Dakelh (Carrier)

A powerful anthology uniting the voices of Indigenous women, Elders, grassroots community activists, artists, academics, and family members affected by the tragedy of Missing and Murdered Indigenous Women, Girls, and Two-Spirit people from across Turtle Island.

In 2010, Métis artist Jaime Black-Morsette created the REDress Project—an art installation consisting of placing red dresses in public spaces as a call for justice for Missing and Murdered Indigenous Women, Girls, and Two-Spirit people (MMIWG2S). Symbolizing both absence and presence, the red dresses ignite a reclamation of voice and place for MMIWG2S. Fifteen years later, the symbol of the empty red dress endures as families continue to call for action.

In this anthology, Jaime Black-Morsette shares her own intimate stories and memories of the REDress Project along with the voices of Indigenous women, Elders, grassroots community activists, artists, academics, and family members affected by this tragedy. Together they use the power of their collective voice to not only call for justice for MMIWG2S, but honour Indigenous women as keepers and protectors of land, culture, and community across Turtle Island.

Reviews
“REDress is a must-read for anyone who seeks to truly understand the hearts of those most impacted by MMIWG2S. For allies and interested citizens, this anthology shows how Canada emboldened and fostered a society to inflict genocide against Indigenous women, girls, and Two-Spirited and transgendered relatives.”—Sheila North, Former Grand Chief, Creator of hashtag #MMIW, Mother and Kookom

“REDress is a love offering to MMIWG2S and those who are intimately impacted by this epidemic.”—Cathy Mattes, curator, writer, and Associate Professor in History of Art at the University of Winnipeg

"This is a moving look at how women in indigenous communities are using art and activism to keep the the issue at the forefront, despite the lack of progress in solving or preventing the crimes.... A content warning signals that the book contains language concerning violence against women. I’d offer this to activist artists or anyone interested in justice for indigenous communities, in high school and up." - Youth Services Book Review - Stephanie Tournas, Retired librarian, Cambridge, MA 

Educator Information
Content Warning: This book's content deals with violence against Indigenous women, girls, and Two-Spirit people; genocide; death; intergenerational trauma; suicide; and residential schools. 

Big Ideas: Diverse and Inclusive Representation: Identity; Land-Based or Place-Based Learning; Social-Emotional Learning: Death, Grief, Bereavement; Social-Emotional Learning: Self Expression, Creative Writing, Art; Social Justice: Citizenship and Social Responsibility; Social Justice: Impacts of Colonization and Colonialism; Social Justice: MMIWG2S; Social Justice: Prejudice and Racism.

Edited by: Jaime Black-Morsette

Contributions by: KC Adams, Mackenzie Anderson Linklater, Marjorie Beaucage, Christi Belcourt, Judy Da Silva,  Karine Duhamel, Deantha Edmunds, Cambria Harris, Jaimie Isaac, Casey Koyczan, Crystal Lepscier, Lee-Ann Martin, Diane Maytwayashing, Cathy Merrick, Sherry Farrell Racette, Gladys Radek, Zoey Roy, Jennifer Lee Smith, and Patti Beardy.

Additional Information
168 pages | 7.00" x 10.00" | Paperback

An eighty-year overview of wood and argillite carving by Indigenous women artists on the Northwest Coast.

Though women of the Northwest Coast have long carved poles, canoes, panels, and masks, many of these artists have not become as well known outside their communities as their male counterparts. These artists are cherished within their communities for helping to keep traditional carving practices alive, and for maintaining the dances, songs, and ceremonies that are intertwined with visual art production. This book, and an associated exhibition at the Audain Art Museum, gathers a range of sculptural formats by Indigenous women in order to expand the discourse of carving in the region.

Both the exhibition and publication are co-curated by Dana Claxton, artist, filmmaker and head of the University of British Columbia's Department of Art History, Visual Art and Theory; and Dr. Curtis Collins, the AAM's Director & Chief Curator. Commentaries by Skeena Reece, Claxton, and Marika Swan, and interviews with artists Dale Campbell and Mary Anne Barkhouse are presented alongside more than one hundred artworks from public and private collections across North America, including several newly commissioned pieces.

Featured artists include:
- Ellen Neel (Kwakwaka'wakw, 1916-1966) - Freda Diesing (Haida, 1925-2002) - Doreen Jensen (Gitxsan, 1933-2009) - Susan Point (Musqueam, b. 1952) - Dale Campbell (Tahltan, b. 1954) - Marianne Nicolson (Kwakwaka'wakw, b. 1969) - Arlene Ness (Gitxsan, b. 1970s) - Melanie Russ (Haida, b. 1977) - Marika Swan (Nuu-chah-nulth, b. 1982) - Morgan Asoyuf (Ts'msyen, b. 1984) - Cori Savard (Haida, b. 1985) - Cherish Alexander (Gitwangak, b. 1987) - Stephanie Anderson (Wetsuwet'en, b. 1991) - Veronica Waechter (Gitxsan, b. 1995)

Additional Information
160 pages | 9.20" x 1.10" | 120 colour photos | Hardcover 

What does it mean to be Secwepemc? And how can an autobiographical journey to recover Secwepemc identity inform teaching and learning? Drumming Our Way Home demonstrates how telling, retelling, and re-storying lived experiences not only passes on traditional ways but also opens up a world of culture-based learning.

Georgina Martin was taken from her mother not long after her birth in a segregated tuberculosis hospital. Her experience is representative of the intergenerational trauma inflicted by the Canadian state on Indigenous peoples. Here she tells her story and invites Elder Jean William and youth Colten Wycotte to reflect critically on their own family and community experiences. Together they journey, exchanging thoughts about personal and collective identity, culture and language, and the challenging process of gaining traditional knowledge.

This process of reaching into memories not only uncovers the pain of separation from culture but also provides a powerful example of reconnection through healing, affirmation, and intergenerational learning. Throughout this journey, Georgina Martin is guided by her hand drum, reflecting on its use as a way to uphold community protocols and honour teachings.

Drumming Our Way Home is evidence of the value of storytelling as pedagogy, demonstrating that it can offer vital lessons in teaching, learning, and meaning making.

This significant contribution to Indigenous pedagogical methodology is an excellent resource for educators, education students, and eduational policy makers. It should also be read by scholars and students in Indigenous studies and anthropology. Those in the helping fields of social work and health, education, and sociology will find the narrative of a personal healing journey inspiring and informative.

Reviews

Additional Information
176 pages | 6.00" x 9.00" | 7 b&w photos, 1 map | Paperback

My name is Corinne George. I am Wet’suwet’en with Gitksan lineage from the Gidimt’en (Bear) Clan. This is my truth, and through sharing my truth, I strive for ongoing healing and to continue the journey of reconciliation. As a Wet’suwet’en woman born and raised on what is now known as the “Highway of Tears,” it was not uncommon to receive inferior treatment. There were even times when I was overtly targeted. It has been very common for people to outwardly refuse to acknowledge my existence as a human being. I was always afraid to share my truth because I did not want to be stigmatized. I am the daughter of a residential school survivor and a WWII veteran. As a result of colonization, I have encountered incredible levels of trauma. I need to acknowledge and speak my truth. As I share my pain and experiences, I have gathered self-awareness and every time I speak about my trauma, I heal a little bit more. I do not deserve to be treated like I do not exist. Despite the historical impacts of colonization and trauma, my connections to my ancestral ways and my identity have been critical. This is how I survived and how I strive to thrive.

Educator Information
Recommended for ages 16+.

Additional Information
128 pages | 5.10" x 7.50" | Paperback

A subversive novel by acclaimed Cree author Darrel J. McLeod, infused with the contradictory triumph and pain of finding conventional success in a world that feels alien.

James, a talented and conflicted Cree man from a tiny settlement in Northern Alberta, has settled into a comfortable middle-class life in Kitsilano, a trendy neighbourhood of Vancouver. He is living the life he had once dreamed of—travel, a charming circle of sophisticated friends, a promising career and a loving relationship with a caring man—but he chafes at being assimilated into mainstream society, removed from his people and culture.

The untimely death of James’s mother, his only link to his extended family and community, propels him into a quest to reconnect with his roots. He secures a job as a principal in a remote northern Dakelh community but quickly learns that life there isn’t the fix he’d hoped it would be: His encounters with poverty, cultural disruption and abuse conjure ghosts from his past that drive him toward self-destruction. During the single year he spends in northern BC, James takes solace in the richness of the Dakelh culture—the indomitable spirit of the people, and the splendour of nature—all the while fighting to keep his dark side from destroying his life.

Reviews
“MacLeod offers the reader a thought-provoking and immersive portrait of a remote Dakelh community and of James, the driven Indigiqueer educator who chooses to work there—a man who must struggle with structural injustices, conflicting demands, prejudice, and his own divided self. A deeply authentic novel, and one that is both educative and heartfelt.” — Kathy Page, author of Alphabet and Dear Evelyn

“A Season in Chezgh’un is about the search for meaning and for love, about grappling with history and loss, about creating a future out of quiet daring. I love the elegance of languages and cultures intermingling in this story, Cree, Dene, Nehiyaw, French, Spanish. Beautifully crafted, this novel is alive with dialogue that takes us into the hearts of characters too often left voiceless. Let this book sweep you away.” — Kim Echlin, author of Speak, Silence

Additional Information
320 pages | 6.00" x 9.00" | Paperback

When your culture is banned and your land and resources stolen, it takes a special individual not only to survive but to thrive. Grounded in the wisdom of his elders, Gisdewe Alfred Joseph wove respect, kindness and courage into his years of service to the Witsuwit’en people of northwest British Columbia. As artist, teacher, chief band councilor, house chief and a lead plaintiff in Delgamuukw-Gisdewe – one of the most important Aboriginal title cases in Canada – Alfred relied on the lessons he learned as a boy to deal with a pervasive colonial reality. In Song of the Earth, Ross Hoffman opens the feast hall doors, throwing light on what the Witsuwit’en have lost and what they have preserved since settlers came to their lands.

Written in collaboration with Alfred Joseph, Song of the Earth brings us inside the heart and mind of a man who grew up in the heart of Witsuwit’en culture and lived to see it transformed. But he was no passive observer; he initiated and participated in legal battles that have reshaped how Canada addresses its colonial past and struggles to find ways to reconcile with Indigenous nations. In the face of current Witsuwit’en attempts to block pipeline construction across their territories in northwestern BC, this book provides insight into the people standing up for the rights that Canadian courts have affirmed.

Additional Information
200 pages | 5.50" x 7.50"

Authenticity Note: Because this work is a collaboration between the author and Alfred Joseph, it has received the Authentic Indigenous Text label.

A compilation of stories that meld both culture and bloodlines, Chilcotin Chronicles by Sage Birchwater is set in the wild and untamed country of central British Columbia’s Chilcotin Plateau. West of the Fraser River, this high country is contained by an arc of impenetrable mountain ranges that separates it from the Pacific Coast. The first inhabitants of this region were fiercely independent, molded by the land itself. Those who came later were drawn to this landscape with its mysterious aura of freedom, where time stood still and where a person could find solace in the wilderness and never be found.

Birchwater reaches back to first European contact in British Columbia when the indigenous population spoke forty of Canada’s fifty-four languages and seventy of Canada’s one hundred dialects. The land known today as the Cariboo Chilcotin Coast was already an entity when Alexander Mackenzie arrived in 1793. Bonds of friendship, mutual support and family ties had long been established between the Dakelh, Tsilhqot’in and Nuxalk, giving cohesiveness to the region. Chilcotin Chronicles is about the men and women caught in the interface of cultures and the changing landscape. Indigenous inhabitants and white newcomers brought together by the fur brigades, then later by the gold rush, forged a path together, uncharted and unpredictable. Birchwater discovers that their stories, seemingly disconnected, are intrinsically linked together to create a human ecosystem with very deep roots. The lives of these early inhabitants give substance to the landscape. They give meaning to the people who live there today.

Traditional North American Native peoples' cuisine has existed for centuries, but its central tenet of respecting nature and its bounty have never been as timely as they are now. Andrew George, of the Wet'suwet'en Nation in Canada, is a well-respected aboriginal chef and instructor who has spent the last twenty-five years promoting the traditions of First Nations food. In A Feast for All Seasons, written with Robert Gairns, he has compiled aboriginal recipes that feature ingredients from the land, sea, and sky, elements of an enduring cuisine that illustrate respect for the environment and its creatures, and acknowledgment of the spiritual power that food can have in our lives.

The 120 recipes include delectable, make-at home dishes such as Salmon and Fiddlehead Stirfry, Stuffed Wild Duck, Barbecued Oysters, Pan-fried Rabbit with Wild Cranberry Glaze, Clam Fritters, and Wild Blueberry Cookies. The book also features recipes with exotic ingredients that provide a fascinating glimpse into the history of Native cuisine: Moose Chili, Boiled Porcupine, Smoked Beaver Meat, and Braised Bear.

This unique cookbook pays homage to an enduring food culture--grounded in tradition and the power of nature--that transcends the test of time.

Reviews
"A lovely cookbook ... A great gift for anyone interested in Canadian food history, First Nations or locavore diets."— Calgary Herald

"I loved that some of the recipes were simple, like the three-ingredient Baked Sweet Potato with Roasted Hazelnuts, a great accompaniment to wild game like the simple Roast Venison ... A Feast for All Seasons gives a glimpse into the purpose of the feast that brings people together." — St'at'imc Runner

Additional Information
152 pages | 8.00" x 9.00" | Paperback

The heart of the traditional legal order of the Lake Babine Nation of north-central British Columbia is the grand ceremonial feast known as the balhats, or potlatch. Misunderstood and widely condemned as a wasteful display of pride, the balhats ceremonies were outlawed by the Canadian government in the late nineteenth century. Throughout the years that followed, the Lake Babine Nation struggled to adapt their laws to a changing society while maintaining their cultural identity.

Although the widespread feasting and exchange practices of the balhats have attracted continuous academic and political interest since the nineteenth century, little consideration has been given to understanding the legal practices embedded within the ceremonies. Cis dideen kat, the only book ever written about the Lake Babine Nation, describes the customary legal practices that constitute "the way."

Authors Jo-Anne Fiske and Betty Patrick use historical and contemporary data to create a background against which the changing relations between the Lake Babine Nation and the Canadian state are displayed and defined, leading to the current era of treaty negotiations and Aboriginal self-government.

Through interviews with community chiefs and elders, oral histories, focus groups, and archival research, Fiske and Patrick have documented and defined a traditional legal system still very much misunderstood. Their findings include material not previously published, making this book essential reading for those involved in treaty negotiations as well as for those with an interest in Aboriginal and state relations generally.

Cis dideen kat was shortlisted for the 2001-2002 Harold Adams Innis Prize.

In-depth analysis of the 130-year history of the Aboriginal title issue in British Columbia, including the Gitksan and Wet'suwet'en case.

Anthropologists have traditionally studied Europe’s “others” and the marginalized and excluded within Europe’s and North America’s boundaries. This book turns the anthropologist’s spyglass in the opposite direction: on the law, the institution that quintessentially embodies and reproduces Western power.

The Pleasure of the Crown offers a comprehensive look at how Canadian, particularly British Columbian, society “reveals itself” through its courtroom performances in Aboriginal title litigation. Rather than asking what cultural beliefs and practices First Nations draw on to support their appeals for legal recognition of Aboriginal title, Culhane asks what assumptions, beliefs, and cultural values the Crown relies on to assert and defend their claims to hold legitimate sovereignty and jurisdiction over lands and resources in B.C. What empirical evidence does the Crown present to bolster its arguments? What can thus be learned by anthropologists and the public at large about the historical and contemporary culture of the powerful?

Focusing in particular on the Gitksan and Wet’suwet’en case, the book traces the trial of Delgamuukw. v. Regina from its first hearing during 1987 and 1991 to its successful appeal to the Supreme Court of Canada, which issued a landmark ruling on the case on December 11, 1997.

Additional Information
416 pages | 6.00" x 9.00" | Paperback