Read Ebook {PDF EPUB} During My Time Florence Edenshaw Davidson a Haida Woman by Margaret B. Blackman During My Time: Florence Edenshaw Davidson a Haida Woman by Margaret B. Blackman. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #dfc8c240-ce25-11eb-8500-eb50c70172de VID: #(null) IP: 116.202.236.252 Date and time: Tue, 15 Jun 2021 22:06:02 GMT. “During My Time” A Haida Woman – Margaret B. Blackman. Margaret Blackman composes a remarkable life history of Florence Davidson on the book ‘ During My Time: Florence Edenshaw Davidson’. Davidson is an indigenous Haida woman from the village Masset that is now formally known as Queen Charlotte Islands that is located in the Northwest coast of Canada. As the book During My Time emphases the Haida villages during the late 19 th century, Blackman interviewed Davidson in the confined of Davidson’s kitchen and front room that Blackman taped 45 hours during the time of 1977 of the “life cycle, economics and division of labour, ceremonial activities and specialist roles” (Stearns, 1985), as the two build their friendship. The well-respected native woman was born in 1896, raised from in the big family whereas she was the ninth child born; her father was a famous woodcarver Charles Edenshaw. The ethnography is written in an indigenous female view of the life of Florence Davidson and those that influence her throughout her time, it also touches on topics such as acculturation throughout the book. The book review by Stearns mentions that, “The book is not life history, but hagiography” (195) which I agree is that a biography of a leader. As Davidson goes by the name “Nani” or grandmother to her community as showing respect towards the elderly woman, as she admits her concerned about the Haida women as they do not get acknowledged in the past her fear is to see that cycle to continue for the future Haida females. The narrative structure of the ethnography was from chapters one through nine to grasp the overview of the book, as chapter one is the introduction of the life history project where Blackman provides the key knowledge to the importance of the Haida traditions. Chapter two— Haida woman briefly discusses about the sex roles, values within a “cultural position of traditional Haida woman”(Blackman, 1982). To Florence, “Her speculations about the effects of acculturation on the status of women contains errors and misinterpretation and reveals her unfamiliarity with recent literature on the Haida” (Stearns, 1985). Chapter three—Biographical Sketch provides family history, as she kept records of the major events that influenced her being as a Haida woman by the traditional values and customs that were inherited. The next few chapters divided into years of Davidson life as “Those Before Me (1896-1897), “I am Yet a Girl (1897-1909), “I Become a Woman and Marry (1909-1911), “I Become a Mother and Have Lots of Children (1912-1938), “I Quit Having Babies; My years later (1939-1979), As we begin to read the history from the first person perspective from Davidson, she approaches topics to her personal level as she mentions her family members, her upbringing of her childhood, the affects of small pox epidemic, menstruation cycle, her marriage as she married at the age of fourteen, child birth, the acculturation from the Indian Residential school and her career as a community leader in Masset, and the life of living as aboriginal person. The last chapter’s goes back into the perspective of Blackman as she discussed some issues through the ethnography. This ethnography had good intentions from the many characteristics that it offered from the representation of the native point of view from the inside view from native perspective, sections of the book as it focused of Florence’s’ everyday life situations as for an indigenous person Davidson had to overcome the challenges of the European society and the Haida society. Also the proficiency in language whereas the ethnographers have to deal with language especially the native concepts so everyone will have the same concept because of the translations does not define properly. The ethnographic characteristics shown as the data collected within the fieldwork, to have sociocultural knowledge and have evidence of detailed observations. In the book the theme that carried out was culture change the examples was from the Indian Residential School as the purpose was to colonize the indigenous children into the settler society which is also be cultural genocide. The appropriate audience and readership for this ethnography is suitable for the general readership where it can be practice as a critical thinking for the reader but specifically the Haifa youth especially the young women from the Haida culture to influence them to a greater future. I would recommend the ethnography to university anthropology students that are interested in understanding the issues and challenges of the indigenous peoples that are learning about colonization, racism/discrimination. Although that the ethnography is a straight forward and easy read, the sections I also found lacking within this ethnography was that Blackman does not explain when the writing style gets shifted to the first person to the third person perspective, as I had to look it over a few times to fully understand it, another lack was the critical analysis issues, Blackman took the best part of what Blackman got out of the interview as it will be shifted it out of the hand of the indigenous voice. The two academic book reviews from Maria Tippett—University Of British Columbia from the BC studies 1983 and Mary Lee Stearns – Simon Fraser University source Ethnohistory 1985, they have both been critical to the ethnographer Blackman where Stearns states “But Blackman, preoccupied with her role of “granddaughter” and committed to the proposition that Haida women are domestically isolated, does not question or analyze her data. She does not even claim the objectivity necessary to produce a balanced portrait of a dominant personality” (Stearns, 1983). As for Maria Tippett she mentions “Since we see little of this and much of Blackman’s interest in Haida ceremonial life, what do we have in the end: the life of a Haida woman or an account of what the ethnologist wants to know about? This points to an additional question: what did Blackman choose to leave out of the edited version? “ (Tippett, 1985). As all of these sources are all dated in the 1980’s, the time today will be shifted differently. I also had thoughts with the other Haida women and what will be benefited for them. Bibliography: Blackman, Margaret B., and Davidson, Florence Edenshaw. During My Time: Florence Edenshaw Davidson, a Haida Woman . Seattle: Vancouver: University of Washington Press; Douglas & McIntyre, 1982. Stearns, Mary Lee. “During My Time: Florence Edenshaw Davidson, A Haida Woman (Book Review).” Ethnohistory 32, no. 2 (1985): 193-95. Tippett, Maria. “During My Time: Florence Edenshaw Davidson, A Haida Woman (Book Review).” BC Studies 59, Autumn (1983): 67-69. During My Time: Florence Edenshaw Davidson, A Haida Woman. This book is the first life history of a Northwest Coast Indian woman. Florence Davidson, daughter of noted Haida carver and chief Charles Edenshaw, was born in 1896. As one of the few living Haida elders knowledgeable about the culture of a bygone era, she was a fragile link with the past. Living in Masset on the Queen Charlotte Islands, some fifty miles off the northwest coast of British Columbia, Florence Davidson grew up in an era of dramatic change for her people. One of the last Haida women to undergo the traditional puberty seclusion and an arranged marriage, she followed patterns in her life typical of women of her generation. Florence's narrative—edited by Professor Blackman from more than fifty hours of tape recordings—speaks of girlhood, of learning female roles, of the power and authority available to Haida women, of the experiences of menopause and widowhood. Blackman juxtaposes comments made by early observes of the Haida, government agents, and missionaries, with appropriate portions of the life history narrative, to portray a culture neither traditionally Haida nor fully Canadian, a culture adapting to Christianity and the imposition of Canadian laws. Margaret Blackman not only preserves Florence Davidson's memories of Haida ways, but with her own analysis of Davidson's life, adds significantly to the literature on the role of women in cross-cultural perspective. The book makes an important contribution to Northwest Coast history and culture, to the study of culture change, to fieldwork methodology, and to women's studies. This book is the first life history of a Northwest Coast Indian woman. Florence Davidson, daughter of noted Haida carver and chief Charles Edenshaw, was born in 1896. As one of the few living Haida elders knowledgeable about the culture of a bygone era, she was a fragile link with the past. Living in Masset on the Queen Charlotte Islands, some fifty miles off the northwest coast of British Columbia, Florence Davidson grew up in an era of dramatic change for her people. One of the last Haida women to undergo the traditional puberty seclusion and an arranged marriage, she followed patterns in her life typical of women of her generation. Florence's narrative—edited by Professor Blackman from more than fifty hours of tape recordings—speaks of girlhood, of learning female roles, of the power and authority available to Haida women, of the experiences of menopause and widowhood. Blackman juxtaposes comments made by early observes of the Haida, government agents, and missionaries, with appropriate portions of the life history narrative, to portray a culture neither traditionally Haida nor fully Canadian, a culture adapting to Christianity and the imposition of Canadian laws. Margaret Blackman not only preserves Florence Davidson's memories of Haida ways, but with her own analysis of Davidson's life, adds significantly to the literature on the role of women in cross-cultural perspective. The book makes an important contribution to Northwest Coast history and culture, to the study of culture change, to fieldwork methodology, and to women's studies. family. Robert Davidson Sr. was a respected man of the Eagle lineage in Massett. He was noted as a skilled carpenter. He helped build the local Anglican Church in 1919, designed and built his own houses, and was commissioned to build two traditional Haida canoes with his brother. A commercial fisherman by trade, he took up argillite carving in his later years. He helped guide Robert on his landmark pole raising in Massett in 1969, and it brought Robert great joy that his grandfather lived to see this first totem raised in his lifetime. He also was considered a keeper of the songs and passed along knowledge of Haida composer Naahiilaans , whose songs have now been restored and recorded in the Songs of Haida Gwaii Legacy Project, Archival Anthology. Florence Edenshaw Davidson | jadal q’egengá (story maid) | 1896–1993 | Robert’s Grandmother ( Naanii ) Born in Massett, Florence Edenshaw Davidson came from a long line of distinguished Haida. The daughter of Charles Edenshaw, she was an artist renowned for her skillful weaving of spruce root and cedar bark, and her button-blankets, which she started sewing as a young girl. She married Robert Davidson Sr. in 1911, and had thirteen children. She was a respected elder in her community and she shared her knowledge of traditional Haida life with her children and grandchildren, as well as a host of anthropologists, museum curators, art historians, and others interested in Haida subjects such as linguistics and ethnobotany. She dedicated a large portion of her life in later years to preservation of the Haida language. In the 1960s she was consultant on Haida culture and Massett history to the writer Christie Harris, author of Raven’s Cry. She became more widely known through her collaborative autobiography “During My Time – Florence Edenshaw Davidson: A Haida Woman” written with the anthropologist Margaret B. Blackman, published in 1982. Claude Davidson | tlajang nang kingaas (the one who is known far away) | 1924 – 1991 | Robert’s Father. Claude Davidson served as chief of the Village of Dadens, Langara Island, Haida Gwaii. A carver in his family’s tradition, he encouraged his sons Robert and Reg to start carving. Robert recounts that his father offered strong support for his projects. He was instrumental in helping Robert realize the first totem pole raising in Massett in living history in 1969; he found the right tree to use for the project after searching for weeks, he built a carving shed outside the house for Robert to carve it and he was in charge of the pole raising itself. Terri-Lynn Williams-Davidson | lalaxaaygans (beautiful sound) | Robert’s Wife. Terri-Lynn Williams-Davidson is a unique voice for indigenous cultures. She is a Haida musician, artist, and lawyer, well known for her work in aboriginal-environmental law and as a recognized keeper of traditions. She is the founder of Raven Calling Productions, an entertainment company that shares and showcases Haida artistic traditions. Born and raised in Haida Gwaii, Terri-Lynn has dedicated herself to the continuation of Haida culture. The traditional Haida songs her centenarian great-grandmother sang have motivated and been a beacon throughout her life, leading her to help preserve a legacy of Haida music through the Haida Gwaii Singers Society. For her work, which has spanned over 30 years and has helped bring renewal to Haida songs, she received a ‘Keeper of Traditions’ Canadian Aboriginal Music Award in 2008. Deep on the front lines of Indigenous Rights, her work strives to open new vistas to her audiences rooted in Indigenous world views, Haida language and laws, music and oral traditions, and branches out to explore their relevance to contemporary society. In 2011 Terri-Lynn released her first solo CD with original compositions – ‘New Journeys’. She was awarded ‘Best Female Artist’ at the 2011 Canadian Aboriginal Music Awards for the release which was a collaboration with classical composer Bruce Ruddell. In 2017, she released the CD 'Grizzly Bear Town' with Bill Henderson and Claire Lawrence, a multi-media exhibit and book entitled 'Out of Concealment: Female Supernatural Beings of Haida Gwaii'. Terri-Lynn has also recorded for film and television, and she has performed throughout the world including Indonesia, Italy, Amsterdam and New York. Terri-Lynn is also a well-known lawyer representing the Haida Nation in the area of aboriginal-environmental law. To find out more about her law work, visit White Raven Law's website. Reg Davidson | skil kaat’laas | kiiglaajuwee | hlk’iann k’usdann sgaanuwaa | Robert’s Younger Brother. Reg is also an internationally acclaimed Haida artist who creates sculptures, silk-screen prints, gold and silver jewelry, weaving, carved masks and painted drums. He was born in Massett in 1954. Reg began his artistic training as did Robert, under the guidance of his father, Claude Davidson. He began carving in 1972. Among his many interesting commissions was a major totem pole project that was ordered by the noted British artist, Damien Hirst, in 2006. While still in high school, Reg worked together with Robert to raise the first totem pole in Haida Gwaii in nearly 90 years. “Reg’s commitment gave me strength to finish this job,” notes Robert. “We worked together many hours a day, six days a week until it was completed.” Reg is an accomplished dancer and singer with the Rainbow Creek Dancers, a Haida Dance group that Reg and Robert formed in 1980. Reg designed and created much of the dance regalia for the group including masks, drums, and kid leather dance capes. Reg recognizes the importance of song and dance to Haida. He is from the Eagle, Ts’aahl 'Laanas Clan. “When I am home I go to my studio everyday. When I am working, I try and make a piece where if you do not know anything about Haida Art, you will still appreciate the piece. When I started to understand the dancing and singing it brought a whole new life to my carvings.” Ben Davidson | tlajang nang kingaas (the one who is known far away) stlaay q’aalaagaas (ambitious hands) | Robert’s Son. Ben is a Haida artist. Born in 1976, he began carving when he was very young – as early as four years old. Hanging around the shop, his father and Uncle Reg gave him projects to do, he recalls. Ben’s formal apprenticeship in carving began at the age of sixteen. He completed a four-year apprenticeship with both his father and uncle. Drawing upon his traditional knowledge of Haida design he creates innovative and unique contemporary pieces, which are sought after by collectors from around the world. Fittingly, Ben’s Haida name is tlajang nang kingaas meaning “the one who is known far away.” He specializes in wood sculptures, has experience with two-dimensional designs and has expanded his repertoire into jewellery and engraving. Ben lives and works in Haida Gwaii, from his Gallery All About U Arts which overlooks Skidegate Inlet. His dedication to the revival of Haida culture moves beyond the realm of art. He is also an original member of the Rainbow Creek Dancers, like his father and uncle, and this extensive experience enables him to continually explore the symbiotic relationship between the ceremonial and contemporary roles of Haida art. Sara Davidson | skil jadee (wealth spirit woman) | sgaann jaadgu saandlaans (killer whale woman on whom it is dawning) | t’siliiaalaas jaad (raven fin woman) | Robert’s Daughter. Sara is a Haida educator and scholar who has a PhD in Literacy Education from the University of British Columbia. Her research has focused upon the use of autobiographical and narrative writing to engage in the writing process and to explore identities, as well as the mandating of Indigenous content in the curriculum. She has also explored ways to merge the strengths of Indigenous and non-Indigenous pedagogical practices. Currently she is an Assistant Professor in the Teacher Education Department at the University of the Fraser Valley. She is also the project lead on the Indigenous Storybooks project where she is exploring how traditional Indigenous stories can be used to strengthen text-based and Indigenous literacy practices. She has worked as an educator with adolescents in the K-12 system for close to a decade in both British Columbia and Yukon Territory. She also has experience at the post-secondary level working with Fundamental Adult Learners. More recently, she has worked with teacher candidates and practicing teachers to bring Indigenous content, perspectives, and pedagogies into their classrooms - particularly in the area of English Language Arts. During My Time: Florence Edenshaw Davidson a Haida Woman by Margaret B. Blackman. During My Time: Florence Edenshaw Davidson, a Haida Woman. Files. Authors. Description. By Margaret B. Blackman [College at Brockport emeritus]. This book is the first life history of a Northwest Coast Indian woman. Florence Davidson, daughter of noted Haida carver and chief Charles Edenshaw, was born in 1896. As one of the few living Haida elders knowledgeable bout the culture of a bygone era, she was a fragile link with the past. Living in Masset on the Queen Charlotte Islands, some fifty miles off the northwest coast of British Columbia, Florence Davidson grew up in an era of dramatic change for her people. On of the last Haida women to undergo the traditional puberty seclusion and an arranged marriage, she followed patterns in her life typical of women of her generation. Florence's narrative - edited by Professor Blackman from more than fifty hours of tape recordings - speaks of girlhood, of learning female roles, of the power and authority available to Haida women, of the experiences of menopause and widowhood. Blackman juxtaposes comments made by early observes of the Haida, government agents, and missionaries, with appropriate portions of the life history narrative, to portray a culture neither traditionally Haida nor fully Canadian, a culture adapting to Christianity and the imposition of Canadian laws. Margaret Blackman not only preserves Florence Davidson's memories of Haida ways, but with her own analysis of Davidson's life, adds significantly to the literature on the role of women in cross-cultural perspective. The book makes an important contribution to Northwest Coast history and culture, to the study of culture change, to fieldwork methodology, and to women's studies. - Publisher description.