DOCSLIB.ORG

Interpretive Guide & Hands-On Activities the Alberta Foundation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Wayfinders youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. As well, this guide contains coloured images of the artworks in the exhibition which can be used for review and discussion at any time. Please be aware that copyright restrictions apply to unauthorized use or reproduction of artists’ images. The Travelling Exhibition Program, funded by the Alberta Foundation for the Arts, is designed to bring you closer to Alberta’s artists and collections. We welcome your comments and suggestions and invite you to contact: Shane Golby, Manager/Curator Travelling Exhibition Program Ph: 780.428.3830; Fax: 780.421.0479 Email: [email protected] AFA Travelling Exhibition Program, Edmonton, AB Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Table of Contents This package contains: Curatorial Statement Visual Inventory - List of Works Visual Inventory - Images Talking Art Art and Cross-Curriculum Connections Artist and Curator Biographies/Statements Artistic Symbols: An explanation by Aaron Paquette The Art of George Littlechild: In the Words of the Artist The Art of Amy Malbeuf: In the Words of the Artist First Nations Beliefs and Stories: Trickster Characters Residential School System Animal Facts: Caribou Art History/Artistic Styles: First Nations Art in the Twentieth Century Abstraction Pop Art Word and Image: A Brief Survey Post Modernism Outsider Art Documentary Photography Art Processes: Collage Gel Transfer First Nations Traditional Art Forms and Materials Visual Learning and Hands-on Projects What is Visual Learning? Elements of Design Tour Reading Pictures Tour Perusing Paintings: An Art-full Scavenger Hunt Exhibition Related Art Projects Glossary Credits Syncrude Canada Ltd., the Alberta Foundation for the Arts, the Art Gallery of Alberta AFA Travelling Exhibition Program, Edmonton, AB Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Curatorial Statement Wayfinders Art is a truth that reveals illusions. Our Métis and Inuit artists in our changing times. perceptions are formed by repetition, by rote, by habit and tradition. Our world view is essentially The exhibition Wayfinders is a a collection of stories we are told, tell ourselves combination of these three unique talents. and tell others. Art breaks through these From a world master, to a mid career painter assumptions. That is one of its primary roles in and an emerging artist exploring new the hands of a skilled communicator. Art offers directions, viewers are treated to a unique us a chance to take a second look at the things and compelling exhibition that hopefully will we think we know and allow for a broader stay with them for years to come. narrative, a deeper understanding, and therefore a life of greater possibility. Artists create in isolation, drawing upon personal reflections and experiences. It is World renowned artist George Littlechild has a very individual journey. In a way, we all spent a career exploring the secrets and stumble through shadow. It is the seekers, inconsistencies of our history, specifically in the curious, the ones who are looking for a regards to identity, family and the ongoing way who strike the match and light the torch. affects of the Residential School legacy. Many The journey is personal but when the light people have found healing in his work; many is held high it can inspire us to do the same. have been shocked and humbled; but everyone Our Wayfinders are just like us, leading the who sees it finds some kind of truth. way by simply trying to find one. Paul Smith’s purposefully naive landscapes, Aaron Paquette, October, 2014 trickster characters and symbols can be difficult to decipher. They are as opaque as an unknown language without the tools to translate them. Consciously or not, they are imbued with indigenous symbology and weight, leaving it to the viewer to make an effort and to finish the connection for communication. As an analogue to cultural first contact and the resulting history, Smith’s works offer profound insights into the way in which we approach one another and the commonalities that bind us but can remain unseen. The exhibition Wayfinders was curated by Aaron Paquette and organized by the Art Gallery of Alberta for the Alberta Foundation for the Arts Amy Malbeuf is an emerging performance and Travelling Exhibition Program. The AFA Travelling sculptural artist whose works push the Exhibition Program is supported by the Alberta boundaries of modernism while strengthening Foundation for the Arts. her ties with her indigenous roots. Using traditional knowledge to inform her work, she The exhibition Wayfinders was made shows us that there is space, and indeed a possible through generous sponsorship from bright future, for the voice of First Nations, Syncrude Canada Ltd. AFA Travelling Exhibition Program, Edmonton, AB. Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Visual Inventory - List of Works George Littlechild Amy Malbeuf They Tried to Kill Her Spirit,1996 Ghost of a Caribou, 2014 Mixed media on paper Sinew and caribou hair and antler on elk hide 30 inches X 22 inches 11 inches X 20 inches X 5 inches Collection of the artist Courtesy of the artist George Littlechild Amy Malbeuf Too Ethnic Looking to Model, 2001 The Artist’s Range, 2014 Mixed media on canvas Photo transfer and beads on elk hide 17.5 inches X 29 inches 8.5 inches X 11 inches Collection of the artist Courtesy of the artist George Littlechild Amy Malbeuf I Could Do Nothing as I Was a Boy, 2003 The Caribou’s Range, 2014 Archival Digital Image Photo transfer and beads on elk hide 24 inches X 24 inches 8.5 inches X 11 inches Collection of the artist Courtesy of the artist George Littlechild Paul Smith What Was, 2007 Untitled, 2014 Archival Digital Image on canvas Acrylic on birch 36 inches X 24 inches 24 inches X 24 inches Collection of the artist Artist’s collection George Littlechild Paul Smith What Could Have Been, 2007 Untitled, 2014 Archival Digital Image on canvas Acrylic on birch 36 inches X 24 inches 24 inches X 24 inches Collection of the artist Artist’s collection Amy Malbeuf Paul Smith iamthecaribou/thecaribouisme, 2014 Untitled, 2011 Caribou hair and human hair on elk hide Ink and acrylic on paper 8 inches X 9 inches 23 inches X 15 inches Courtesy of the artist Artist’s collection Amy Malbeuf Paul Smith Billion Dollar Caribou, 2014 Untitled, 2011 Caribou hair and elk hide Ink and acrylic on paper 6 inches X 20 inches 23 inches X 20 inches Courtesy of the artist Artist’s collection AFA Travelling Exhibition Program, Edmonton, AB. Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Visual Inventory - List of Works Paul Smith * 5 small drawings (framed together) Untitled, 2014 Ink on paper 4 inches X 10 inches 4 inches X 10 inches 4 inches X 10 inches 4 inches X 10 inches 6 inches X 12 inches Artist’s collection Total Images: 15 framed 2D works AFA Travelling Exhibition Program, Edmonton, AB. Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Visual Inventory - Images George Littlechild George Littlechild They Tried To Kill Her Spirit, 1996 I Could Do Nothing as I Was a Boy, 2003 Mixed media on paper Archival Digital Image Collection of the artist Collection of the artist George Littlechild Too Ethnic Looking to Model, 2001 Mixed media on canvas Collection of the artist AFA Travelling Exhibition Program, Edmonton, AB. Ph: 780.428.3830 Fax: 780.421.0479 youraga.ca The Alberta Foundation for the Arts Travelling Exhibition Program Visual Inventory - Images George Littlechild George Littlechild What Was, 2007 What Could Have Been, 2007 Archival
Recommended publications
  • Gr.9 Nunavut-Final

    Gr.9 Nunavut-Final

    GRADE 9 SOCIAL STUDIES & CIVICS NUNAVUT Part 1 The Land Claim Part 2 The Government GRADE 9 SOCIAL STUDIES & CIVICS NUNAVUT WRITTEN & EDITED BY NICK NEWBERY Publication of this unit was made possible by funding from the Qikiqtaaluk Corporation P.O.Box 1228, Iqaluit, Nunavut XOA OHO Copyright by Nick Newbery, Qikiqtaaluk Corporation & GN Dept. of Education Iqaluit, Nunavut XOA OHO All rights reserved Printed in Canada ACKNOWLEDGEMENTS Arctic College Nunatta Campus: Unit on Nunavut Jim Bell: Nunatsiaq News Canadian Geographic Magazine Map of 3 National Parks Miro Cernetig: The Globe & Mail Department of Indian & Northern Affairs: Film: Changing the Map of Canada Gage Publishing: Indians, Inuit & Metis Government of Nunavut : Film: Nunavut Kanatami: Creation of a New Territory Hancock House Publishers: Eskimo Life Yesterday Inuit Broadcasting Corporation: Film: The Signing of the Nunavut Land Claim Agreement Gordon Mackay: GN Dept. of Sustainable Development Gavin Nesbitt Nunavut Implementation Commission Nunavut Tunngavik Inc. Map: Inuit Owned Lands Nunavut Land Claim Agreement Office of the Clerk of the Legislative Assembly Sutton Boys’ School: Inuit, Learning Through Action Whit Fraser Productions Teacher Reference This ready-to-photocopy unit attempts to outline the theme of Nunavut for Grade 9 ESL students in two parts: (i) The Land Claim and (ii) The Government. It can be seen as self-contained or as a starter kit for teachers wishing to go further. The project tries to provide opportunities for reading, writing, research & discussion coupled with regular review exercises. Some suggestions: 1. Comprehension: -teacher to read passage twice, explain text -do exercises orally then written -same procedure next day, students reading -assign as homework -test next day 2.
  • 1 President's Message

    1 President's Message

    PRESIDENT’S MESSAGE by David M. Cvet Summer is upon us with a vengeance, breaking temperature records from the 1930's – at least in Toronto. The warmer weather has had some fits and starts, with warm weather followed by frost, causing newly planted peppers and tomatoes to be damaged beyond saving. However, these exciting events pale in comparison to seeing the Queen's Beasts (some depicted on the right) who will be attending the Society's formal dinner at this year's Annual General Meeting, scheduled for October 1-3, 2010 in Ottawa. The Annual Meeting itself will be held at the Delta Ottawa Hotel on Queen Street. The Saturday evening dinner will take place at the Canadian Museum of Civilization (across the Ottawa River in Gatineau, Quebec), which will provide a grand setting for our annual banquet, graced as it will be with these impressive “guests”. We are indeed grateful to David Rumball for organizing this event, and for arranging with the museum to have the Queen's Beasts available for the dinner. I encourage our members to make the necessary calendar and travel to enhance the “coolness” factor of the Society in order to attract arrangements to attend this splendid event. new members – and to retain our present ones. One important reason for having the AGM in Ottawa this year As an example, at the recent Toronto Branch AGM (combined (rather than being hosted by the Prairie Branch, as it would have with the Society's Board meeting earlier the same day) the been in the usual sequence) is the expectation that the new formal dinner at Hart House was visually recorded by a Canadian Heraldic Authority tabard (donated by the Society) photographer I had arranged as my guest.
  • Flags and Banners

    Flags and Banners

    Flags and Banners A Wikipedia Compilation by Michael A. Linton Contents 1 Flag 1 1.1 History ................................................. 2 1.2 National flags ............................................. 4 1.2.1 Civil flags ........................................... 8 1.2.2 War flags ........................................... 8 1.2.3 International flags ....................................... 8 1.3 At sea ................................................. 8 1.4 Shapes and designs .......................................... 9 1.4.1 Vertical flags ......................................... 12 1.5 Religious flags ............................................. 13 1.6 Linguistic flags ............................................. 13 1.7 In sports ................................................ 16 1.8 Diplomatic flags ............................................ 18 1.9 In politics ............................................... 18 1.10 Vehicle flags .............................................. 18 1.11 Swimming flags ............................................ 19 1.12 Railway flags .............................................. 20 1.13 Flagpoles ............................................... 21 1.13.1 Record heights ........................................ 21 1.13.2 Design ............................................. 21 1.14 Hoisting the flag ............................................ 21 1.15 Flags and communication ....................................... 21 1.16 Flapping ................................................ 23 1.17 See also ...............................................
  • Hemisphere Volume 9 Number 3, Winter 2001

    Hemisphere Volume 9 Number 3, Winter 2001

    Hemisphere Volume 9 Article 1 Issue 3 Winter 2001 Hemisphere Volume 9 Number 3, Winter 2001 Follow this and additional works at: https://digitalcommons.fiu.edu/lacc_hemisphere Part of the Latin American Studies Commons Recommended Citation (2001) "Hemisphere Volume 9 Number 3, Winter 2001," Hemisphere: Vol. 9 : Iss. 3 , Article 1. Available at: https://digitalcommons.fiu.edu/lacc_hemisphere/vol9/iss3/1 This work is brought to you for free and open access by the Kimberly Green Latin American and Carribbean Center (LACC) Publications Network at FIU Digital Commons. It has been accepted for inclusion in Hemisphere by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. Hemisphere Volume 9 Number 3, Winter 2001 This issue is available in Hemisphere: https://digitalcommons.fiu.edu/lacc_hemisphere/vol9/iss3/1 A MAGAZINE OF THE AMERICAS Volume 9 • Number 3 Winter 2001 http://lacc.fiu.edu Canada’s Nunavut Territory Defining Race in Brazil. inican Republic Education and Indigenous Identity in Mexico issue; Democracy and Civic Participation The Vote in Mexico Local Government in Latin America Photographs by Indigenous Children The Works of Maryse Conde INDAMI Presents... The 4th Annual Latin American and Caribbean Summer Dance Institute The next Summer Dance Institute is scheduled for June 25- July 1, 2001 and will feature Grupo Cultural Uk’ux Pop Wuj of Chichicastenango, Guatemala. Formed in 1991 with the mission of rescuing and fostering Mayan cultural traditions through a blend of dance and music, the company’s signature work, the Creation of Man, is based on the sacred book of the Maya Quiche, the Pop (time) Wuj (book).
  • God Blood.Pdf

    God Blood.Pdf

    God Blood Who are we? True History of Civilization By William Johnson Copyright © 2011 William Johnson All rights reserved. ISBN: None yet Acknowledgements If not for Google, Wikipedia and Ancestry.com this would not be possible. Same goes for the Internet, Microsoft and Bill Gates and its power to give a writer the power to find more knowledge . A writer could have spent a life time researching the information that was available at the tip of my finger. DEDICATION This Book is dedicated to Mankind. May you be Enlightened. Table of Contents Chapter 1 The Beginning – A brief history My first Encounter – Christmas Eve 2009 The Trigger – Forgotten Knowledge of the Sumerians that piqued my curiosity. Curiosity killed the cat – The more information I found the more curious I got. Know our origins- Mesopotamia and the Sumerians connection to rise of civilization The Sumerians and the truth about Noah’s flood – It’s much older than the bible, by almost two thousand years, maybe more. Chapter 2 The Black Sea region –5000 - 5500BC, the Black Sea region and the earliest metals made. Indo Europeans Language – It was the base for civilization… Racial Traits –– Irish Red hair paired with light eyes unique history I bet you didn’t know but should. My second Encounter – One of the most profound, documented and proven God-like visitations in history. You read, you decide. -Who am I? – I start to question my sanity. Is this happening or am I crazy? An Angel Uriel Answers. My other spiritual encounters – These are other encounters that happened in a series of events that led up to an ultimate judgment.
  • THE COAT of ARMS an Heraldic Journal Published Twice Yearly by the Heraldry Society the COAT of ARMS the Journal of the Heraldry Society

    THE COAT of ARMS an Heraldic Journal Published Twice Yearly by the Heraldry Society the COAT of ARMS the Journal of the Heraldry Society

    Third Series Vol. V part 1. ISSN 0010-003X No. 217 Price £12.00 Spring 2009 THE COAT OF ARMS an heraldic journal published twice yearly by The Heraldry Society THE COAT OF ARMS The journal of the Heraldry Society Third series Volume V 2009 Part 1 Number 217 in the original series started in 1952 The Coat of Arms is published twice a year by The Heraldry Society, whose registered office is 53 High Street, Burnham, Slough SL1 7JX. The Society was registered in England in 1956 as registered charity no. 241456. Founding Editor +John Brooke-Little, C.V.O., M.A., F.H.S. Honorary Editors C. E. A. Cheesman, M.A., PH.D., Rouge Dragon Pursuivant M. P. D. O'Donoghue, M.A., Bluemantle Pursuivant Editorial Committee Adrian Ailes, MA., D.PHIL., F.S.A., F.H.S. Jackson W. Armstrong, B.A. Noel Cox, LL.M., M.THEOL., PH.D., M.A., F.R.HIST.S. Andrew Hanham, B.A., PH.D. Advertizing Manager John Tunesi of Liongam THE LAWS OF ARMS OF THE PROVINCES OF CANADA C. S. T. Mackie Previously in this journal I described how Canada has received armorial law from England.1 Yet as the former Lord Lyon King of Arms, Lyon Blair, observed, 'The legislation creating the Canadian heraldic office allows them to create arms which are subject to "the law of Canada". Now, Canada has a series of differing laws, emanating from each province, some based on French legal principles, and others on English legal principles.2 The question then arises, does this series of differing laws affect the law of arms of Canada? To answer this question, I will first examine just what laws of arms the provinces of Canada have received (and, incidentally, whether their courts are empowered to administer these laws).
  • Unicode Cree Syllabics for Windows and Macintosh

    Unicode Cree Syllabics for Windows and Macintosh

    Unicode Cree Syllabics for Windows and Macintosh 37th Algonquian Conference, Ottawa 2005 Bill Jancewicz SIL International and Naskapi Development Corporation ABSTRACT Submitted as an update to a presentation made at the 34th Algonquian Conference (Kingston). The ongoing development of the operating systems has included increased support for cross-platform use of Unicode syllabic script. Key improvements that were included in Macintosh's OS X.3 (Panther) operating system now allow direct keyboarding of Unicode characters by means of a user-defined input method. A summary and comparison of the available tools for handling Unicode on both Windows and Macintosh will be discussed. INTRODUCTION Since 1988 the author has been working in the Naskapi language at Kawawachikamach with the primary purpose of linguistic analysis and Bible translation, sponsored by Wycliffe Bible Translators and SIL International. Related work includes mother tongue translator training, Naskapi literature and curriculum development. Along with the language work the author also developed methods of production for Naskapi language materials in syllabic script by means of the computer. With the advent of high quality publishing capabilities in newer computers, procedures were updated to keep pace with the improving technology. With resources available from SIL International computer services department, a very satisfactory system of keyboarding syllabic texts in Naskapi was developed. At the urging of colleagues working in related languages, the system was expanded to include the wider inventory of standard Eastern and Western Cree syllabics. While this has pushed the limit of what is possible with the current technology, Unicode makes this practical. Note that the system originally developed for keyboarding Naskapi syllabics is similar but not identical to the Cree system, because of the unique local orthography in use at Kawawachikamach.
  • The Honorable Elizabeth Dowdeswell, OC, Oont Receives A

    The Honorable Elizabeth Dowdeswell, OC, Oont Receives A

    The Toronto Branch of the Royal Heraldry Society of Canada Patron: Sir Conrad M.J.F. Swan, KCVO, PH.D, FSA, FRHSC Garter Principle King of Arms Emeritus Volume 27, Issue 1 – MARCH 2017 ISSN: 1183-1766 WITHIN THE PAGES OF THIS ISSUE: The Honorable Elizabeth Dowdeswell, OC, OOnt The Avery Family Receives a Special Gift from the Branch 3 Arms ack in July of 2016, while attending a conference of Lieutenant Governors and Lady Heralds 4 Territorial Commissioners in Halifax, The Honourable Elizabeth Dowdeswell, B OC, O.Ont, Lieutenant Governor of Ontario, was presented with letters patent granting her arms by the Governor General of Canada. The design process is something that she remarked on when she A Dublin Herald 5 had the opportunity to meet with our Branch for dinner earlier in the year, and how honoured and excited she was to be receiving a grant of arms. Following the formal presentation Heraldic Monsters 6 of this remarkable and beautiful grant of arms, the Toronto Branch decided to commission a table shield which would be presented to Her Honour. We Dined Together 7 This would allow her to display her own arms in her office, as well as give her an 95th Birthday Sketch 8 opportunity to show others her arms while attending various functions. The shield was designed and manufactured by LCdr (ret’d) Steven C o w e n , C D B ra n c h President of the BC / Yukon Branch. It was on display at our dinner in October for members to take a look at prior to presentation.
  • Mining and Communities in Northern Canada : History, Politics, and Memory

    Mining and Communities in Northern Canada : History, Politics, and Memory

    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2015-11 Mining and communities in Northern Canada : history, politics, and memory Keeling, Arn; Sandlos, John University of Calgary Press Keeling, A., & Sandlos, J. (Eds.). (2015). Mining and Communities in Northern Canada: History, Politics, and Memory. Canada: University of Calgary Press. http://hdl.handle.net/1880/51021 book http://creativecommons.org/licenses/by-nc-nd/4.0/ Attribution Non-Commercial No Derivatives 4.0 International Downloaded from PRISM: https://prism.ucalgary.ca MINING AND COMMUNITIES IN NORTHERN CANADA: HISTORY, POLITICS, AND MEMORY Edited by Arn Keeling and John Sandlos ISBN 978-1-55238-805-1 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright.
  • Indigenous Languages in Canada

    Indigenous Languages in Canada

    ᐁᑯᓯ ᒫᑲ ᐁᑎᑵ ᐊᓂᒪ ᑳᐃᑘᐟ ᐊᐘ ᐅᐢᑭᓃᑭᐤ , ᒥᔼᓯᐣ, ᑮᐢᐱᐣ ᑕᑲᑵᓂᓯᑐᐦᑕᒣᐠ ᐁᑿ ᒦᓇ ᑕᑲᑵᒥᑐᓂᐑᒋᐦᐃᓱᔦᐠ ᐊᓂᒪ, ᐆᒪ ᓀᐦᐃᔭᐍᐏᐣ ᑭᐢᐱᐣ ᑭᓅᐦᑌᑭᐢᑫᔨᐦᑌᓈᐚᐤ᙮ ᐆᒪ ᐆᑌ INDIGENOUSᑳᐃᑕᐱᔮᕽ ᓵᐢᑿᑑᐣ, ᐁᑯᓯ ᐃᓯ ᐆᒪ ᓂᑲᑵᒋᒥᑲᐏᓈᐣ ᑮᑿᕀ ᐁᓅᐦᑌᑭᐢᑫᔨᐦᑕᐦᑭᐠ ᐁᑯᓯ ᐃᓯLANGUAGESᐆᒪ ᐹᐦᐯᔭᐠ ᐆᒥᓯ ᐃᓯ , ᓂᑮᑭᑐᑎᑯᓈᓇᐠ IN CANADA, “ᑮᒁᕀ ᐊᓂᒪ ᐁᐘᑯ᙮ ᑖᓂᓯ ᐊᓂᒪ ᐁᐘᑯ ᐁᐃᑘᒪᑲᕽ ᐲᑭᐢᑵᐏᐣ᙮” ᐁᑯᓯ ᐃᑘᐘᐠ, ᐁᐘᑯ ᐊᓂᒪ ᐁᑲᑵᒋᒥᑯᔮᐦᑯᐠ, ᐁᑯᓯ ᐏᔭ ᐁᑭᐢᑫᔨᐦᑕᒫᕽ ᐊᓂᒪ, ᑮᒁᕀ ᑳᓅᐦᑌ ᑭᐢᑫᔨᐦᑕᐦᑭᐠ, ᐁᑯᓯ ᓂᑕᑎ ᐑᐦᑕᒪᐚᓈᓇᐠ, ᐁᑯᓯ ᐁᐃᓰᐦᒋᑫᔮᕽ ᐆᑌ ᓵᐢᑿᑑᐣ, ᐁᑿ ᐯᔭᑿᔭᐠ ᐊᓂᒪ ᐁᑯᓯ ᐃᓯ ᐆᒪ ᐁᐊᐱᔮᕽ, ᐁᑿ ᐯᔭᑿᔭᐠ ᒦᓇ ᐃᐦᑕᑯᐣ = ᑭᐢᑫᔨᐦᑕᒼ ᐊᐘ ᐊᓂᒪ ᐃᑕ CANADIAN LANGUAGE MUSEUM ᒦᓇ ᐁᐊᐱᔮᕽMUSÉE CANADIEN= ᐁᑯᑕ DESᐱᓯᓯᐠ LANGUES ᑫᐦᑌ ᐊᔭᐠ᙮ ᐁᑯᑕ ᐁᑿ ᐁᑯᓂᐠ ᑳᓂᑕᐍᔨᐦᑕᐦᑭᐠ , ᒣᒁᐨ ᐆᒪ ᐁᐘᑯ ᐆᒪ ᐁᑿ ᑳᓅᒋᐦᑖᒋᐠ, ᐁᑯᑕ ᐊᓂᒪ ᓂᐑᒋᐦᐃᐚᐣ᙮ CANADIAN LANGUAGE MUSEUM Canadian Language Museum Glendon Gallery, Glendon College 2275 Bayview Avenue Toronto ON M4N 3M6 Printed with assistance from the Robarts Centre for Canadian Studies, York University, Toronto, Canada Copyright © 2019, Canadian Language Museum Author: Will Oxford Editor: Elaine Gold The Cree syllabic text on the cover, typeset by Chris Harvey, is an excerpt from a speech titled “Speaking Cree and Speaking English” by Sarah Whitecalf, published in kinêhiyâwiwininaw nêhiyawêwin / The Cree Language is Our Identity: The La Ronge Lec- tures of Sarah Whitecalf (University of Manitoba Press, 1993, ed. by H.C. Wolfart and Freda Ahenakew). Preface ................................................................................................................................... iii 1 Approaching the study of Indigenous languages ................................................ 1 1.1 Terms for Indigenous peoples and languages .............................................
  • Alikomiak and Tatamigana: Justice and Injustice in the Canadian Arctic

    Alikomiak and Tatamigana: Justice and Injustice in the Canadian Arctic

    Alikomiak and Tatamigana: Justice and Injustice in the Canadian Arctic by Lisa Beiler A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2016 © Lisa Beiler 2016 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract In 1922, two Inuit men—Alikomiak and Tatamigana—were arrested on the Coronation Gulf near Tree River in connection with the killing of six other Inuit. While in Royal Canadian Mounted Police (RCMP) custody, Alikomiak killed the arresting RCMP officer as well as a Hudson’s Bay Company trapper who lived at the post. These killings set off a judicial process that would see both Inuinnait men tried and hanged on Herschel Island, Yukon, in the first criminal trial and execution of Inuit held in the Canadian Arctic. Through a microhistorical analysis, this thesis addresses the following questions: What do the trials of Alikomiak and Tatamigana reveal about the larger social fabric of Inuinnait culture in the early part of the twentieth century? How does Inuinnait culture intersect with the broader social and political imperatives at play in 1920s Canada? After interrogating the wealth of archival evidence (i.e., statements, trial transcripts, correspondence, and ethnographic reports) many salient aspects of Inuinnait culture emerge, including attitudes towards marriage, infanticide, and the role of anger and sanctioned killing in Inuit society.
  • This Is the Published Version of a Paper

    This Is the Published Version of a Paper

    http://www.diva-portal.org This is the published version of a paper published in Journal of Northern Studies. Citation for the original published paper (version of record): Pongérard, J. (2017) Nuna: Naming the Inuit land, imagining indigenous community Journal of Northern Studies, 11(1): 37-51 Access to the published version may require subscription. N.B. When citing this work, cite the original published paper. Permanent link to this version: http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-145853 JOURNAL OF NORTHERN STUDIES Vol. 11 • No. 1 • 2017, pp. 37–51 JULIEN PONGÉRARD Nuna Naming the Inuit land, imagining in- digenous community ABSTRACT The Inuit land is often known through Western phrasings such as the “Arctic” or the “Great North.” In this article, based on an extensive review of literature, I focus on the name the Inuit give to their own land, which is one of the only words common to all Inuit dialects: nuna. Studying the word’s meaning casts light on a peculiar indigenous territoriality, and on the centrality of environment in Inuit ways of life and holism thinking. The Inuit conceptualize their inhabiting of the circumpolar region in a way radically opposed to Western narratives of wilderness or wasteland. In the late twentieth century, nuna was turned into a key compo- nent of identity politics. Inuit peoples linguistically reappropriated their lands, in parallel with formal land claims and the recognition of Inuit self-governed territories. Nuna is at the core of these processes, as the concept justifies the claims for recognition of vernacular toponyms, and the vocable itself was included in the names of Inuit regions.