MAKING HISTORY VISIBLE Culture and Politics in the Presentation of Musqueam History
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The Coast Salish: Connecting Art, Environment and Traditions
THE COAST SALISH: CONNECTING ART, ENVIRONMENT AND TRADITIONS Welcome to 21st Century Learning – Links to Our Collection. This online module and supplemental education guide was developed to allow access to hundreds of digitized images and lesson plans from Glenbow Museum’s collections. Our hope is to extend our vision of ‘More people, interacting with art, culture and ideas more often.’ Please visit and enjoy 21st Century Learning – The Coast Salish: Connecting Art, Environment and Traditions. 1 This educator’s package presents the traditional way of life of the Coast Salish people. The information encourages students to examine artifacts from the Glenbow Museum’s collection and connects them to other cultures, communities and environments from within Canada. Included in this guide are: Information on the Coast Salish people including high-resolution photographs artifacts, archival photographs and essays. Lesson plans including discussions for looking at primary sources, curriculum connections and lesson plans for a variety of ages and abilities. Detailed listing of vocabulary and concepts. Suggested sources for further research and other information. 2 HISTORY OF GLENBOW MUSEUM Glenbow Museum began with the remarkable vision of petroleum entrepreneur and lawyer Eric Lafferty Harvie. Mr. Harvie came into his fortune when oil was discovered in 1949 on land near Leduc and Redwater, for which he held the mineral rights. With this prosperity, he decided to pursue his favourite passion — collecting — and simultaneously return some of his good fortune back to the region that had been so generous to him. Mr. Harvie's goal was to collect the objects representing the history and culture of Western Canada as well as from around the world. -
Francophone Historical Context Framework PDF
Francophone Historic Places Historical Context Thematic Framework Canot du nord on the Fraser River. (www.dchp.ca); Fort Victoria c.1860. (City of Victoria); Fort St. James National Historic Site. (pc.gc.ca); Troupe de danse traditionnelle Les Cornouillers. (www. ffcb.ca) September 2019 Francophone Historic Places Historical Context Thematic Framework Francophone Historic Places Historical Context Thematic Framework Table of Contents Historical Context Thematic Framework . 3 Theme 1: Early Francophone Presence in British Columbia 7 Theme 2: Francophone Communities in B.C. 14 Theme 3: Contributing to B.C.’s Economy . 21 Theme 4: Francophones and Governance in B.C. 29 Theme 5: Francophone History, Language and Community 36 Theme 6: Embracing Francophone Culture . 43 In Closing . 49 Sources . 50 2 Francophone Historic Places Historical Context Thematic Framework - cb.com) - Simon Fraser et ses Voya ses et Fraser Simon (tourisme geurs. Historical contexts: Francophone Historic Places • Identify and explain the major themes, factors and processes Historical Context Thematic Framework that have influenced the history of an area, community or Introduction culture British Columbia is home to the fourth largest Francophone community • Provide a framework to in Canada, with approximately 70,000 Francophones with French as investigate and identify historic their first language. This includes places of origin such as France, places Québec, many African countries, Belgium, Switzerland, and many others, along with 300,000 Francophiles for whom French is not their 1 first language. The Francophone community of B.C. is culturally diverse and is more or less evenly spread across the province. Both Francophone and French immersion school programs are extremely popular, yet another indicator of the vitality of the language and culture on the Canadian 2 West Coast. -
Early Vancouver Volume Four
Early Vancouver Volume Four By: Major J.S. Matthews, V.D. 2011 Edition (Originally Published 1944) Narrative of Pioneers of Vancouver, BC Collected During 1935-1939. Supplemental to Volumes One, Two and Three collected in 1931-1934. About the 2011 Edition The 2011 edition is a transcription of the original work collected and published by Major Matthews. Handwritten marginalia and corrections Matthews made to his text over the years have been incorporated and some typographical errors have been corrected, but no other editorial work has been undertaken. The edition and its online presentation was produced by the City of Vancouver Archives to celebrate the 125th anniversary of the City's founding. The project was made possible by funding from the Vancouver Historical Society. Copyright Statement © 2011 City of Vancouver. Any or all of Early Vancouver may be used without restriction as to the nature or purpose of the use, even if that use is for commercial purposes. You may copy, distribute, adapt and transmit the work. It is required that a link or attribution be made to the City of Vancouver. Reproductions High resolution versions of any graphic items in Early Vancouver are available. A fee may apply. Citing Information When referencing the 2011 edition of Early Vancouver, please cite the page number that appears at the bottom of the page in the PDF version only, not the page number indicated by your PDF reader. Here are samples of how to cite this source: Footnote or Endnote Reference: Major James Skitt Matthews, Early Vancouver, Vol. 4 (Vancouver: City of Vancouver, 2011), 33. -
Coast Salish Textiles: from ‘Stilled Fingers’ to Spinning an Identity
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2010 Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity Eileen Wheeler Kwantlen Polytechnic University, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Wheeler, Eileen, "Coast Salish Textiles: From ‘Stilled Fingers’ to Spinning an Identity" (2010). Textile Society of America Symposium Proceedings. 59. https://digitalcommons.unl.edu/tsaconf/59 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. NOMINATED FOR FOUNDING PRESIDENTS AWARD COAST SALISH TEXTILES: FROM STILLED FINGERS TO SPINNING AN IDENTITY EILEEN WHEELER [email protected] Much that had been theirs that was fine was destroyed and lost. Much that they were proud of still remains, but goes unnoticed by those who have not the eyes to see nor the desire to comprehend.1 ~ Oliver Wells, 1965 I feel free when I weave. ~ Frieda George, 2010 When aboriginal women of south western British Columbia, Canada undertook to revisit their once prolific and esteemed ancestral textile practices, the strand of cultural knowledge linking this heritage to contemporary life had become extremely tenuous. It is through an engagement with cultural memory, painstakingly reclaimed, that Coast Salish women began a revival in the 1960s. It included historically resonant weaving and basketry, as well as the more recent adaptive and expedient practice of knitting. -
PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY
PROVINCE OF BRITISH COLUMBIA DEPARTMENT OF EDUCATION PROVINCIAL MUSEUM of NATURAL HISTORY and ANTHROPOLOGY REPORT FOR THE YEAR 1958 Printed by DON MCDIARMID, Printer to the Queen's Most Excellent Majesty in right of the Province of British Columbia. 1959 To His Honour FRANK MACKENZIE ROSS, C.M.G., M.C., LL.D., Lieutenant-Governor of the Province of British Columbia. MAY IT PLEASE YOUR HONOUR: The undersigned respectfully submits herewith the Annual Report of the Provincial Museum of Natural History and Anthropology for the year 1958. L. R. PETERSON, Minister of Education. Office of the Minister of Education, January, 1959. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY, VICTORIA, B.C., January 19th, 1959. The Honourable L. R. Peterson, Minister of Education, Victoria, B.C. SIR,—The undersigned respectfully submits herewith a report covering the activities of the Provincial Museum of Natural History and Anthropology for the calendar year 1958. I have the honour to be, Sir, Your obedient servant, G. CLIFFORD CARL, Director. DEPARTMENT OF EDUCATION The Honourable LESLIE RAYMOND PETERSON, LL.B., Minister. J. F. K. ENGLISH, M.A., Ed.D., Deputy Minister and Superintendent. PROVINCIAL MUSEUM OF NATURAL HISTORY AND ANTHROPOLOGY Staff G. CLIFFORD CARL, Ph.D., Director. CHARLES J. GUIGUET, M.A., Curator of Birds and Mammals. WILSON DUFF, M.A., Curator of Anthropology. ADAM F. SZCZAWINSKI, Ph.D., Curator of Botany. J. E. MICHAEL KEW, B.A., Assistant in Anthropology. FRANK L. BEEBE, Illustrator and Museum Technician. MARGARET CRUMMY, B.A., Senior Stenographer. BETTY C. NEWTON, Museum Technician. SHEILA Y. NEWNHAM, Assistant in Museum Technique. -
FRAMING STORIES Northwest Coast Art Planning Your Visit
Education Program Teacher’s Notes Grades 9 to 12 FRAMING STORIES Northwest Coast Art Planning Your Visit PLANNING YOUR VISIT Booking Information Booking information,information, including including details detailsabout rates about and rates directions, and directions, can be found canat www.moa.ubc.ca/school-programs be found at www.moa.ubc.ca/ . school-programs. Prepare for your Visit • Review and circulate the guidelines for supervising adults (page 15). • Review the outline, resources and activities in advance. Notes • All Educational Programs are led by trained Volunteer Associates (VAs). The Volunteer Associate will meet you in the lobby. • Upon arrival, please check in with the Admissions desk and make arrangements for payment. • Supervising adults and First Nations Outside, on the grounds of the UBC Museum of Anthropology. students receive free admission. Vancouver, British Columbia. Photo courtesy of the UBC Museum of • The program does not include a full Anthropology. tour of the museum, so we welcome you to extend your visit to explore the Museum. Framing Stories: Northwest Coast Art 2 Education Program | Grades 9 to 12 | 2019 Program Description PROGRAM DESCRIPTION Students will be introduced to a diverse range of stories through a tour of the Northwest Coast collection at MOA. In considering contemporary works by First Nations artists, students will have an opportunity to explore and discuss themes surrounding the importance of considering various perspectives. This program will introduce why it is vital for society to consider Indigenous perspectives within day-to-day life. From remembering the histories, to being mindful of politics, bans and contemporary practice. MOA Program Goals • Develop students’ capacity to actively look, listen, and report findings. -
Curriculum Vitae ALEXANDRA HARMON American Indian Studies
Curriculum Vitae ALEXANDRA HARMON American Indian Studies C-514 Padelford Hall, Box 354305 University of Washington Seattle, Washington 98195 [email protected] PROFESSIONAL EMPLOYMENT Professor Emerita of American Indian Studies and History, University of Washington, July 2015-present Professor of American Indian Studies and Adjunct Professor of History, University of Washington, September 2011-2015 Associate Professor of American Indian Studies and Adjunct Associate Professor of History, University of Washington, September 2001-September 2011 Assistant Professor of American Indian Studies and Adjunct Assistant Professor of History, University of Washington, September 1995-September 2001 Adjunct Professor, Federal Indian Law, University of Puget Sound School of Law, 1991 On-Reservation Staff Attorney, Suquamish Indian Tribe, October 1983-September 1988 ** Coordinator, Evergreen Legal Services Native American Project, Seattle, Washington, February 1980-September 1983 On-Reservation Staff Attorney, Skokomish Indian Tribe, September 1976-January 1980 ** Adjunct Professor, Federal Indian Law, University of Texas School of Law, 1976 Staff Attorney, Small Tribes Organization of Western Washington, September 1974- August 1975 ** Staff Attorney, Seattle Legal Services, September 1972-August 1974 ** Services provided to the tribes by contract with Seattle Legal Services or its successor, Evergreen Legal Services. EDUCATION B.A., Stanford University, 1966 J.D., Yale Law School, 1972 M.A., History, University of Washington, 1991 Ph.D. History, University of Washington, 1995 Curriculum Vitae, Alexandra Harmon Page 2 BOOKS AND ARTICLES Rich Indians: Native People and the Problem of Wealth in American History. Chapel Hill: University of North Carolina Press, 2010. The Power of Promises: Perspectives on Pacific Northwest Indian Treaties (editor). Seattle: University of Washington Press, 2008. -
Pacific Coast Salish Art and Artists: Educator Resource Guide
S’abadeb— TheGifts: PacificCoast SalishArt &Artists SEATTLE ART MUSEUM EDUCATOR RESOURCE GUIDE Grades3-12 SeattleArtMuseum S’abadeb—The Gifts: Pacific Coast Salish Art and Artists 1300 First Avenue is organized by the Seattle Art Museum and made Seattle, WA 98101 206.654.3100 possible by a generous leadership grant from The Henry seattleartmuseum.org Luce Foundation and presenting sponsors the National Endowment for the Humanities and The Boeing Company. © 2008 Seattle Art Museum This project is supported in part by an award from the National Endowment for the Arts with major support Pleasedirectquestionsabout thisresourceguideto: provided by the Mayor’s Office of Arts & Cultural Affairs, Adobe Systems, Incorporated, PONCHO, Washington State School & Educator Programs Arts Commission, and U.S. Bancorp Foundation. Additional Seattle Art Museum, 206.654.3146 [email protected] support provided by the Native Arts of the Americas and Oceania Council at the Seattle Art Museum, Thaw Exhibitionitinerary: Charitable Trust, Charlie and Gayle Pancerzewski, Suquamish Seattle Art Museum Clearwater Casino Resort, The Hugh and Jane Ferguson October 24, 2008–January 11, 2009 Foundation, Humanities Washington, Kreielsheimer Exhibition Endowment and contributors to the Annual Fund. Royal British Columbia Museum November 20–March 8, 2010 Art education programs and resources supported in Editing: John Pierce part by PONCHO and the Harrington-Schiff Foundation. Author: Nan McNutt Illustrations: Greg Watson ProjectManager: -
Bibliography for S'abadeb-- the Gifts: Pacific Coast Salish Art and Artists Prepared by Traci Timmons, SAM Librarian, and Anna Elam, TRC Coordinator
Bibliography for S'abadeb-- The Gifts: Pacific Coast Salish Art and Artists Prepared by Traci Timmons, SAM Librarian, and Anna Elam, TRC Coordinator Books for Adults: the SAM/Dorothy Stimson Bullitt Library Books are available in the Reading Room of the Bullitt Library (Seattle Art Museum, Fifth Floor, South Building). *= books selected for in-gallery reading areas American Indian sculpture: a study of the Northwest coast, by special arrangement with the American Ethnological Society by Wingert, Paul S. (American Indian sculpture: a study of the Northwest coast, by special arrangement with the American Ethnological Society, 1949). E 98 A7 W46 * Aunt Susie Sampson Peter: the wisdom of a Skagit elder by Hilbert, Vi; Miller, Jay et al. (Federal Way, WA: Lushootseed Press, 1995). E 99 S2 P48 Coast Salish essays by Suttles, Wayne P. et al. (Vancouver, BC: Talonbooks; Seattle: University of Washington Press, 1987). E 99 S2 S8 The Coast Salish of British Columbia by Barnett, Homer (Eugene: University of Oregon, 1955). E 99 S2 B2 * Contemporary Coast Salish art by Blanchard, Rebecca and Davenport, Nancy. (Seattle: Stonington Gallery : University of Washington Press, 2005). E 99 S2 B6 Crow's shells: artistic basketry of Puget Sound by Marr, Carolyn and Thompson, Nile. (Seattle: Dushuyay Publications, 1983). E 98 B3 T5 * Eyes of Chief Seattle by the Suquamish Museum. (Suquamish, WA: Suquamish Museum, 1985). E 99 S7 S8 * Gram Ruth Sehome Shelton: the wisdom of a Tulalip elder by Hilbert, Vi; Miller, Jay et al. (Federal Way, WA: Lushootseed Press, 1995). E 99 S2 S43 Haboo: Lushootseed literature in English by Hilbert, Vi and Hilbert, Ron. -
Langara College Archaeology Field School 2013: Archaeological and Forensic Studies
The Langara College Archaeology Field School 2013: Archaeological and Forensic Studies Stanley A. Copp (Ph.D) Department of Sociology and Anthropology Langara College 100 West 49th Ave. Vancouver, B.C. Canada V5Y 2Z6 18 September 2013 Introduction Following on the success of the 2012 archaeology field school, students once again excavated artifacts, features, and replica human skeletal remains at the on-campus ‘site’ constructed in 2012 (see Copp 2012 for details), but doubled in size for 2013. Three 12’-square boxes containing seven sets of replica human skeletal remains configured as forensic archaeological features were excavated according to standard methodologies and protocols. An additional box contained artifacts and features, including a ½-scale replica human skeleton. Students definitely enjoyed ‘discovering’ the CSI-like aspects of the excavations, but seemed to enjoy even more the task of re-burying the remains in different configurations for next Summer (or for some lucky Forensic Anthropology students who would like near-real life excavation experiences). As in 2012, the 2013 field school students were tested to BC government RISC Archaeology and CMT survey certification standards. All were successful (again). Thanks are due the Archaeology Branch for allowing the RISC course to be embedded in Langara archaeology field schools. The RISC examination was the only written exam requirement for the program. Instead of regular exams or quizzes, evaluation consisted of 12 practical research assignments requiring research and analysis, laboratory exercises, field exercises recorded in a field notebook, daily journal entries and a major research paper. Keeping field records in a notebook and journal are mandatory requirements in the heritage consulting industry, as is developing a familiarity and skills in filling out site inventory and data forms. -
European Ways of Talking About the Art of Northwest Coast First Nations
EUROPEAN WAYS OF TALKING ABOUT THE ART OF THE NORTHWEST COAST FIRST NATIONS F. Graeme Chalmers Department of Curriculum Studies Faculty of Education University of British Columbia Vancouver, British Columbia Canada, V6T 1Z4 Abstract / Resume The ways in which we, Aboriginal and non-Aboriginal people alike, view the Aboriginal art of the Northwest Coast, have been profoundly affected by European accounts of the art. For a long time Northwest Coast art was compared to European art and treated as a quaint variant of “real” art. In recent decades we have begun to view this work as art by itself, that is art which is inherently valuable. Les façons dont nous, les autochtones et les allogènes aussi, voyons l'art autochtone de la côte nord-ouest ont été profondément influencées par les exposés européens sur l'art. On compare, depuis longtemps, l'art de la côte nord-ouest avec l'art européen et considère le premier comme une variante bizarre du “vrai” art. Au cours des dernières décennies, on a commencé à considérer ce travail comme un art en soi, c'est-à-dire comme un art qui est de grande valeur profonde. 114 Graeme Chalmers In his book, Textual Spaces: Aboriginality and Cultural Studies, the Australian Stephen Muecke argued that European ways of talking about Aboriginal people limit ways of knowing what Aborigines might be (1992:20). Canadian and international views, as well as the understandings of Aboriginal peoples themselves, of First Nations art on the Northwest Pacific Coast have been profoundly and similarly colored by value-laden European accounts and definitions. -
Meeting and Weaving with Your 100 Grandparents
Cover of new book by Ed Carriere, Suquamish Elder and Master Basketmaker and Dale Croes, Wet Site Archaeologist, Washington State University. (Left, back cover) Ed’s Archaeology Basket representing ancient weaves from 4,500, 3,000, 2,000 and 1,000 years ago in the Salish Sea, (Right, cover) Dale and Ed with their replicated 2,000 year old Biderbost wet site pack baskets (Carriere and Croes 2018; available on Amazon.com). Meeting and Weaving with your 100th Grandparents Ed Carriere, Suquamish Elder (84) and Master Basketweaver and Canoe Carver, and Dale R. Croes, Washington State University (WSU) wet/waterlogged archaeological site and ancient basket specialist (71), have written a book documenting their partnership in understanding and replicating the over 2,000 years, or 100 generations, of ancient Salish Sea basketry artifacts. This article takes excerpts from this new book in Ed’s own words as he contributes half the text in this 300 page book, accompanied with details by 314 color plates, 100 line drawings, maps and charts, bibliography, list of suggested readings, a glossary and full index. The book, Re- Awakening Ancient Salish Sea Basketry, Fifty Years of Basketry Studies is published by Northwest Anthropology, LLC. and available through Amazon.com. Search for Carriere and click on his Author’s page for a great video featuring him making his traditional clam baskets that he had made for his family (Figure 1). 1 Figure 1. Ed Carriere, Suquamish Elder and Master Basketmaker and Dale Croes, Ph.D., WSU Wet site archaeologist in front of replicated Biderbost and other baskets they made and use to explain a new approach they are proposing that involves both ongoing cultural transmission and archaeological analysis: Generationally-Linked Archaeology.