First Nations

This gorgeous book offers an incomparable glimpse into the experiences and history of more than one hundred First Nations and Métis elders from Canada’s North —“the last generation born on the land.” These stunning graphite pencil portraits are rendered with love, respect, and painstaking detail, along with gripping intimate profiles assembled from oral accounts and anecdotes. Their poignant facial features, lines, and creases, weathered by the harsh outdoors and a lifetime of challenges, are like badges of their remarkable achievements, sustained resolve, inspired patience, and deep-set defiance to the hardships their people have endured for generations. The masterful realism of Kuehl’s work helps uncover the tales of these seasoned individuals—their many triumphs and trials revealing in turn a greater portrait of life in the communities of Northern Canada, a compelling homage, and an enduring historical legacy. The portraits capture images of Cree, Ojibway, Oji-Cree, Dene and Métis peoples.

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236 pages | 10.03" x 10.03"

Facing the monumental issues of our time.

In a 2012 performance piece, Rebecca Belmore transformed an oak tree surrounded by monuments to colonialism in Toronto's Queens Park into a temporary "non-monument" to the Earth.

For more than 30 years, she has given voice in her art to social and political issues, making her one of the most important contemporary artists working today. Employing a language that is both poetic and provocative, Belmore's art has tackled subjects such as water and land rights, women's lives and dignity, and state violence against Indigenous people. Writes Wanda Nanibush, "by capturing the universal truths of empathy, hope and transformation, her work positions the viewer as a witness and encourages us all to face what is monumental."

Rebecca Belmore: Facing the Monumental presents 28 of her most famous works, including Fountain, her entry to the 2005 Venice Biennale, and At Pelican Falls, her moving tribute to residential school survivors, as well as numerous new and in-progress works. The book also includes an essay by Wanda Nanibush, Curator of Indigenous Art at the AGO, that examines the intersection of art and politics. 

Rebecca Belmore is one of Canada's most distinguished artists. She has won the Hnatyshyn Award (2009), the Governor General's Award in Visual and Media Arts (2013), and the Gershon Iskowitz Prize (2016). A member of Lac Seul First Nation, she was the first Aboriginal woman to represent Canada at the Venice Biennale. She has also participated in more than 60 one-person and group exhibitions around the world.

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132 pages | 10.25" x 10.25" | 198 Illustrations

Using extensive first-hand interviews with both Witsuwit'en and settler elders, Shared Histories describes what happened in the 50 years after the Grand Trunk Pacific Railway established Smithers in the middle of Witsuwit'en territory in northwest British Columbia. By examining these relationships in the context of the history of colonization throughout the province, the author has written an open and honest portrayal of the ways in which the Witsuwit'en were marginalized, but still managed to create and maintain a place for themselves in a community that didn't want them.

Written with extensive consultation with members of the Witsuwit'en community and some of the town's earliest settler families, Shared Histories brings to life the often unwritten history of the ways in which these communities both clashed and joined forces. Its careful use of academic sources and the lived experience of participants make it the kind of history we all need to read.

This book will appeal to history buffs, educators, and academics and to those interested in First Nations and British Columbia history, truth, and reconciliation projects.

Awards

• Winner of the 2019 Lieutenant Governor's Medal for Historical Writing

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200 pages | 9.50" x 9.00"

The tragic consequences of systemic racism.

Structures of Indifference examines an Indigenous life and death in a Canadian city and what it reveals about the ongoing history of colonialism. At the heart of this story is a thirty-four-hour period in September 2008. During that day and a half Brian Sinclair, a middle-aged, non-Status Anishinaabeg resident of Manitoba’s capital city, arrived in the emergency room of the Health Sciences Centre, Winnipeg’s major downtown hospital, was left untreated and unattended to, and ultimately died from an easily treatable infection. His death reflects a particular structure of indifference born of and maintained by colonialism.

McCallum and Perry present the ways in which Sinclair, once erased and ignored, came to represent diffuse, yet singular and largely dehumanized ideas about Indigenous people, modernity, and decline in cities. This story tells us about ordinary indigeneity in the city of Winnipeg through Sinclair’s experience and restores the complex humanity denied him in his interactions with Canadian health and legal systems, both before and after his death.

Structures of Indifference completes the story left untold by the inquiry into Sinclair’s death, the 2014 report of which omitted any consideration of underlying factors, including racism and systemic discrimination.

Contents

Introduction: Thirty-Four Hours
Ch. 1: The City
Ch. 2: The Hospital
Ch. 3: Brian Sinclair
Conclusion

Reviews
“You can’t really sugarcoat the colonial genealogy that killed Brian Sinclair. Structures of Indifference is a necessary book. It offers a short, direct framing of the death of Brian Sinclair as a clear instance of racism, a racism that is the basis of Canadian settler colonialism.” – Sherene H. Razack, UCLA, author of Dying from Improvement: Inquests and Inquiries into Indigenous Deaths in Custody

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192 pages | 4.25" x 7.12"

The ancient landscapes of Eastern North America are reflected in the language and cultural expressions of its Indigenous peoples, the Mi'kmaq. The rhythms, sounds and patterns of their language are inextricably bound with the seasonal cycles of the animals, plants, winds, skies, waterways and trade routes.

The Language of this Land, Mi'kma'ki is an exploration of Mi'kmaw world view as expressed in language, legends, song and dance. Using imagery as codes, these include not only place names and geologic history, but act as maps of the landscape. Sable and Francis illustrate the fluid nature of reality inherent in its expression - its embodiment in networks of relationships with the landscape integral to the cultural psyche and spirituality of the Mi'kmaq.

Language has sustained the Mi'kmaq to the present day, a product of a lineage of Elders who spoke it, who danced the dances and walked this land, Mi'kma'ki, carrying its traditions forward despite centuries of cultural disruption, discrimination and degradation.

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132 pages | 7.50" x 9.25"

Towards a New Ethnohistory engages respectfully in cross-cultural dialogue and interdisciplinary methods to co-create with Indigenous people a new, decolonized ethnohistory. This new ethnohistory reflects Indigenous ways of knowing and is a direct response to critiques of scholars who have for too long foisted their own research agendas onto Indigenous communities. Community-engaged scholarship invites members of the Indigenous community themselves to identify the research questions, host the researchers while they conduct the research, and participate meaningfully in the analysis of the researchers’ findings.

The historical research topics chosen by the Stó:lō community leaders and knowledge keepers for the contributors to this collection range from the intimate and personal, to the broad and collective. But what principally distinguishes the analyses is the way settler colonialism is positioned as something that unfolds in sometimes unexpected ways within Stó:lō history, as opposed to the other way around.

This collection presents the best work to come out of the world’s only graduate-level humanities-based ethnohistory fieldschool. The blending of methodologies and approaches from the humanities and social sciences is a model of twenty-first century interdisciplinarity.

Reviews
“At a time when Indigenous sovereignty has come to the fore, this volume sets the ‘gold standard’ for ethical scholarship and provides a roadmap and manifesto for sensible and sensitive decolonization.”– Chris Friday, Professor of History, Western Washington University

“The strength of the collection is its appreciation for and attention to interpreting history with reference to Stó:lō interpretative frames.” – Tyler McCreary, BC Booklook 

“In a time when many scholars are looking to decolonize their approaches to research—especially when working with Indigenous communities—this book stands as a clear exemplar of community-engaged research and demonstrates how it can be done well.”– Jennifer Megan Markides, University of Calgary, Qualitative Research in Education

“Exemplifies a new, transdisciplinary approach to ethnohistory, in which the researcher recognizes not only the legacy of settler colonialism in Canada, but also the subjectivity and relativity of their own views and western knowledge as a whole. This new ethnohistory aims to work with the community at all levels of research and form and sustain relationships that last long after fieldwork is conducted. Its hope is to produce scholarship that is cutting edge, complex, accessible and relevant to members of the community.”– Daniel Sims, NICHE 

“Settler scholars concerned with disciplinary crises need look no further than this excellent anthology for models of respectful intercommunity engagement, radical methodology and pedagogy, and a paradigm for solidarity work that chooses to develop respectful relationships over moribund agonizing.”– Madeleine Reddon, Canadian Literature 

Educator Information
Table of Contents
Introduction

Ch. 1—Kinship Obligations to the Environment

Ch. 2—Relationships

Ch. 3—Crossing Paths

Ch. 4—Stó:lō Ancestral Names, Identity and the Politics of History

Ch. 5—Disturbing the Dead

Ch. 6—Food as a Window into Stó:lō Tradition and Stó:lō-Newcomer Relation

Ch. 7—’Bringing Home all That Has Left’

Ch. 8—Totem Tigers and Salish Sluggers

Ch. 9—’I Was Born a Logger’

Ch. 10—’They Are Always Looking for the Bad Stuff’

Ch. 11—Next Steps in Indigenous Community-Engaged Research

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304 pages | 6.00" x 9.00"

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.

Denied her Indigenous status, Lynn Gehl has been fighting her entire life to reclaim mino-pimadiziwin--the good life. Exploring Anishinaabeg philosophy and Anishinaabeg conceptions of truth, Gehl shows how she came to locate her spirit and decolonize her identity, thereby becoming, in her words, "fully human." Gehl also provides a harsh critique of Canada and takes on important anti-colonial battles, including sex discrimination in the Indian Act and the destruction of sacred places.

Reviews
Gehl is at the cutting edge with her concepts and ideas... She is on a journey and documents it well. — Lorelei Anne Lambert, author of Research for Indigenous Survival

Clear, insightful, and desperately needed... — Lorraine F. Mayer, author of Cries from a Métis Heart

The discussion of the heart and mind knowledge, as well as the discussion on the Anishinaabeg Clan System of Governance, [are] major contributions to the research. — Marlyn Bennett, co-editor of Pushing the Margins

"Throughout Claiming Anishinaabe, the conversation remains rooted in the destructive effects of oppressive power on the human spirit, and an insistence that both knowledge and spirituality are key in reclaiming one’s sense of self." — Quill & Quire

Educator Information
This book would be useful for the following subject areas or courses: Indigenous Studies, Canadian History (Post-Confederation), Social Science, Autobiography/Biography Studies, Spirituality, and Law.

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176 pages | 5.50" x 8.50" | Includes line drawings

Born in a log cabin during a raging blizzard on Indian Brook Reserve in 1938, Mi'kmaw elder Daniel N. Paul rose to the top of a Canadian society that denied his people's civilization. When he was named to the Order of Canada, his citation called him a "powerful and passionate advocate for social justice and the eradication of racial discrimination." His Order of Nova Scotia honour said he "gives a voice to his people by revealing a past that the standard histories have chosen to ignore."

But long before the acclaim, there was the Indian Agent denying food to his begging mother. There was the education system that taught him his people were savages. There was the Department of Indian Affairs that frustrated his work to bring justice to his people.

His landmark book We Were Not the Savages exposed the brutalities of the collision between European and Native American civilizations from a Mi'kmaq perspective. The book sold tens of thousands of copies around the world and inspired others to learn history from an indigenous point of view.

He shone a light on Halifax founder Edward Cornwallis through newspaper columns and public debates over two decades, calling on Nova Scotia to stop honouring the man whose scalping proclamations were an act of genocide against the Mi'kmaq.

Now, for the first time, here is the full story of his personal journey of transformation, a story that will inspire Canadians to recognize and respect their First Nations as equal and enlightened civilizations.

Essential Song: Three Decades of Northern Cree Music, a study of subarctic Cree hunting songs, is the first detailed ethnomusicology of the northern Cree of Quebec and Manitoba. The result of more than two decades spent in the North learning from the Cree, Lynn Whidden’s account discusses the tradition of the hunting songs, their meanings and origins, and their importance to the hunt. She also examines women’s songs, and traces the impact of social change—including the introduction of hymns, Gospel tunes, and country music—on the song traditions of these communities.

The book also explores the introduction of powwow song into the subarctic and the Crees struggle to maintain their Aboriginal heritage—to find a kind of song that, like the hunting songs, can serve as a spiritual guide and force.

Including profiles of the hunters and their songs and accompanied (online) by original audio tracks of more than fifty Cree hunting songs, Essential Song makes an important contribution to ethnomusicology, social history, and Aboriginal studies.

Awards

• ForeWord Magazine Book of the Year Award, Bronze Pize, Music Category

Educator Information
Audio files available on Soundcloud: https://soundcloud.com/user-276681310/sets/essential-song-three-decades. 

Additional Information
192 pages | 6.00" x 9.00"

Take a journey into the heart of Haida culture as it is lived and experienced by an extraordinary woman of the Tsath Lanas Eagle Clan. Pansy Collison, a Haida woman born and raised in Old Massett on Haida Gwaii, tells stories of her clan and community, as well as personal narratives about her history and family. Haida Eagle Treasures embodies a strong Haida woman’s voice, offering a rare glimpse inside Haida culture. Each story and memory is a treasure that captures part of the beauty of the Haida worldview and way of life.

Now retired, Pansy taught for 23 years at elementary, secondary, and college levels. From these experiences, she describes some of the challenges and contradictions of living between two worlds. Pansy’s teaching skills, artistic talents, and political affiliations keep her involved in politics and education on Haida Gwaii.

Thirteen original illustrations by Pansy’s brother, Paul White, a gifted artist, teacher, pole carver and designer, provide the guideposts within Haida Eagle Treasures.

Educator Information
Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list as being useful for grades 8-12 for English Language Arts and Social Studies.

Caution: use of the term "Native" throughout.

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244 pages | 6.00" x 9.00"  | 2nd Edition

A collection of fiction, poetry, essays and creative non-fiction, this anthology features works by over 20 Indigenous Canadian writers. The book focuses on the effects of colonialism in Canada from both historical and contemporary perspectives.

"These stories are rich in geographies Indigenous peoples journey through today; on streets, in cities, and into the future. These stories will make you think, cry, and heal." —Niigaanwewidam James Sinclair, Editor

Reviews
"Impact: Colonialism in Canada presents writings that are often challenging, thought-provoking, and at times, gut-wrenching. The collection is a testament to strength and resiliency and the potential for healing, both within the Indigenous and non-Indigenous communities. But, it is not easy reading; it demands considerable insight, open-mindedness, and an understanding of an historical concept (i.e. colonialism), all of which point to the book’s being read and/or studied by students in the upper grades of high school. It’s certainly a work that would be a fine reference in a high school library collection, and teachers would find it to be an excellent supplemental text for the study of Aboriginal writers, as well as Canadian history, particularly as a reflection of the impact of colonialism upon Canada’s Indigenous peoples. Highly Recommended." - Joanne Peters, CM Magazine

Educator Information
Recommended for ages 17+ 

Additional Information
198 pages | 5.50" x 8.50"

In 1931, Mazie Antone was born into the Squamish Nation, a community caught between its traditional values of respect—for the land, the family and the band—and the secular, capitalistic legislation imposed by European settlers. When she was six, the police carried her off to St. Paul’s Indian Residential School, as mandated by the 1920 Indian Act. There, she endured months of beatings, malnourishment and lice infestations before her family collected Mazie and her siblings and fled across the border.

After the war, the family return to their home on the Capilano Reserve and Mazie began working at a cannery where she packed salmon for eleven years. Mazie married Alvie Baker, and together they raised nine children, but the legacy of residential school for Mazie and her generation meant they were alienated from their culture and language. Eventually Mazie reconnected with her Squamish identity and she began to mourn the loss of the old style of government by councils of hereditary chiefs and to criticize the corruption in the band leadership created in 1989 by federal legislation.

Galvanized by the injustices she saw committed against and within her community—especially against indigenous women, who were denied status and property rights—she began a long career of advocacy. She fought for housing for families in need; she pushed for transparency in local government; she defended ancestral lands; she shone a bright light into the darkest political corners. Her family called her ch’sken: Golden Eagle.

This intimate biography of a community leader illuminates a difficult, unresolved chapter of Canadian history and paints a portrait of a resilient and principled woman who faced down her every political foe, unflinching, irreverent, and uncompromising.

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240 pages | 6.00" x 9.00" | Paperback

The Whaling People live along the west coast of Vancouver Island and Cape Flattery in Washington. They comprise more than 20 First Nations, including the Nuu-chah-nulth (formerly called Nootka), Ditidaht, Pacheedaht and Makah. These socially related people enjoyed a highly organized, tradition-based culture for centuries before Europeans arrived. As whaling societies, they had a unique relationship with the sea.

In The Whaling People, Eugene Arima and Alan Hoover give an intimate account of the traditional ways in which these coastal people looked at and understood the world they lived in. They present the activities, technologies, and rituals that the Whaling People used to make a living in their complex coastal environments, and their beliefs about the natural and supernatural forces that affected their lives. The book features 12 narratives collected from First Nations elders, each illustrated with original drawings by the celebrated Hesquiaht artist Tim Paul.

This informative and entertaining book celebrates the still-thriving cultures of the Whaling People, who survived the devastating effects of colonial power and influences. It includes a history of treaty-making in BC, leading up to the just-ratified Maa-nulth Treaty signed by five First Nations of the Whaling People.

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272 pages | 6.00" x 9.00"

Authenticity Note: Because of the artwork and narratives contributed to this work from First Nations elders and Hesquiaht artist Tim Paul, it has received the Authentic Text and Artwork labels. It's up to readers to determine if this work qualifies as authentic for their purposes.