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Tracing Memories: Collaborative Research in the Tłı̨chǫ Region

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Tracing Memories: Collaborative Research in the Tłı̨chǫ Region Tracing Memories: collaborative research in the Tłı̨ chǫ region by Adolfo Ruiz A thesis submitted in partial fulfllment of the requirements for the degree of Doctor of Philosophy Department of Human Ecology University of Alberta © Adolfo Ruiz, 2018 Abstract Background to this dissertation In 2012 (as part of my Master’s research) I began a creative collaboration in the Tłı̨ chǫ region of the Northwest Territories. Over a period of 18 months I worked with community elders and youth in the creation of an animated flm (based on a historic oral story). This PhD is a continuation of that work. The next phase in this collaboration has involved a more complex process of travel and media production along with higher level involvement from participants and myself. Through this research I have worked with community members to explore how a creative practice may bridge knowledge from the past with current and future generations. The following section will elaborate on this inquiry. Bridging knowledge In this document I will describe how knowledge was bridged through the co-creation of an animated flm. Research and production behind this flm involved extensive travel, a historical reenactment, and collective image-making. As I will discuss throughout part 1 of this dissertation, the process of mak- ing this flm recontextualized knowledge from the past. A creative project helped mediate between ancestral memory, and twenty-frst century Dene society. The following chapters will elaborate on the journey behind this project, illustrating how the past was brought into the present, while also describ- ing multiple excursions on the land. The introduction to this dissertation provides a description of the land that I have been honoured to visit many times—it is the land that brought this research to life. ii Preface This thesis is an original work by Adolfo Ruiz. The research project, of which this thesis is a part, received research ethics approval from the University of Alberta Research Ethics Board, Project Name “Tracing Memories: visualizing the story of Peace between Edzo and Akaitcho ”, No. Pro00062028, March 4, 2016. Some of the research conducted for this thesis (including the animated production of Edzo and Akaitcho Making Peace) forms part of a collaboration, between Adolfo Ruiz and members of the Behchokǫ̀ community in the Northwest Territories. iii Acknowledgments Research activities described in this dissertation were developed through the knowledge and effort of many people in the Northwest Territories and beyond. First, I would like to thank Tłı̨ chǫ elders for sharing their knowledge of history. It has been an honour to work with the late Harry Apples, along with Edward Camille, Philip Dryneck, Philip Husky, Joseph Judas, Jimmy Kodzin, Melanie Lafferty, Monique Mackenzie, the late Robert Mackenzie, Dora Migwi, Jimmy Nitsiza, Elizabeth Rabesca, Joe Rabesca, Michel Louis Rabesca, and Francis Willah. Their lived experiences provided ongoing guidance and inspiration since we began this creative collaboration in 2012. The hospitality and generosity of many other people in the Tłı̨ chǫ community of Behchokǫ̀ —offering time, resources and technical support—made it possible to research the story of Edzo and Akaitcho Making Peace. These people include Peter Husky, Jonas Lafferty, Lucy Lafferty, Grand Chief Goerge Mackenzie, Rosa Mantla, Terri Naskan, Tammy Steinwand-Deschambeault, John B. Zoe, as well as teachers and students at Chief Jimmy Bruneau High School. I offer special mention of Tony Rabesca, for his friendship and ongoing guidance—he orchestarted many activities in the community. Tony’s vision of being ‘strong like two people’ helped articulate the signifcance of this collaboration, while moving the research forward. The creative contributions of many talented people in Behchokǫ̀ became essential in reenacting and visualizing the animated version of Edzo and Akaitcho Making Peace. As part of the reenactment, I thank Doreen Apples, Darla Beaulieu, Berinda Mackenzie, Derrick Mackenzie, Charles Mantla, Kirk Mantla, Nikita Mantla, Johnny Naedzo, Marie Nedlin, Travis Quitte, Floriann Rabesca, Vincent Rabesca, Joyce Washi, Alister Wetrade, Angela Zoe, Brittanya Zoe, and Rianne Zoe. As part of the animation production I express my graditude to Angus Beaulieu, Ray McSwain, and James Wedzin. As part of the flm production I had the privilege of working with renowned Tłı̨ chǫ artist Archie Beaulieu—sadly, Archie passed away in 2017. His presence in this project was inspirational, and his memory lives on in the unique fowing linework of his paintings, that often depict oral stories from the region. The contribution of Tłı̨ chǫ artist Archie Beaverho also deserves special mention. Archie patiently rendered hundreds of iv exquisite drawings that appear throughout the flm. In addition, I thank Dakota House, as well as Richard Van Camp, for their creative contributions and support at different stages in this project. I am also grateful for the wealth of knowledge and continual support offered by my PhD supervisors—Megan Strickfaden and Gavin Renwick. They encouraged me to pursue doctoral studies, and helped make this journey extremely rewarding. Methods and rela- tionships previously established by my supervisors made this research possible. As part of this journey I have also received important advice from Thomas D. Andrews, Brendan Hokowhitu, Caroline MacDonald-Davis, and Patrick Scott. Thanks as well to Elizabeth Boone for being part of the examining committee, and Rhonda Breitkreuz for chairing my fnal oral defence. I thank my family for their love, as well as their practical support in many of the day-to-day challenges of graduate studies. I am grateful to my parents, Carmen and Juan, as well as my son, Sebastian. This research was supported by a Doctoral Fellowship from the Social Sciences and Humanities Research Council of Canada. v Table of contents 001 Introduction Part 1 008 Chapter 1: Ways of knowing 026 Chapter 2: Recorded Memories and the senses 036 Chapter 3: Ways of walking and drawing 052 Chapter 4: Exchanging stories and listening 064 Chapter 5: Relationships through image-making 074 Chapter 6: Reenacting oral history 098 Chapter 7: Tracing the past 116 Chapter 8: Recontextualizing oral history Part 2 126 Chapter 9: Drawing from history 144 Chapter 10: Relationships in time 154 Chapter 11: Material culture on Tłı̨ chǫ lands 170 Chapter 12: Human ecology, creative practice, and the north 188 Conclusion 202 References 211 Appendices vi List of fgures 2 Figure 1: The self-governed Tłı̨ chǫ region in the Northwest Territories. 4 Figure 2: Russell Lake, near Behchokǫ. Photographed by Scott Portingale. 6 Figure 3: Epistemological exploration using typography. 10 Figure 4: A painting of Mesa Lake by Tłı̨ chǫ artist Ray McSwain, 2016. 12 Figure 5: An Exploration of home through illustration and photography. 14 Figure 6: Mesa Lake, photographed by Scott Portingale. 16 Figure 7: Marker tracings exploring language and fragmentation, illustrated by the author, 2017. 18 Figure 8: Images of places lived and travelled, photographed by the author, 1999-2006. 20 Figure 9: Found imagery and text used for collage activities, compiled by the author, 2011. 22 Figure 10: Printing exercises, written by the author, 1978-1979. 24 Figure 11: Printing exercises, written by the author, 1978-1979. 26 Figure 12: Mesa Lake, photographed by Scott Portingale. 28 Figure 13: Setting up a tent at Mesa Lake. Photographed by Scott Portingale. 30 Figure 14: Mesa Lake, photographed by Scott Portingale. 32 Figure 15: An exploration of material and memory through multiple media. 32 Figure 16: The Aurora Borealis at Mesa Lake. Photographed by Scott Portingale. 34 Figure 17: The Aurora Borealis at Mesa Lake. Photographed by Scott Portingale. 34 Figure 18: The camp at Mesa Lake. Photographed by Scott Portingale. 36 Figure 19: A line made by walking in Edmonton’s Mill Creek neigbourhood. 38 Figure 20: Walking at Mesa Lake. Photographed by Scott Portingale. 38 Figure 21: The rock at Mesa Lake. Photographed by Scott Portingale. 40 Figure 22: The rock at Mesa Lake. Photographed by Scott Portingale. 40 Figure 23: Elder Harry Apple at Mesa Lake. Photographed by Scott Portingale. 42 Figure 24: Mesa Lake, photographed by Scott Portingale. 44 Figure 25: Walk 1, photographed by the author, 2017. 44 Figure 26: Walk 2, photographed by the author, 2017. 46 Figure 27: Walk 3a, photographed by the author, 2017. 46 Figure 28: Walk 3b, photographed by the author, 2017. 48 Figure 29: Walk 4, photographed by the author, 2017. vii 48 Figure 30: Walk 5, photographed by the author, 2017. 50 Figure 31: A second walk in the snow, photographed by the author, 2017. 52 Figure 32: Russell Lake, near Behchokǫ̀ . Photographed by Scott Portingale. 54 Figure 33: The camp at Russell Lake. Photographed by Scott Portingale. 54 Figure 34: Monique Mackenzie at Russell Lake. Photographed by Scott Portingale. 56 Figure 35: Rosa Anne Mantla on the land. Photographed by Scott Portingale. 58 Figure 36: Elder Francis Willah during a storytelling session. Photographed by the author, 2012. 60 Figure 37: Tony Rabesca at Russell Lake. Photographed by Scott Portingale. 62 Figure 38: Mary Blackduck at Russell Lake. Photographed by Scott Portingale. 64 Figure 39: Image-making activities at Chief Jimmy Bruneau High School (CJBHS). 66 Figure 40: Collaborative illustration between Monique Mackenzie and CJBHS student. 66 Figure 41: Collaborative illustration between Monique Mackenzie and CJBHS student. 68 Figure 42: Final artwork rendered by elder Monique Mackenzie and CJBHS student. 70 Figure 43: Drawing of a dog sled by elder Monique Mackenzie, 2016. 72 Figure 44: A drawing of Mesa Lake and surrounding area by elder Philip Husky, 2016. 74 Figure 45: Storyboard frames for Edzo and Akaitcho Making Peace. Illustrated by the author, 2016. 76 Figure 46: Storyboard frames for Edzo and Akaitcho Making Peace. Illustrated by the author, 2016. 78 Figure 47: Storyboard frames for Edzo and Akaitcho Making Peace. Illustrated by the author, 2016.
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