The history of the colonization of the Americas by Europeans is often portrayed as a mutually beneficial process, in which ”civilization” was brought to the Natives, who in return shared their land and cultures. A more critical history might present it as a genocide in which Indigenous peoples were helpless victims, overwhelmed by European military power. In reality, neither of these views is correct. This book is more than a history of European colonization of the Americas. In this slim volume, Gord Hill chronicles the resistance by Indigenous peoples, which limited and shaped the forms and extent of colonialism. This history encompasses North and South America, the development of nation-states and the resurgence of Indigenous resistance in the post-WW2 era.
A New Vision Guiding Aboriginal Literacy is the follow-up to Vision Guiding Native Literacy that was published over a dozen years ago. This book will explore themes and criteria for best practices that many have found contribute to success in literacy for Aboriginal learners across Canada. It highlights some unique definitions of Aboriginal literacy that have been developed by different groups and projects across Canada.
By providing examples of successful literacy initiatives and factors that have contributed to their success, other literacy workers can use this information to start a new literacy program in their own community or try new tactics within an existing program.
This catalog of museum exhibitions traces the evolution of Plains Indian art and culture from early times to the present and includes material from a wide range of tribal groups. A wonderful reference source for anyone interested in learning about the Plains Indian lifestyle.
This volume explores Indigenous measures of economic development in First Nations Atlantic Canadian communities that are of relevance for First Nations peoples. Many of the challenges faced by these communities and their local, regional and national leaders in advancing economic development relate to experiences of diverse and complex issues — most of which clash with federal policies that increasingly call for centralization, standardization and uniformity. This volume illustrates the key challenges in establishing and maintaining socially responsible economic development that is beneficial for Aboriginal communities.
Both a tribute to the unique experiences of individual Native Americans and a celebration of the values that draw American Indians together, All Indians Do Not Live in Teepees (or Casinos) explores contemporary Native life.
Based on personal experience and grounded in journalism, this story begins with the repatriation of ancestral remains to the Pueblo peoples of New Mexico. The 1999 return to Pecos of the skeletal remains of two thousand bodies excavated during an archaeological expedition nearly a century earlier was the largest repatriation in American history. In a united, purposeful, and energizing quest, the Pecos and Jemez Indians brought their ancestors home. This event, along with subsequent repatriations, has accelerated similar momentum across much of Native America.
In All Indians Do Not Live in Teepees (or Casinos), Catherine C. Robbins traces this restorative effect in areas such as economic development, urbanization, the arts, science, and health care. Through dozens of interviews, Robbins draws out the voices of Indian people, some well-known and many at the grassroots level, working quietly to advance their communities. These voices speak against the background of the narrativeâ€™s historical context. The result is a rich account of Native American life in contemporary America, revealing not a monolithic â€œIndianâ€ experience of teepees or casinos, but rather a mosaic of diverse peoples existing on a continuum that marks both their distinctions and their shared realities.
All animals, from the wolf to the ant, the mongoose to the fox, carry a message of guidance and hope. Learn how to discover your animal guide, or 'power animal', and invite it into your life to help heal past issues and inspire you forward into the future. Using the traditional rituals of the shaman, such as drumming, visualization and dreaming, discover more than 50 power animals and the special gifts they offer. Chris Lüttichau, who has followed the shamanic path for more than twenty years, presents a unique insight into Animal Spirit Guides, or Power Animals, through first-hand encounters in the wild, in America, Mexico and Europe. As a healer and educator, he communicates his encounters in a way that is immediate and soulful. Part One, The Path, introduces ways to discover your power animal. In Working with Your Animal Guide, you understand animals as teachers and healers, and learn how to communicate and stay connected with their energy when you need to. Part Two, Animal Spirit Guides, profiles a range of animals, all of which are fully illustrated, along with personal anecdotes and insights. The final chapter, Animal Guides and Your Life's Purpose, looks at the Circle of Allies and how these animal spirits can accompany you through life. Beautifully illustrated by Melissa Launay, this insightful guide will introduce you to natural, shamanic ways of living, and inspire you to work with the amazing energies of your personal Animal Spirit Guide.
In every walk of Canadian life from business to education to the everyday, the reality is that increasingly you will be in contact with Anishnaabe World. Knowing something about Aboriginal people and their reality not only gives you an advantage over those who dont, its just plain polite in this country now called Canada.
In the spirit of Thomas King, Drew Hayden Taylor and Tomson Highway, Roger Spielmanns Anishnaabe World is an irreverent, teasing, hilarious, yet cross-culturally astute Survival Guide for Canadians increasingly aware of our countrys chequered past relations between Natives and non-Natives. Chief Ovide Mercredi says I challenge the reader to really listen to what Roger Spielmanns saying.
Arts and Crafts of the Native American Tribes is an authoritative illustrated reference that has been carefully created to be a companion to Encyclopedia of Native Tribes of North America, not a competitive title. It examines in detail how Native American culture evolved and considers the regional similarities and differences of the arts and crafts created by tribes across the continent. Contemporary and modern photographs, fine line illustrations and step-by-step reconstructions (including a Plains Indian warrior dress with headdress, war bonnet, shirt and leggings) show the techniques of manufacture and display the skill and artistry of the crafters.
The book opens with concise coverage of the main cultural areas of North America and a survey of styles by region and over time. A major section on the living structures -- huts, tipis, igloos, etc. -- is followed by an analysis of individual crafts. These include:
- Baskets -- plaiting, twining, coiling
- Bone, antler and horn -- implements, tools, pins, fishhooks
- Decorative arts -- beadwork, porcupine quillwork
- Featherwork -- bonnets and headdresses
- Metalwork -- copper, silver, iron, gold
- Skinwork -- rawhide, leather, furs
- Stonework -- arrowheads, pipes, art
- Textiles -- spinning, weaving
Woodwork -- totems, figures, masks, utensils, working with bark.
Arts and Crafts of the Native American Tribes is destined to be a primary reference used by ethnographers, historians and collectors for years to come. It is essential for any library serving academic patrons.
Early in his career, Judge John Reilly did everything by the book. His jurisdiction included a First Nations community plagued by suicide, addiction, poverty, violence and corruption. He steadily handed out prison sentences with little regard for long-term consequences and even less knowledge as to why crime was so rampant on the reserve in the first place.
In an unprecedented move that pitted him against his superiors, the legal system he was part of, and one of Canada's best-known Indian chiefs, the Reverend Dr. Chief John Snow, Judge Reilly ordered an investigation into the tragic and corrupt conditions on the reserve. A flurry of media attention ensued. Some labelled him a racist; others thought he should be removed from his post, claiming he had lost his objectivity. But many on the Stoney Reserve hailed him a hero as he attempted to uncover the dark challenges and difficult history many First Nations communities face.
At a time when government is proposing new tough on crime legislation, Judge Reilly provides an enlightening and timely perspective. He shows us why harsher punishments for offenders don't necessarily make our societies safer, why the white justice system is failing First Nations communities, why jail time is not the cure-all answer some think it to be, and how corruption continues to plague tribal leadership.
The definitive reference to indigenous peoples' watercraft around the world.
Tappan Adney (1868-1950) was an artist, writer, ethnographer, historian and modelmaker of unparalleled ability. He tirelessly documented the cultures and languages of vanishing native cultures. His most enduring legacy is the extraordinary 110 birchbark canoe models he handbuilt to exacting standards. The models, now held at The Mariners' Museum in Newport News, Virginia, were built to ensure future canoe builders had exact reproductions for reference.
These historically accurate, 1:5 scale models were meticulously researched, and traditionally constructed using the identical materials of the originals. Many are based on canoes that were the last example of their type. Before such a canoe disintegrated, Adney measured and recorded its dimensions, consulted with native builders and studied historical photographs and paintings.
The canoe models are organized into eight distinct groups:
- Eastern Woodland
- Lower British Columbia
- Fur Trade
- Amur Valley
- South America
Each canoe model is beautifully photographed and accompanied by captions that outline the craft's origins, uses and technical details. Adney's amazing technical drawings for the models are also included.
An extensive introduction covers Adney's life and provides information about native model builders, canoe decoration and fur trade heraldry.
Bark Canoes is the definitive reference to indigenous -- and ingenious -- watercraft used around the world.
In 1967, the Mushuau Innu — the Aboriginal people of Labrador — were resettled on Davis Inlet by the Canadian government. Originally a land-based people, this move to the coast created cultural, economic and spiritual upheaval, and Davis Inlet became synonymous with shocking substance abuse and suicide rates. In Bathtubs but No Water, Gerry Steele offers the reader a participant observer’s perspective on Davis Inlet. An employee of the federal government working with the Mushuau Innu since 1993, Steele explores their oral history of the resettlement process, substance abuse and deaths, and argues that these problems are a direct result of the government’s lack of respect for Aboriginal peoples. In 1992, the Innu tried to regain responsibility for their future, focusing on the traditions and strengths of their own community, but government bureaucracy would not support this partnership. Steele urges the government to engage in respectful partnerships with Aboriginal communities in order to achieve positive change.
This book is in a class by itself. Featured are dozens of full-color photos of both Indian and in-Indian made beadwork from museums, collections and today's marketplace. Instructions are accompanied by large, highly detailed, step-by-step color photos and illustrations. Four styles of beadwork are covered: loom, two needle applique, lazy stitch, and the gourd (peyote) stitch. Presenting both basic and advanced techniques, the author also includes detailed instructions on how to make and bead moccasins.
Behind Closed Doors features written testimonials from 32 individuals who attended the Kamloops Indian Residential School. The school was one of many infamous residential schools that operated from 1893 to 1979. The storytellers remember and share with us their stolen time at the school; many stories are told through courageous tears.
Beginning with an historic overview of legislative enactments defining Indian status and their impact on First Nations, the author examines contemporary court rulings dealing with Aboriginal rights and the Canadian Charter of Rights and Freedoms in relation to Indigenous identity. She also examines various band membership codes to determine how they affect Indigenous identity, and how their reliance on status criteria perpetuates discrimination. She offers suggestions for a better way of determining Indigenous identity and citizenship and argues that First Nations themselves must determine their citizenship based on ties to the community, not blood or status.
Northwest Coast peoples were maritime engineers who mastered the art of building dugout canoes from gigantic red cedars, using only tools made from bone, stone, and wood. Ubiquitous, these elegant craft were used for everyday and ceremonial purposes, for fishing, hunting and trading, for feasting and potlatching, and in warfare—they were the keys that unlocked the treasure chest of the North Pacific.
Bill Reid and the Haida Canoe tells the story of the Northwest Canoe from its zenith in pre-contact times, through its decline in the late nineteenth century, to its revival in Lootaas (Wave Eater) which Bill Reid built for Expo '86, to its culmination with the Tribal Canoe Journeys of the twenty-first century and The Spirit of Haida Gwaii sculptures. Bill Reid expressed awe for the traditional Haida canoe and what it represents visually, symbolically, and culturally. In his words, "Western art starts with the figure—West Coast Indian art starts with the canoe."
The successive journeys of Lootaas were significant stages in Bill Reid's work, which culminated with the iconic sculpture The Spirit of Haida Gwaii, a monumental bronze canoe filled to overflowing with creatures of Haida mythology (currently featured on the Canadian twenty-dollar bill). As a final creative act Bill Reid requested that, at the end of his life, his ashes be transported in Lootaas paddled by a crew of his Haida friends and relatives to Tanu, his grandmother's village in Gwaii Haanas.
The story is told through writings and artworks by Bill Reid, vivid photographs by Phillip Hersee, Ulli Steltzer, Robert Semeniuk and others, texts by James Raffan, Martine J. Reid, and Mike Robinson and first-hand accounts by First Nations paddlers.
Bill Reid and the Haida Canoe is a companion book to the Bill Reid and the Haida Canoe exhibition mounted by the Bill Reid Gallery of Northwest Coast Art and touring to the Canadian Canoe Museum in Peterborough, Ontario.