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Faith Decontie Final by Anne Honouring the Memory of our Ancestors; Birch Bark Baskets Faith Decontie HONOURING THE MEMORY OF OUR ANCESTORS; BIRCH BARK BASKETS CAPSTONE SEMINAR SERIES (Re)Negotiating Artifacts of Canadian Narratives of Identity, Volume 4, Number 1, Spring 2014. Managing Editor Dr. Anne Trépanier Desktop publishing Shermeen Nizami Proofreading and final edit Emma Gooch and Ryan Lux Editorial Board Dr. Daniel MacFarlane, Amanda Murphy, Sarah Spear, Ryan Lux, Greer, Jessica Helps, Martha Attridge Bufton, Paula Chinkiwsky, Sarah Baker, Heather Leroux, Victoria Ellis, Stephanie Elliot, Emma Gooch, Cassandra Joyce, Brittany Collier, Tiffany Douglas, Anne Trépanier. Guest Editor Dr. Daniel MacFarlane Special thanks Patrick Lyons and Andrew Barrett Copyright Notice © Faith Decontie, April 2014 All rights reserved. No reproduction, copy, or transmission of this publication, or part thereof in excess of one paragraph (other than as a PDF file at the discretion of School of Canadian Studies at Carleton University) may be made without the written permission of the author. To quote this article refer to: ― Faith Decontie, Honouring the Memory of our Ancestors; Birch Bark Baskets, Capstone Seminar Series, (Re)Negotiating Artifacts of Canadian Narratives of Identity, Volume 4, number 1, Spring 2014, page number and date of accession to this website: http://capstoneseminarseries.wordpress.com 2 FAITH DECONTIE Honouring the Memory of our Ancestors; Birch Bark Baskets Faith Decontie ABSTRACT The cultural practice of Algonquin birch bark basket making is a continuing distinct method of connecting to their ancestors. In the Algonquin reserve of Kitigan Zibi, birch bark baskets are a way of both honouring their ancestors and passing down traditional valuable teachings of Anishnabe culture. The once practiced assimilation policies in Section 3 of An Act Further to Amend The Indian Act, 1880, to ban First Nation ceremonial practices within Canada, is one example that demonstrates unsettling historical relationships between Indigenous people and the Canadian Government. As a result of the Canadian Government assimilation policies of banning ceremonial practices, the disconnection between Indigenous people and Canadians are apparent through public spaces such as the Canadian Museum of History in the Canada Hall. The presence of Algonquin birch bark baskets in the Canada Hall would reflect a potential positive relationship between Canadians and the First People of this land. KEYWORDS Anishnabe Cultural Practices, Unsettling Historical Relationships, Canada Hall CAPSTONE SEMINAR SERIES (Re)Negotiating Artifacts of Canadian Narratives of Identity, Volume 4, Number 1, Spring 2014. 3 HONOURING THE MEMORY OF OUR ANCESTORS; BIRCH BARK BASKETS "May we, the present, renew that pride, strengthen it, and pass it on to our children, the future" - Ernest McGregor Figure 1:Photograph courtesy of Kitigan Zibi Culture Center. In the present, Anishnabe (Algonquin) people of Kitigan Zibi have and continue to practice their cultural traditions in honour of their ancestors. Prior to European influence the Algonquin people maintained a distinct cultural knowledge, life lessons and language through animated objects such as birch bark baskets despite European influence. In contemporary society, the people of Kitigan Zibi continue to make birch bark baskets in honour of their ancestors. The process of creating the baskets is attached with a deeply spiritual significance within Anishnabe culture. Within this paper I intend to explain the diverse values birch bark baskets continue to have in Algonquin culture drawing on both Indigenous academic scholars, and relating individual experiences shared from Kitigan Zibi reserve. First, I will discuss the importance of trees within Indigenous culture, concentrating on how the trees are valued within Algonquin practices. Second, I explore the importance of understanding 4 FAITH DECONTIE the reason Algonquin people today continue to make baskets in honour and memory of their ancestors. Finally, I will explore the reasons why Algonquin birch bark baskets should have a place within the Canada Hall, at the Canadian Museum of History. I demonstrate how a birch bark basket collection has potential to reflect a positive relationship between Indigenous and Canadian culture. Sacred Trees Birch bark trees are fundamentally important within traditional and modern Algonquin cultural practices. In Kitigan Zibi, baskets made from trees have many different purposes such as: food storage, trading, and methods of retaining cultural knowledge.1 The baskets are created to continue on Anishnabe (Algonquin) legacy and adapted for commodity purposes as a means of living. In the area of Kitigan Zibi, there are two types of birch bark trees; the first is the wigwas (white birch) and winsik (yellow birch).2My kokom (grandmother), Pauline Decontie, once shared a story with me explaining how the yellow birch tree is a medicinal remedy for an upset stomach. The elders today who still use the yellow birch as a medicinal remedy express in comical ways how it tastes slightly similar to Pepto-Bismol. My kokom also explained how wigwas, the white birch bark tree, has multiple purposes. The outside layer is used to make various items such as: baskets, canoes, and sap. The various medicinal and creative cultural products previously stated are some examples of why the birch bark tree has continued to have great significance within the Algonquin culture. Trees continue to be symbolically and physically important within different Indigenous spiritual cultural practices in North America. Dr. A.C Ross's book, Mitakuye Oyasin, discusses the sacred character of trees among other international 1Decontie, Pauline. Personal Interview. 14 Feb. 2014. 2McGregor, Ernest, and Quebeć Maniwaki.Algonquin Lexicon. Third Edition ed. Maniwaki, Quebec:́ The Authority, 1984.Pg 29 CAPSTONE SEMINAR SERIES (Re)Negotiating Artifacts of Canadian Narratives of Identity, Volume 4, Number 1, Spring 2014. 5 HONOURING THE MEMORY OF OUR ANCESTORS; BIRCH BARK BASKETS Indigenous cultures. For instance, he explains how they symbolically and physically bring healing to the people. Ross further elaborates on the flowering tree in Black Elk's vision (a Lakota medicine man) that symbolized Wakan Tanka in the English language means the equivalent to God.3Ross explains how Lakota, Dakota and Nakota cultures all collectively practice Sun Dance ceremonies. The Sun Dances continue to be a very important spiritual ceremony that is still practiced amongst Dakota, Lakota and Nakota people. Ross describes, "the sacred tree in the center of the Sun Dance is a symbol of God, and the Sun Dance circle represents the universe".4 Ross’ interpretation of Black Elk's vision of the flowering tree is important because it explains the role that trees have within Dakota, Lakota and Nakota culture. In Algonquin culture, birch bark trees are sacred and are internalized as animated spirits that are viewed as equal to animals and human beings. Through an Algonquin lens, birch bark trees symbolically represent a reflection of the people. Simply, how one takes care of the environment is a reflection of how you take care of yourself. Methodology In Algonquin culture, symbolism remains vital. Rebecca and Philip Stein note how “[s]ymbols can stand for emotions and complex philosophical concepts that exist only in our minds.”5Ross mentions how in "Dakota/Lakota philosophy, it is believed that Wakan Tanka is the center of the universe, symbolized by the sacred tree in the middle of the Sun Dance circle".6 Mrs. Meness, an elder from Kitigan Zibi, once shared a story with me about how at every meal during her childhood, her father would spill the first sip of soup, or give the first bite of his meal to the trees outside their shack. The first spoon of soup or bite of a meal was given back into the earth to 3Ross, A. C.Mitakuye Oyasin = We Are All Related. Centennial ed. Ft. Yates, N.D.: Bear, 1989. Pg 107. 4Ross, A. C.Mitakuye Oyasin = We Are All Related. Centennial ed. Ft. Yates, N.D.: Bear, 1989. Pg 107. 5Stein, Rebecca L., and Philip L. Stein.The Anthropology of Religion, Magic, and Witchcraft. 3rd ed. Upper Saddle River, NJ: Pearson/Prentice Hall, 2011.Pg 57. 6Ross, A. C.Mitakuye Oyasin = We Are All Related. Centennial ed. Ft. Yates, N.D.: Bear, 1989. Pg 123. 6 FAITH DECONTIE the roots of the trees. That intentional interaction of sharing with the spirit world and other spiritual organisms represents the equal respect shared amongst one another. The notion of equality amongst living organisms and human beings are reflected back in understanding the importance of trees. Elder Meness explained that her father giving the first bite or sip of his food was a daily spiritual practice, one that was learned and passed down generations before him. Her story reveals the value that trees have in connecting Algonquin people to their ancestors. Birch bark trees are viewed as sacred because they are spiritual animated organisms that cleanse the air, assist in healing, and supply material for medicine and food. Birch bark trees remain a crucial part of Algonquin identity because their presence keeps their spirits connected to the spirits world. Symbolic images have always been instrumental in continuing on stories, teachings, moral lessons, and cultural legacies. Stein explains how symbols are complex and more than just simple objects7 they are also artistic representations, signifiers, and a respective religious systems.8 In Algonquin culture, the images on birch bark baskets have become a method of continuing shared cultural knowledge. Some of these symbols include wave figures and half circles which represent the moon and water. In Algonquin and Midewiwin (Anishnabe spiritual society) beliefs, women are the keepers of the water. Women are responsible for cleansing the water each spring to prepare for new life to come. The wave figures and half circles are drawn on baskets represent different meanings, depending on the context in which it was created. Within a Midewiwin context, females who make birch bark baskets draw the waves and half circles as an artistic representation of their experience during the 7Stein, Rebecca L., and Philip L.
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