:23 AM Page 1 INTERVIEWINGCosmology INUIT ELDERS and Shamanism Cosmology and Shamanism INTERVIEWING INUIT ELDERS Mariano and Tulimaaq Aupilaarjuk, Lucassie Nutaraaluk, Rose Iqallijuq, Johanasi Ujarak, Isidore Ijituuq and Michel Kupaaq 4 Edited by Bernard Saladin d’Anglure 6507.5_Fre 5/1/06 9:11 AM Page 239 6507.3 English Vol.4 5/1/06 9:21 AM Page 1 INTERVIEWING INUIT ELDERS Volume 4 Cosmology and Shamanism Mariano and Tulimaaq Aupilaarjuk, Lucassie Nutaraaluk, Rose Iqallijuq, Johanasi Ujarak, Isidore Ijituuq and Michel Kupaaq Edited by Bernard Saladin d’Anglure 6507.3 English Vol.4 5/1/06 9:21 AM Page 2 Interviewing Inuit Elders Volume 4 Cosmology and Shamanism Copyright © 2001 Nunavut Arctic College, Mariano and Tulimaaq Aupilaarjuk, Bernard Saladin d’Anglure and participating students Susan Enuaraq, Aaju Peter, Bernice Kootoo, Nancy Kisa, Julia Saimayuq, Jeannie Shaimayuk, Mathieu Boki, Kim Kangok, Vera Arnatsiaq, Myna Ishulutak, and Johnny Kopak. Photos courtesy Bernard Saladin d’Anglure; Frédéric Laugrand; Alexina Kublu; Mystic Seaport Museum. Louise Ujarak; John MacDonald; Bryan Alexander. Illustrations courtesy Terry Ryan in Blodgett, ed. “North Baffin Drawings,” Art Gallery of Ontario; 1923 photo of Urulu, Fifth Thule Expedition. Cover illustration “Man and Animals” by Lydia Jaypoody. Design and production by Nortext (Iqaluit). All rights reserved. The use of any part of this publication, reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without written consent of the publisher is an infringement of the copyright law. ISBN 1-896-204-384 Published by the Language and Culture Program of Nunavut Arctic College, Iqaluit, Nunavut with the generous support of the Pairijait Tigummivik Elders Society. -
Gay Marriage Opponents Closer To
Columbia Foundation Articles and Reports July 2012 Arts and Culture ALONZO KING’S LINES BALLET $40,000 awarded in August 2010 for two new world-premiere ballets, a collaboration with architect Christopher Haas (Triangle of the Squinches) and a new work set to Sephardic music (Resin) 1. Isadora Duncan Dance Awards, March 27, 2012 2012 Isadora Duncan Dance Award Winners Announced Christopher Haas wins a 2012 Isadora Duncan Dance Award for Outstanding Achievement in Visual Design for his set design for Triangle of the Squinches. Alonzo King’s LINES Ballet wins two other Isadora Duncan Dance Awards for the production Sheherazade. ASIAN ART MUSEUM $255,000 awarded since 2003, including $50,000 in July 2011 for Phantoms of Asia, the first major exhibition of Asian contemporary art from May 18 to September 2, 2012, which explores the question “What is Asia?” through the lens of supernatural, non-material, and spiritual sensibilities in art of the Asian region 2. San Francisco Chronicle, May 13, 2012 Asian Art Museum's 'Phantoms of Asia' connects Phantoms of Asia features over 60 pieces of contemporary art playing off and connecting with the Asian Art Museum's prized historical objects. According to the writer, Phantoms of Asia, the museum’s first large-scale exhibition of contemporary art is an “an expansive and ambitious show.” Allison Harding, the Asian Art Museum's assistant curator of contemporary art says, “We're trying to create a dialogue between art of the past and art of the present, and look at the way in which artists today are exploring many of the same concerns of artists throughout time. -
Wear Qisi-Become Seal
Performance Research A Journal of the Performing Arts ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: http://www.tandfonline.com/loi/rprs20 Wear Qisi-Become Seal Kevin O’Connor, Duskin Drum & Paulette Metuq To cite this article: Kevin O’Connor, Duskin Drum & Paulette Metuq (2017) Wear Qisi-Become Seal, Performance Research, 22:2, 20-26, DOI: 10.1080/13528165.2017.1315935 To link to this article: http://dx.doi.org/10.1080/13528165.2017.1315935 Published online: 15 Jun 2017. Submit your article to this journal Article views: 44 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rprs20 Download by: [164.77.124.58] Date: 14 November 2017, At: 07:11 ■■Figure 1. Wear qisi image. Final design by Paulette Metuq. Photo courtesy of Paulette Metuq and Kevin O’Connor Wear Qisi-Become Seal 1 The bush school was started by Native Studies KEVIN O’CONNOR, DUSKIN DRUM Professor Peter Kulchyski & PAULETTE METUQ and ran from 1997 to 2015. It was a summer land-based school accredited through the Native Studies programme at the University of Manitoba. Kulchyski uses the word ‘bush’ to highlight how First Nations cultures Wear qisi-become seal is a T-shirt design and the writing of this autoethnographic are ‘bush cultures’, depicting a cut-open ringed seal (natsiq). An essay are based on experiential research and historically living in relationship to the land entire Inuit way of life emerges out of the corpse. storytelling, which the authors conducted over through specific cultural The design highlights the dynamic relationships the course of two summer-programme seasons practices, traditions and between Inuit people, seals and the land. -
Inuit Qaujimajatuqangit Education Framework
4 Inuit Qaujimajatuqangit Education Framework ISBN 1-55015-031-5 Published by the Nunavut Department of Education, Curriculum and School Services Division All rights reserved. The use of any part of this publication reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without written consent of the publisher, is an infringement of copyright law. © 2007 Nunavut Department of Education Cover and title pages Graphix Design Studio, Ottawa Illustrations by Donald Uluadluak Sr. and Gwen Frankton © Nunavut Department of Education Inuit Qaujimajatuqangit Education Framework 5 Inuit Qaujimajatuqangit Education Framework It is critical to read this document to understand the Inuit Qaujimajatuqangit (IQ) perspectives that are changing curriculum, learning and teaching in Nunavut schools. Curriculum in Nunavut is different because Inuit perspectives inform the basic elements of curriculum. The Department of Education expects educators to develop an understanding of: • Inuit Qaujimajatuqangit • how IQ affects the basic elements of curriculum • how the new basic elements of curriculum influence learning and teaching The Department expects educators to deliver instruction that reflectsInuit Qaujimajatuqangit and achieves the purposes of education in Nunavut as described in this document. As described further in the following pages, using Inuit Qaujimajatuqangit as the foundation for curriculum means that the basic elements of curriculum: • Follow a learning continuum • Incorporate four integrated strands • Introduce and teach cross-curricular competencies based on the eight Inuit Qaujimajatuqangit Principles • Include and build upon Inuit philosophies of: Inclusion Languages of Instruction Dynamic Assessment Critical Pedagogy 6 Inuit Qaujimajatuqangit Education Framework We must teach our children their mother tongue. -
Documenting Inuit Knowledge of Coastal Oceanography in Nunatsiavut
Respecting ontology: Documenting Inuit knowledge of coastal oceanography in Nunatsiavut By Breanna Bishop Submitted in partial fulfillment of the requirements for the degree of Master of Marine Management at Dalhousie University Halifax, Nova Scotia December 2019 © Breanna Bishop, 2019 Table of Contents List of Tables and Figures ............................................................................................................ iv Abstract ............................................................................................................................................ v Acknowledgements ........................................................................................................................ vi Chapter 1: Introduction ............................................................................................................... 1 1.1 Management Problem ...................................................................................................................... 4 1.1.1 Research aim and objectives ........................................................................................................................ 5 Chapter 2: Context ....................................................................................................................... 7 2.1 Oceanographic context for Nunatsiavut ......................................................................................... 7 2.3 Inuit knowledge in Nunatsiavut decision making ......................................................................... -
The Collaborative Representation of Alutiiq Identity Une Représentation En Collaboration De L’Identité Alutiiq Aron L
Document généré le 28 sept. 2021 22:54 Études/Inuit/Studies Terms of engagement: The collaborative representation of Alutiiq identity Une représentation en collaboration de l’identité alutiiq Aron L. Crowell Art et représentation Résumé de l'article Art and representation Le livre et l’exposition Looking Both Ways: Heritage and Identity of the Alutiiq Volume 28, numéro 1, 2004 People (Regards croisés: patrimoine et identité du peuple alutiiq) présentent une perspective à la fois alutiiq et anthropologique d’une société autochtone URI : https://id.erudit.org/iderudit/012637ar d’Alaska. Ce projet, fondé sur un partenariat communautaire et mené par la DOI : https://doi.org/10.7202/012637ar Smithsonian Institution et le Musée alutiiq de Kodiak, est considéré sous plusieurs angles: identité culturelle et revitalisation de la région alutiiq, nouveau paradigme de l’anthropologie en collaboration et opposition des Aller au sommaire du numéro modèles essentialistes et constructivistes du changement culturel. On propose l’existence d’une «logique culturelle» alutiiq de liens ancestraux, de parenté, de lieu et d’un milieu riche qui agissent comme fondements de la permanence de Éditeur(s) l’identité à travers deux siècles de transformations culturelles. L’entente de collaboration dans le cadre de projets sur le patrimoine autochtone est Association Inuksiutiit Katimajiit Inc. présentée comme un engagement complexe mais indispensable à l’anthropologie contemporaine. ISSN 0701-1008 (imprimé) 1708-5268 (numérique) Découvrir la revue Citer cet article Crowell, A. L. (2004). Terms of engagement: The collaborative representation of Alutiiq identity. Études/Inuit/Studies, 28(1), 9–35. https://doi.org/10.7202/012637ar Tous droits réservés © La revue Études/Inuit/Studies, 2004 Ce document est protégé par la loi sur le droit d’auteur. -
Sverdrup-Among-The-Tundra-People
AMONG THE TUNDRA PEOPLE by HARALD U. SVERDRUP TRANSLATED BY MOLLY SVERDRUP 1939 Copyright @ 1978 by Regents of the University of California. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, elec- tronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the regents. Distributed by : Scripps Institution of Oceanography A-007 University of California, San Diego La Jolla, California 92093 Library of Congress # 78-60483 ISBN # 0-89626-004-6 ACKNOWLEDGMENTS We are indebted to Molly Sverdrup (Mrs. Leif J.) for this translation of Hos Tundra-Folket published by Gyldendal Norsk Forlag, Oslo, 1938. We are also indebted to the late Helen Raitt for recovering the manuscript from the archives of the Scripps Institution of Oceanography. The Norwegian Polar Institute loaned negatives from Sverdrup's travels among the Chukchi, for figures 1 through 4. Sverdrup's map of his route in the Chukchi country in 19 19/20 was copied from Hos Tundra-Folket. The map of the Chukchi National Okrug was prepared by Fred Crowe, based on the American Geographic Society's Map of the Arctic Region (1975). The map of Siberia was copied from Terence Armstrong's Russian Settlement in the North (1 965) with permission of the Cambridge University Press. Sam Hinton drew the picture of a reindeer on the cover. Martin W. Johnson identified individuals in some of the photographs. Marston C Sargent Elizabeth N. Shor Kittie C C Kuhns Editors The following individuals, most of whom were closely associated with Sverdrup, out of respect for him and wishing to assure preservation of this unusual account, met part of the cost of publication. -
Where We Found a Whale"
______ __.,,,,--- ....... l-:~-- ~ ·--~-- - "Where We Found a Whale" A -~lSTORY OF LAKE CLARK NATlONAL PARK AND PRESERVE Brian Fagan “Where We Found a Whale” A HISTORY OF LAKE CLARK NATIONAL PARK AND PRESERVE Brian Fagan s the nation’s principal conservation agency, the Department of the Interior has resposibility for most of our nationally owned public lands and natural and cultural resources. This includes fostering the wisest use of our land and water resources, protect- ing our fish and wildlife, preserving the environmental and cultural values of our national parks and historical places, and providing for enjoyment of life Athrough outdoor recreation. The Cultural Resource Programs of the National Park Service have respon- sibilities that include stewardship of historic buildings, museum collections, archaeological sites, cultural landscapes, oral and written histories, and ethno- graphic resources. Our mission is to identify, evaluate, and preserve the cultural resources of the park areas and to bring an understanding of these resources to the public. Congress has mandated that we preserve these resources because they are important components of our national and personal identity. Published by the United States Department of the Interior National Park Service Lake Clark National Park and Preserve ISBN 978-0-9796432-4-8 NPS Research/Resources Management Report NPR/AP/CRR/2008-69 For Jeanne Schaaf with Grateful Thanks “Then she said: “Now look where you come from—the sunrise side.” He turned and saw that they were at a land above the human land, which was below them to the east. And all kinds of people were coming up from the lower country, and they didn’t have any clothes on. -
A Path Forward: Toward Respectful Governance of First Nations, Inuit and Métis Data Housed at CIHI, Updated August 2020
A Path Forward Toward Respectful Governance of First Nations, Inuit and Métis Data Housed at CIHI Updated August 2020 We acknowledge and respect the land on which CIHI offices are located. Ottawa is the traditional unceded territory of the Algonquin nation and Toronto is the traditional territory of the Wendat, the Anishinabek Nation, the Haudenosaunee Confederacy and the Treaty land and territory of the Mississaugas of the Credit. We acknowledge with respect the traditional territory of the Kanien’kehá:ka, where our Montréal office is located. In Victoria, we acknowledge with respect the traditional territory of the Songhees, Esquimalt and W̱ SÁNEĆ peoples, whose historical relationships with the land continue to this day. We recognize that these lands are home to many diverse First Nations, Inuit and Métis and we embrace the opportunity to work more closely together. All rights reserved. The contents of this publication may be reproduced unaltered, in whole or in part and by any means, solely for non-commercial purposes, provided that the Canadian Institute for Health Information is properly and fully acknowledged as the copyright owner. Any reproduction or use of this publication or its contents for any commercial purpose requires the prior written authorization of the Canadian Institute for Health Information. Reproduction or use that suggests endorsement by, or affiliation with, the Canadian Institute for Health Information is prohibited. For permission or information, please contact CIHI: Canadian Institute for Health Information 495 Richmond Road, Suite 600 Ottawa, Ontario K2A 4H6 Phone: 613-241-7860 Fax: 613-241-8120 cihi.ca [email protected] © 2020 Canadian Institute for Health Information How to cite this document: Canadian Institute for Health Information. -
Inside This Issue
the Bullfrom johnny cake hill | etinspring 2020 Inside this issue: High School Apprenticeship Program’s 10th Anniversary | Upcoming Exhibition on Albert Pinkham Ryder Lighting the Way Celebrates the Centennial of the Ratification of the 19th Amendment HelmFROM THE A Tribute to Llewellyn Howland, III Members and Friends: By Lloyd Macdonald You will likely be reading this Bulletin while we are still in the midst of the coronavirus public health emergency and it is my greatest hope that this edition finds you safe and healthy. With that in mind, there Llewelyn Howland, III (“Louie” to all who knew him), a four-term Trustee of the Museum, former Chair of the may be dates published in these pages that may shift as a result of the situation. While I certainly hope that Scholarship and Publications Committee, long-serving member of the Collections Committee and member during this crisis comes to a speedy conclusion, I am more mindful now than ever of the value of togetherness. his tenure on the Executive and Governance Committees, died on June 21, 2019. He was 81. As a Museum, we are a place of gathering on many levels. We collect and steward the objects, literature, and stories of our region’s history. We protect and share some of the most vital data and research in the Louie’s and my service on the Board coin- to Louie himself. He also co-edited the world of marine mammal bioacoustics. We unearth hidden stories of some of the most impactful women cided almost exactly. Early in our tenure, Museum’s 2007 publication of On the to have walked our streets.