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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. -
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: -
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. -
Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017
FOR IMMEDIATE RELEASE Vancouver Art Gallery to Present BC's Most Prestigious Visual Arts Prizes on April 19, 2017 Audain Prize goes to Carole Itter; VIVA Award to Lyse Lemieux; Balkind Prize to Grant Arnold Image Credits: (Bottom Left): Carole Itter, Grand Piano Rattle: a Bosendorfer for Al Neil, 1984, metal, paint, wood, light fixture, Collection of the Vancouver Art Gallery, Acquisition Fund, VAG 86.34 a-e, Photo: Trevor Mills, Vancouver Art Gallery (Bottom Right): Catalogue produced for the exhibition Susan Point: Spindle Whorl (2016-17), co-curated by Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery, Photo: Maegan Hill-Carroll, Vancouver Art Gallery (Top): Installation view of Lyse Lemieux, Ovals for Richmond, 2016, in A Girls Gotta Do What A Girls Gotta Do, Richmond Art Gallery, 2016, Photo: Dennis Ha When: 7:00 p.m., Wednesday, April 19, 2017 Where: The Great Hall (BC Law Courts building) The Ceremony is free and open to the public April 5, 2017 Vancouver, BC – Three distinguished individuals in the field of visual arts in British Columbia will receive the most prestigious awards in this Province: the Audain Prize for Lifetime Achievement in the Visual Arts, the VIVA Awards and the Alvin Balkind Curator’s Prize. This year, Carole Itter is awarded the fifteenth Audain Prize, supported by the Audain Foundation. Lyse Lemieux is the recipient of the 2017 VIVA Award, granted annually by the Jack and Doris Shadbolt Foundation for the Visual Arts. The Foundation will also present the second biannual Alvin Balkind Curator’s Prize to Grant Arnold, Audain Curator of British Columbia at the Vancouver Art Gallery. -
“We Do Not Talk About Our History Here”: the Department of Indian Affairs, Musqueam-Settler Relations, and Memory in a Vancouver Neighbourhood
“We Do Not Talk About Our History Here”: The Department of Indian Affairs, Musqueam-Settler Relations, and Memory in a Vancouver Neighbourhood by Alexandra Sanya Pleshakov B.A., McGill University, 2003 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Alexandra Sanya Pleshakov, 2010 ABSTRACT The Musqueam Indian Reserve is one of the few in North America located within the boundaries of a major city. Although historical narratives have long silenced the experiences of urban Aboriginal people, this case study draws attention to the many contexts in which Aboriginal and non-Aboriginal people interacted across legal boundaries that supposedly kept reserve space and urban space separate. This thesis argues that the Department of Indian Affairs was the principal actor in both facilitating and constraining Musqueam and non-Musqueam relations in early-twentieth-century Vancouver though its control of land, resources, and the consumer economy. Furthermore, this thesis argues that the policies and practices of the state were so pervasive that they have come to dominate any memory of those relations today. Using an extensive collection of oral histories recently carried out for a local community history project in Vancouver, this study explores the processes through which the history of Musqueam and non-Musqueam interactions have been both remembered and erased. In doing so, this thesis makes clear the relationship of social history to social memory, and contributes to recent scholarly work in documenting how Aboriginal histories are necessarily urban histories. -
A History of Changing Ideas
NATIVE ART OF THE NORTHWEST COAST A HISTORY OF CHANGING IDEAS Edited by Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ḳe-in ubc press vancouver toronto Sample Material © 2013 UBC Press Contents Contents with Excerpts Listed ix List of Figures xxix Preface xxxiii Introduction: The Idea of Northwest Coast Native Art 1 Charlotte Townsend-Gault, Jennifer Kramer, and Ḳi-ke-iṇ 1 Interpreting Cultural Symbols of the People from the Shore 15 Daisy Sewid-Smith 2 Hilth Hiitinkis – From the Beach 26 Ḳi-ke-iṇ 3 Haida Cosmic 31 Michael Nicoll Yahgulanaas 4 From Explorers to Ethnographers, 1770-1870 46 Ira Jacknis 5 Thresholds of Meaning: Voice, Time, and Epistemology in 92 the Archaeological Consideration of Northwest Coast Art Andrew Martindale 6 Objects and Knowledge: Early Accounts from Ethnographers, and 128 Their Written Records and Collecting Practices, ca. 1880-1930 Andrea Laforet 7 “That Which Was Most Important”: Louis Shotridge on Crest Art 166 and Clan History Judith Berman 8 Anthropology of Art: Shifting Paradigms and Practices, 1870s-1950 203 Bruce Granville Miller Sample Material © 2013 UBC Press vi contents 9 Going by the Book: Missionary Perspectives 234 John Barker 10 The Dark Years 265 Gloria Cranmer Webster 11 Surrealists and the New York Avant-Garde, 1920-60 270 Marie Mauzé 12 Northwest Coast Art and Canadian National Identity, 1900-50 304 Leslie Dawn 13 Art/Craft in the Early Twentieth Century 348 Scott Watson 14 Welfare Politics, Late Salvage, and Indigenous (In)Visiblity, 1930-60 379 Ronald W. Hawker 15 Form First, Function -
•Ÿknow Who You Are and Where You Come From╎
Kunapipi Volume 23 Issue 2 Article 6 2001 ‘Know Who You Are and Where You Come From’ Lycia Danielle Trouton Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Trouton, Lycia Danielle, ‘Know Who You Are and Where You Come From’, Kunapipi, 23(2), 2001. Available at:https://ro.uow.edu.au/kunapipi/vol23/iss2/6 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] ‘Know Who You Are and Where You Come From’ Abstract This interview highlights the work of contemporary artist Debra Sparrow, Coast Salish-Musqueam. Sparrow carries the three-fold responsibility of single-handedly raising children, putting in place a holistic educational programme, and producing excellence in design and art. Debra and her sister, Robyn Sparrow, often work on creative commissions together and have produced a line of modestly-priced machine- woven blankets and vests for the retail market, in partnership with Kanata Company. The backdrop against which they work is one marked by a resilience of spirit against repeated cultural losses incurred through the European colonisation of their homeland, since the late 1700s. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol23/iss2/6 79 LYCIA DANIELLE TROUTON ‘Know Who You Are and Where You Come From’ Interview with Debra Sparrow Vancouver, September 13th, 2001 This interview highlights the work of contemporary artist Debra Sparrow, Coast Salish-Musqueam. Sparrow carries the three-fold responsibility of single-handedly raising children, putting in place a holistic educational programme, and producing excellence in design and art. -
Culture|Shift: Blanketing
सं 啃 ति Kultura �رھ�گ 문화 šxʷtəhim̓ Culture Shift Blanketing the City in Arts & Culture Wa lhtim̓ á Vancouver Culture Plan 2020 - 2029 文化 حضارهCultura art & culture awaken provoke inspire inquire connect catalyze unsettle open clarify heal disrupt realize animate attune nourish dissolve reckon crystallize celebrate lead the way CULTURE|SHIFT CITY OF VANCOUVER 2 CULTURE|SHIFT CITY OF VANCOUVER Public Art Partnerships- Uninterrupted 20173 Unceded Lands of Musqueam, Squamish, & Tsleil-Waututh Culture|Shift is built upon the understanding and recognition that what is now known as Vancouver is located on the traditional, unceded territories of the xʷməθkʷəy̓ əm (Musqueam), Sḵwx̱ wú7mesh (Squamish) and səl̓ilwətaɁɬ (Tsleil-Waututh) Nations, who have lived throughout this region for thousands of years. Their ancient continuity on these lands is reflected in their oral histories, arts and culture practices, and deep relationships with the lands and waters—and in the archaeological record. In this section, excerpts from the websites of each Nation are shared to affirm the importance of Musqueam, Squamish, and Tsleil-Waututh visibility and voice in the work of building better relationships and futures on their lands. Musqueam Indian Band We are traditional hən̓ q̓ əmin̓ əm̓ speaking people… We have always moved throughout our territory using the resources it provides for fishing, hunting, trapping and gathering. We remain distinct and our cultural practices are strong, despite the devastating impacts of residential schools, colonial laws banning our ceremonies, and other attempts to assimilate our people. Our lands and waters continue to support our cultural and economic practices while serving as a source of knowledge and memory, encoded with our teachings and laws. -
Learning Lesson 23C June21coast Salish
Burnaby Schools Created by: April Strickland & Brandi Price Indigenous Education Celebrating National Indigenous Peoples Day- June 21, 2020 Activity-Coast Salish Artist Suggestion: At the beginning of the week, on the PA, read the following paragraphs on National Indigenous Peoples Day. National Indigenous Peoples Day takes place on June 21st of every year. It began in 1996 and was originally called National Aboriginal Day. The day commemorates and honours First Nations, Inuit, and Métis People’s cultures, histories, and contributions to Canada. June 21st was chosen because it is the longest day of the year and has long been celebrated by Indigenous Peoples. This day is an opportunity to recognize the historic contributions of Indigenous Peoples to the development of Canada. There are many ways to celebrate the day but as June is also National Indigenous History Month there is an opportunity to learn about Indigenous history and to deepen our understanding of Indigenous people and their role in the present-day and future of Canada all month long. Coast Salish Artist Activity Here is a list of Coast Salish Artists that you could show students during the week of June 15-19 to celebrate Indigenous Day (June 21). We suggest reading the paragraph on the artist, show the picture of their art and read the meaning behind their art. Before introducing the artist, please read the following to the students so they understand who the Coast Salish People are and the meaning behind the art they create. The Coast Salish peoples are indigenous to the lower mainland of Vancouver and southern tip of Vancouver Island, B.C.