Indigenous Work in Progress UU & Others
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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. -
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. -
MAKING HISTORY VISIBLE Culture and Politics in the Presentation of Musqueam History
MAKING HISTORY VISIBLE Culture and Politics in the Presentation of Musqueam History Susan Roy B.A., University of British Columbia. 1993 THESIS SUBMITTED IN PARTIAL FULFIL,LMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Susan Roy I999 SIMON F;RASER UNIVERSlTY November 1999 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. National Library Bibliith&que nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques The author has granted a non- L'auteur a accorde une licence non exclusive licence allowing the exclusive permettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, prster, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la fome de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of the L'auteur conserve la propriete du copyright in this thesis. Neither the droit d'auteur qui protege cette these. thesis .nor substantial extracts fiom it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent itre imprimes reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT The ongoing struggle for aboriginal rights in British Columbia has been matched by an ongoing attempt on the part of scholars to analyze it. The focus of many of these studies has been the court room, that is, the legaI battles to define aboriginal title and sovereignty. -
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. -
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. -
Presenter and Moderator Contact Information, Biographies & Presentation Descriptions
Sustaining Our Culture: Management and Access to Traditional Plants on Public Lands October 12-13, 2011 Presenter and Moderator Contact Information, Biographies & Presentation Descriptions (Alphabetical by Last Name) PRESENTERS Bennett-Gladstone, Julia Traditional Plant Educator Suquamish Human Services Dept, Suquamish Tribe Contact Info 360-394-8564; [email protected], [email protected] Bio I am of Eastern Cherokee Descent and am married to a Suquamish Tribal Elder. My background of working with traditional plants is multifaceted. I am the fourth generation in my family to work with plants and have additional training in Ethnobotany and a M.Ed. in Environmental and Natural Science Education. I have been working for the Suquamish Tribe as Traditional Plant Educator and Program Coordinator since 2009. My earlier work includes; ethnobotanical consulting with several Southwestern Tribes and the United States Forest Service and adjunct instructor at Colorado Mountain College. Presentation Suquamish Traditional Plants Program Title Presentation Introduction to the Suquamish Tribe’s Traditional Plants and Garden Youth Internship Description Programs and discussion of our challenges of access to traditional plants and foods and our developing partnerships and strategies to overcome these challenge. Brewer, Tim Reservation Attorney, The Tulalip Tribes Contact Info 360-716-4530; [email protected] Bio Tim Brewer has served as a Reservation Attorney with the Tulalip Tribes for the last 10 years. Prior to that, he was an attorney for the Colville Tribes in Nespelem and practiced civil rights law in Seattle. His current legal work includes cultural and natural resources issues, treaty rights, Tribal healthcare and other general Tribal government legal issues. -
FRAMING STORIES Northwest Coast Art Planning Your Visit Program Description
Education Program Teacher’s Notes Grades 9 to 12 FRAMING STORIES Northwest Coast Art Planning Your Visit Program Description PLANNING YOUR VISIT PROGRAM DESCRIPTION Students will be introduced to a diverse range of stories through a tour of the Northwest Booking Information 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 Booking information,information, including including details for society to consider Indigenous perspectives within day-to-day life. From remembering detailsabout rates about and rates directions, and directions, can be found the histories, to being mindful of politics, bans and contemporary practice. canat www.moa.ubc.ca/school-programs be found at www.moa.ubc.ca/ . school-programs. MOA Program Goals Prepare for your Visit • Develop respect for First Nations ceremonies and their teachings and recognize the ongoing struggles in self-determination faced by Indigenous people historically. • Review and circulate the guidelines • Recognize the ongoing importance and diversity of Northwest Coastal and Indigenous for supervising adults (page 15). cultures, traditions, stories, cultural activities, knowledge, and belongings. • Review the outline, resources and • Develop an appreciation of the ongoing role of multigenerational teachings in First activities in advance. Nations communities and the importance these generational roles have on preservation of culture and learning. Learning Objectives Notes MOA Program Objectives • All Educational Programs are led by • Develop students’ capacity to holistically look, listen, reflect and report on findings. trained Volunteer Associates (VAs). The Volunteer Associate will meet • Introduce the concept of learning about cultures through their objects and the you in the lobby. -
Miniaturisation: a Study of a Material Culture Practice Among the Indigenous Peoples of the Pacific Northwest
Miniaturisation: a study of a material culture practice among the indigenous peoples of the Pacific Northwest John William Davy Thesis submitted for the degree of Doctor of Philosophy (PhD), Department of Anthropology, University College London (UCL), through a Collaborative Doctoral Award partnership with The British Museum. Submitted December, 2016 Corrected May, 2017 94,297 words Declaration I, John William Davy, confirm that the work presented in this thesis is my own. Where material has been derived from other sources I confirm that this has been indicated in the thesis. John William Davy, December 2016 i ii Table of Contents Abstract 1 Introduction 3 Research questions 4 Thesis structure 6 Chapter 1: Theoretical frameworks 9 Theories of miniaturisation 13 Semiotics of miniaturisation 17 Elements of miniaturisation 21 Mimesis 22 Scaling 27 Simplification 31 Miniatures in circulation 34 Authenticity and Northwest Coast art 37 Summary 42 Chapter 2: Methodology 43 Museum ethnography 44 Documentary research 51 Indigenous ethnography 53 Assessment of fieldwork 64 Summary 73 Chapter 3: The Northwest Coast 75 History 75 Peoples 81 Social structures 84 Environment 86 iii Material Culture 90 Material culture typologies 95 Summary 104 Chapter 4: Pedagogy and process: Miniaturisation among the Makah 105 The Makah 107 Whaling 109 Nineteenth-century miniaturisation 113 Commercial imperatives 117 Cultural continuity and the Makah 121 Analysing Makah miniatures 123 Miniatures as pedagogical and communicative actors 129 Chapter 5: The Haida string: -
Learning Lesson 23C June21coast Salish
Burnaby Schools Created by: April Strickland & Brandi Price Indigenous Education Celebrating National Indigenous Peoples Day- June 21, 2020 Activity-Coast Salish Artist Suggestion: At the beginning of the week, on the PA, read the following paragraphs on National Indigenous Peoples Day. National Indigenous Peoples Day takes place on June 21st of every year. It began in 1996 and was originally called National Aboriginal Day. The day commemorates and honours First Nations, Inuit, and Métis People’s cultures, histories, and contributions to Canada. June 21st was chosen because it is the longest day of the year and has long been celebrated by Indigenous Peoples. This day is an opportunity to recognize the historic contributions of Indigenous Peoples to the development of Canada. There are many ways to celebrate the day but as June is also National Indigenous History Month there is an opportunity to learn about Indigenous history and to deepen our understanding of Indigenous people and their role in the present-day and future of Canada all month long. Coast Salish Artist Activity Here is a list of Coast Salish Artists that you could show students during the week of June 15-19 to celebrate Indigenous Day (June 21). We suggest reading the paragraph on the artist, show the picture of their art and read the meaning behind their art. Before introducing the artist, please read the following to the students so they understand who the Coast Salish People are and the meaning behind the art they create. The Coast Salish peoples are indigenous to the lower mainland of Vancouver and southern tip of Vancouver Island, B.C.