first peoples’ news ISSUE #1, 2015 first peoples’ cultural council 25 YEARS

in this issue Our Living Exhibition 1 Our Living Languages Exhibition Wins Prestigious Award WINS PRESTIGIOUS AWARD The “Our Living Languages” Exhibition, attention to the many amazing commu- 2 Report on the Status of Languages jointly created by the First Peoples’ nity-based revitalization efforts,” Shows Increase in Learners, Cultural Council and the Royal BC says Tracey Herbert, Executive Director Semi-Fluent Speakers Museum, has won an “Excellence in at the First Peoples’ Cultural Council. Exhibition Competition” award from the The exhibition respects and acknowl- 3 Wa aas Weaving Connects People American Alliance of Museums (AAM). edges the legacy of language loss in B.., with Nuu-chah-nulth Heritage The exhibition is one of only four entries but at the same time celebrates the resil- from across the globe to receive the ience of those languages – and the many 4 Mentor-Apprentice Teams Share award this year. people working in their own communities Tips for Success “Our Living Languages” is a ground- to revitalize them. Visitors have included breaking and unique showcase of Indige- people from all corners of 6 's Youngest Speaker Connects nous B.C.’s remarkable linguistic diversity. the province as well as interested people with His Language and Culture FPCC developed the story layout and from around the world. content for the exhibition, in consultation “This exhibition has been successful on 7 FPCC Releases Report on with B.C. First Nations cultural experts. a local level and with international visitors Cultural Protocols “By consulting with First Nations com- because it tells the story of B.C.’s 34 First munity experts, we were able to capture 8 Band Play Engages the beauty of our languages and draw Continued on next page … Youth in the Arts, Promotes Culture

10 Staff and Board Changes at the First Peoples’ Cultural Council

Celebrating 25 years of Support for Indigenous Languages, Arts and Culture! A special “tea and tour” for First Nations Elders was held at the exhibition on October 1, 2014. Thirty Elders attended from a variety of Nations and organizations on southern Vancouver Island. Report on the Status of Languages Shows INCREASE IN LEARNERS, SEMI-FLUENT SPEAKERS

instruction is just 5.73 hours per week. “We can see that our efforts are paying off, but there is still a considerable amount of work to be done,” says Tracey. “These next few years are critical ones for us. While we still have remaining fluent speakers, it’s imperative that Tracey Herbert, we work together to pass on language Executive Director at through community-based programs FPCC, holding a copy that work, be they archiving, immersion of the Report on the or mentoring.” Status of B.C. First Nations Languages Tracey expects that the report will 2014. (Photo credit: be a useful tool resource for FPCC in Gord Kerr of West its fundraising efforts, as well as an Coast Photographic) important resource for First Nations communities and language stakeholders When the First Peoples’ Cultural Council this number is down from 2010, throughout B.C. To download the entire originally published the Report on the a decrease that is predictable given the report, go to www.fpcc.ca and click on the Status of B.C. First Nations Languages in ongoing decline in the number of Elders. “Status of Languages Report” icon. 2010, 8,948 study participants identified “It’s fair to say that the federal as being “semi-fluent.” Today, that government’s attempts at assimilation, number has increased by 3,144 speakers and in particular the residential school Continued from cover … to 12,092. The majority of these semi- system, are the largest contributors to fluent speakers are under the age of 65, language loss in B.C.,” says Suzanne Nations languages from the perspective and nearly 30% are under 25. Gessner, one of the co-authors of the of its First Nations people,” says Tracey. “We see this increase as a positive report. “We are losing an entire generation For those who haven’t been able to trend,” says FPCC’s Executive Director of people who spoke in the language as make it to the exhibition, or who would Tracey Herbert. “It shows that language children.” like to share it with others, elements of learning is on the rise amongst First Fortunately, in addition to the increase the exhibition are now available online. Nations in B.C., and is a reason for in younger learners, some language Visit http://learning.royalbcmuseum.bc.ca/ optimism about the future of the resources such as digital archives are articles/our-living-languages/ to take a province’s Indigenous languages.” on the rise. One hundred and seventeen behind-the-scenes look at the stories and The 2014 report is the result of a communities – almost twice the number information from the exhibition, including comprehensive, multi-year study carried in 2010 – now have access to a the cradle theatre. out by FPCC, in which 185 out of 203 FirstVoices.com archive of their language. communities with a total population of These archives are an invaluable 129,730 were surveyed. Like the original community resource for current learners report in 2010, the updated version and future generations. examined three key variables: speakers, In other areas, progress is slower. For education and resources. example, just over half of communities Overall, the study discovered that there have curriculum materials to teach are 5,289 fluent speakers of First Nations their languages, and while some languages in B.C. Representing just over community schools have full immersion four percent of the total population, programming, average language

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Wa aas Weaving Connects People WITH NUU-CHAH-NULTH HERITAGE

The class teaches every aspect of making the baskets, from selecting and harvesting the grasses to choosing a mold, then preparing the grass by cut- ting and dying it and finally weaving the basket from the base all the way to the lid. “A lot of work goes in. It’s a long process just to get the grass ready.” Last year’s Sharing Traditional Arts grant allowed the class to happen, including a field trip to harvest the two types of grass, which are found in swamplands. According to Witchita, the grasses are get- ting harder and harder to find as a result of changes to the ecosystem caused by global warming as well as land and water pollution. “I was able to rent a car and go to Fanny Bay and Toquart Bay to pick the grass with some of the ladies in the class,” says Witchita. “It was such an adventure.” Weavers picking grasses at Fanny Bay. The class had 30 students last year and 5 are returning this term to create When Witchita – as Bertha Paull prefers so excited. I was amazed when she added finer pieces, like lids, for their baskets. to be called – found a traditional Nuu- about a half inch to my basket in no time Students include both First Nations and chah-nulth basket at the side of the road – it took me so long at first.” non-First Nations people of all ages, and more than four decades ago, it turned Today, Witchita teaches the Wa aas in 2014, 3 of the 30 students were men. out to be what she calls a “serendipitous weaving class in Victoria B.C. Funded In addition to teaching the weaving, coincidence.” Finding the basket through FPCC’s Sharing Traditional Arts Witchita incorporates cultural knowledge prompted Witchita to promptly enrol in Across Generations program, the class in the lessons. “I teach them to say all a local class taught by renowned Nuu- teaches the art of mamook, or making the words in language – the grass names chah-nulth weaver Mabel Taylor to learn traditional Nuu-chah-nulth grass baskets and the tools. Plus we learn a lullaby the little-known art of basket weaving. that were once used by whalers to carry about weaving.” The class was starting the following week himix – sun and windscreen made from In this way, the Wa aas class helps – another lucky coincidence. rendered deer fat and ground shells. reconnect Nuu-chah-nulth people living As it turned out, the connection to The baskets are unique to the west away from home to their own culture and weaving was personal for Witchita. coast of and many people homeland. It also teaches others about “My mother and grandmother were both are unaware of their traditional use or Nuu-chah-nulth heritage in a way that weavers, and I didn’t even know,” says significance. “After contact, we weren’t is rewarding and fun. “Once you start Witchita. “My father made my mother allowed to whale anymore, but there were learning a weaving process, the options quit weaving in her ‘20s to have children.” still weavers,” explains Witchita. “So the are endless,” says Witchita. Witchita’s enthusiasm to learn inspired weaving became more decorative – her mother to take up weaving again, too. to cover vases, make earrings, that sort “When I went to see my mother, she was of thing.” Continued on page 5 …

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Mentor-Apprentice Teams SHARE TIPS FOR SUCCESS

We spoke with three apprentices as their • What learning strategies are working The Mentor-Apprentice Program is funded by second year in the Mentor-Apprentice best for their team, and the New Relationship Trust and the Ministry program came to a close. Adam Manson, • The impact of their language work of Aboriginal Relations and Reconciliation. Crystal Tom and Jask–waan Bedard were on the community asked to share two things:

ADAM MANSON and GARY MANSON

We are following First Peoples’ advice to I’ve been working with youth in the try and stay within the Hul’’umi’num community for years – coaching soccer, language and to learn survival phrases. running youth nights and teaching grade We have fun testing ourselves to see how fours and eights in the neighbouring com- long we can talk in language. When we munity. So, youth look up to me as a role get stuck we just laugh, and then we know model, so that makes it cool for them to what we have to work on. Also, we try to ask questions and be curious [about the keep it relevant – to bring back everyday work]. A few have started to text me – conversation. When we can say “how are others have approached me to talk about you doing?” and talk on the telephone – it. I hope that when I am more fluent I’ll Apprentice Adam Manson, those things mean success to us. be able to teach them to talk amongst a Hul’q’umi’num teacher at Stz’uminus The majority of people know the each other too. Community School in Ladysmith, ceremonial terms, but the language is is working with his father Gary. dying – the challenge is to be able to use Here’s what Adam had to say: language every day.

CRYSTAL TOM and DORIS WEGET

Language learning strategies that I have 10 lines long and I’m working on another used so far with my mentor include learn- prayer to say before we eat. Repetition ing the survival phrases recommended in with me has been key. Involving my the MAP training, starting small and using children in the process has also helped language in everyday activities like folding me grow because they are constantly clothes, washing dishes or baking. As an asking questions. example of starting small, when describ- Within the community, I have encour- ing pictures, we started by using three to aged one person to sit with their parent four words in a sentence and then added and ask language questions as well as words and sentences as I became more to learn a new word a day. I would love From Crystal Tom, who is working with confident. to see more language immersion classes Mentor Doris Weget to learn Gitsenimx–: At home, I say a prayer with my children here for our adults who are interested before bed every night. The prayer started in learning. out small – three lines long – and now it's

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“The biggest impact of our language work is the amount of language I bring into my home and teach to my children. They in turn bring this to the schools, and the language teachers there are amazed at the level of competency they have as a result.” —Jask–waan Bedard

JASK–WAAN BEDARD and PRIMROSE ADAMS

The immersive approach of Mentor- gathering seafood – as wordless comic Apprentice works well for myself and strips. This also works well for us. my Elder-Mentor, Primrose Adams, or The biggest impact of our language Naanii Bibsy as I call her. This means work is the amount of language I bring leaving English behind, putting the pen into my home and teach to my children. and paper away and using everyday They in turn bring this to the schools, language in a meaningful way. We also and the language teachers there are find that the wordless picture books amazed at the level of competency they have been extremely helpful, as Naanii have as a result. Also, the members talks about what is happening in the of our panel evaluation have seen our From Jask–waan Bedard, X–aad Kil pictures from a "Haida" point of view, successes and progress and are hopeful apprentice who is working with instead of translating from English. I have that the language can survive through this Elder Primrose Adams: successfully transferred this strategy method. They are supportive and have by using drawings of locally relevant been our biggest cheerleaders in activities – such as smoking fish and the community.

Continued from page 3 …

To learn more about the Wa aas weaving class, email Witchita at: [email protected] or visit the Wa aas Weavers group on Facebook.

The Sharing Traditional Arts program is funded by the New Relationship Trust and the BC Arts Council. The new deadline for all FPCC arts programs is October 5.

A group trip to Toquart Bay to collect grass.

5 Nuxalk’s Youngest Speaker CONNECTS WITH HIS LANGUAGE AND CULTURE

along to classes with Elders Clarence Also, we need to create the environment and Beatrice Elliot – language teachers for ourselves. I went to Clarence and who have recently passed on. They thought Beatrice’s because it was a safe place. I was brave, so they said, “if you are seri- Going on the land was a big part – taking ous, come see us every day after school.” Elders for drives, asking names of moun- Beatrice was raised with language and tains. You need to get out on the land, Clarence was sent to residential school. go with your Elders on daily chores – They were very strong people and able develop a relationship. Naturally, we come to teach in a traditional format; that was from a mentoring community. Instead of our success. the western idea of three Rs, practice the three Ls: look, listen and love. Also, they brought me to other, older speakers, such as Nunanta – Beatrice’s Finally, I would say that we need to Clyde Tallio in the Our Living Languages film from the mother – who was born and raised in support each other. Too often, our bright exhibition of the same name at the Royal BC Museum. a longhouse in our village. I developed a lights get turned down. Realizing how great relationship with Nunanta; when much suffering we’ve had in our commu- At 27, Clyde Tallio is the youngest fluent I met her I blew her away by responding in nity, our ancestral teachings may be why speaker of his . Born and Nuxalk and she never spoke in English to we succeed. raised in Bella Coola, Clyde was around me after that. Other Elders I worked with the language as a child, but didn’t begin are my aunties Amma, who is still with us Q. What are you working on now? learning to speak it until he completed at 94, and Daisy Tallio. high school at 17, when he started working A. I’m looking at repatriation of our with Elders in a more or less immersive My uncle Willie, Amma’s husband, material culture from around the world. and ongoing process. In 2011, Nuxalk instilled the seeds when I was young. We used to have 5,000 masks and hereditary chiefs and Elders granted Clyde He would tell us stories and gave us hundreds of songs and months of the status of alkw – a legally recognized our traditional names. My aunty Annie dancing … now we just have a handful position that gives him the authority to act initiated me to be speaker of the house of each. I’m trying to bring them home – as speaker for his community chiefs and when my uncle took up the Chieftainship. to pull together all of our information to conduct ceremony on their behalf. This allowed me to learn potlatch and determine what makes us function language and core spiritual beliefs – how as Nuxalk people. In a recent interview with FPCC, Clyde culture and language all fit together. I shared his story, and some advice for was surrounded by Elders – good and It’s an exciting time. We don’t need to others striving to reconnect with their healthy people. isolate anymore – we can do things more cultures and languages. Clyde is an publicly. We are creating signs and totem FPCC Advisory Committee member Q. What advice do you give to others who poles – we have a radio station. This is representing the Nuxalk language. are working to learn their language? more successful. We are hands-on people. We need to connect people to their lands Q. Can you describe your learning process A. I believe we can create the [learning] and mountains and show them that it’s and some of the people who taught you? foundations for ourselves. Too often we a privilege and also a responsibility – use western culture to try to revitalize our and to encourage them to live full and A. When I started taking my first language culture. I never went to university … happy lives by doing cultural things and class, I soon realized it wasn’t going to I suggest that you learn your language returning to a cultural calendar. give me what I needed, so I tagged and traditions first. A western education can come later.

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FPCC Releases Report ON CULTURAL PROTOCOLS

One of the breakout groups discusses existing protocol models and tools.

The First Peoples’ Cultural Council is “The goal for the forum was to move pleased to announce the release of the toward a clearer understanding and Proceedings of the Cultural Protocols assertion of our protocols − both within & the Arts Forum, hosted at the En’owkin our communities and for our neighbours Centre in Penticton, and the broader society,” says Cathi in March 2014. Charles Wherry, Arts Program Manager The Cultural Protocols and the Arts at FPCC. “This document is meant to Forum brought together 70 Indigenous inspire the continued conversation, artists, cultural people, and allies in and the ongoing generation of ideas, Penticton, B.C. to facilitate meaningful resources and tools.” and solutions-focused discussion about Participants came from across how cultural protocols influence, inform, , with B.C. having the strongest Visit www.fpcc.ca/about-us/Publications challenge and support artistic practice. representation. to download a copy of the report.

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Adams Lake Band Play ENGAGES YOUTH IN THE ARTS, PROMOTES CULTURE

The cast of Coyote and the Brothers at the Adams River Salmon Run opening ceremony.

Last year, FPCC piloted the Aboriginal based workshops and collaborations. Denise organized several community Youth Engaged in the Arts Program, a new One of the projects funded was a workshops led by local artists that would funding initiative designed to encourage play conceptualized and created by the eventually lead to the development and more young people to participate in in Chase, B.C. production of the play. artistic and creative activities, and to Spearheaded by the Band’s Community “In the first workshop we developed connect them to their cultures. This pilot Facility Director, Denise Michel, the the story. We had [ storyteller] program was so successful that it has now project was an ambitious undertaking that Ralph McBryan come, and he told the become an annual program offered by saw participation from 126 community story of coyote and the salmon brothers FPCC. members, 77 of whom were youth to the group,” says Denise. The story tells We received 59 applications and, of those, between the ages of 15 and 24. the tale of a hungry coyote who awakens we were able to fund 37 community “We decided to develop a play to from a winter slumber and goes in pursuit projects in a variety of artistic disciplines present at the annual Adams River salmon of something to eat. He eventually makes – from visual to performing arts, music, run opening ceremony,” says Denise. a deal with the four salmon brothers – dance and literature. Support was focused “We wanted to bring more of a First sockeye, Chinook, pink and coho – that on initiatives that connected youth with Nations focus to the event.” In the hopes gets him a grand feast and establishes the established artists through community- of engaging as many youth as possible, first sockeye run for the river.

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“In the first workshop we developed the story. We had [Secwepemc storyteller] Ralph McBryan come, and he told the story of coyote and the salmon brothers to the group.” —Denise Michel

Based on that workshop, emerging challenging and rewarding. “I’d do it again The Aboriginal Youth Engaged in the Arts playwright Laura Michel-Evans, who is an and next time it would be a lot easier – program is funded with $200,000 in new funds actor with a degree in drama, wrote the I learned a lot!” from the BC Arts Council. The new deadline for script. Subsequent workshops included: all FPCC arts programs is October 5. After note: Sadly, Blaine Sampson, who • An airbrushing workshop with visual played the role of Coyote in the play, artist Isha Jules (visual artist) to create passed away on March 12, 2015. He is the backdrop / scenes for the play missed by his family, friends and community. Mary Dennis as Fox. • A singing and drumming workshop where Shane Camille taught 3 songs

• A rap workshop led by Tekawus where children wrote songs and made back- ground sounds to accompany them

• Print-making with Tania Willard, where the salmon brothers puppets were made by carving their shapes on rubber and then printing them on cardboard

One of the biggest challenges for the project was getting youth to be comfortable with some of the more performance-oriented roles. “The air brushing workshop was the best attended,” says Denise. “We had a lot of youth artists come out for that.” After two practice performances, the play was presented on October 5, 2014 for the salmon run opening. “It really worked out in the end,” says Denise. “The impact was great and the youth actors gained a lot of confidence.” For Denise, who had never done anything like it before, developing the play was both

9 Staff and Board Changes AT THE FIRST PEOPLES’ CULTURAL COUNCIL

DR. LORNA WILLIAMS RETIRES

It was with fond memories and profound gratitude that we said goodbye to Dr. Lorna Williams Wanosts’a7, who retired from her position as Chair of FPCC in December 2014. Lorna joined the FPCC board in December 2008 and was elected to the position of Chair in June 2009. Over the course of her term on our Board, Lorna worked tirelessly to steer the organization’s development and champion language and cultural revitalization. “We wish Lorna all the best in her future pursuits and, from all of us at FPCC, a deep thank you for her guidance over the past six years,” says FPCC Executive Director Tracey Herbert. “She has been a consistent and strong for the people and communities we serve.”

WELCOME TO MARLENE ERICKSON: NEW CHAIR

Assuming the position of Chair with her have done to guide FPCC in its work FPCC is Marlene Erickson, an FPCC Board advocating for arts and language funding member for more than four years and for our B.C. communities.” a long-time champion of First Nations In her ongoing efforts to revitalize cul- cultures and oral histories. ture, Marlene has been involved in ongoing Marlene is Yinka / from efforts to develop Aboriginal curriculum Nak’azdli (Fort St. James) and is a mem- content and Aboriginal policy at CNC, ber of the Lasilyu (Frog) clan. In addition focusing on Yinka Dene culture and oral to her new role as Chair with FPCC, she is history. She holds a Bachelor of Arts degree the Director of Aboriginal Education at the in Anthropology from Western Washing- College of New Caledonia (CNC). ton University and a Master of Education “I am truly honoured and excited to take degree from University. on this leadership role,” says Marlene. “Language and cultural revitalization are very important for our people, and I plan to continue what Lorna and those before

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MEET KYLA: A NEW FACE IN THE ARTS PROGRAM

A member of the “It has even inspired me to start using and the oldest of four siblings, Kyla chalk pastel and acrylic paint again. I look Schorneck has completed her business forward to meeting more artists, attend- degree and worked at several Aboriginal ing local events and hearing more about organizations. She studied, worked and the inspirational things Aboriginal people travelled in several countries before are doing in B.C.” joining the FPCC team as the Arts Welcome Kyla! Program Assistant. “Working in this position, I realized how many arts opportunities are available to Aboriginal people and the amazing things people are doing to engage their communities in the arts,” says Kyla.

FPCC staff at a recent professional development workshop (Photo credit: Jessica Wood)

11 BOARD AND ADVISORY COMMITTEE

Board and Advisory members gather together for a photo at the 2014 Annual General Meeting in Victoria, B.C.

board of directors 2014/15 advisory committee SNXAKILA Clyde M. Tallio, Nuxalk – – Marlene Erickson chair Terry Badine, ᓀᐦᐃᔭᐍᐏᐣ (Nehiyawewin) () Wii'nagum Ts'wingutt Jamie Sterritt, Gitsenimx– Gary Johnston vice-chair Marlene Erickson, Dakelh (ᑕᗸᒡ) Beverly Azak, Nisgaʼa

Laura Webb secretary/treasurer Laura Webb, Dane-Zaa (ᑕᓀ ᖚ) Theresa Lowther, Smʼalgya–x – Cliff Atleo Emma Donnessy, Danezagéʼ Deborah Mack (Jeffery), DiitiidɁaatx. Linda Bristol WILAT Sue Alfred, Nedutʼen / Wetʼsuwetʼen Frances Brown, Hailhzaqvla Dr. Bill Cohen Odelia Dennis, Ta–l ta–n Tʼlalis Mike Willie, Kwakʼwala Rachel Holmes government seat Geraldine Solonas, Tseʼkhene Bernice Touchie, Nuucˇaanʼul~ Mike Willie Angelina Stump, Tsilhqotʼin Lena Collins,

Dr. Peter Jacobs LäSanMą Sharon Shadow, Tutchone (Southern) YAAHLDAAJII Gary P. Russ, X– aad Kil / X– aaydaa Kil Dr. Trish Rosborough Kheiyaakw Louise Parker, L ingít (Haida) Marilyn Harry, Éy7á7juuthem

Pearl Harris, Hulʼqʼumiʼnumʼ / Halqʼeméylem / vacant advisory committee positions

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e h ne ʼqʼ minʼ m (by language group) STOLC/ EL– John Elliott, SENC´OT–EN / Malchosen / Anishnaubemowin Lekwungen / Semiahmoo / TʼSou-ke & Dene Kʼe Cultural Advisor Ktunaxa

Gary Johnston, Sk–wx–wú7mesh sníchim She shashishalhem

Cʼu?sinek Martha Aspinall, NleɁkepmxcÍn Secwepemctsin Advisory Committee members are listed with the language Mahuya Dr. Bill Cohen, Nsyilxc ne Ski:xs group they represent (list current as of June 2015). Wanostsʼa7 Dr. Lorna Williams, Stʼátʼimcets Xenaksialakʼala / Xaʼʼislakʼala

Published by the First Peoples’ Cultural Council We wish to acknowledge the funders whose financial support has 1A Boat Ramp Road, Brentwood Bay, B.C. V8M 1N9, Canada contributed to our success: Ministry of Aboriginal Relations and tel (250)652-5952 fax (250)652-5953 Reconciliation, New Relationship Trust, Department of Canadian website: www.fpcc.ca Heritage, BC Arts Council, Margaret A. Cargill Foundation, First Peoples' Cultural Foundation. editor Megan Lappi, [email protected] writers Julie Gordon and Megan Lappi design PUBLIC

pantone 311- blue firstpantone 4635- brown peoples’ cultural foundation

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