Art

Art has always played a significant role in the history of the labour movement. Songs, stories, poems, pamphlets, and comics, have inspired workers to take action against greedy bosses and helped shape ideas of a more equal world. They also help fan the flames of discontent. Radical social change doesn’t come without radical art. It would be impossible to think about labour unrest without its iconic songs like “Solidarity Forever” or its cartoons like Ernest Riebe’s creation, Mr. Block. 

In this vein, The Graphic History Collective has created an illustrated chronicle of the strike—the organized withdrawal of labour power—in Canada. For centuries, workers in Canada—Indigenous and non-Indigenous, union and non-union, men and women—have used the strike as a powerful tool, not just for better wages, but also for growing working-class power. This lively comic book will inspire new generations to learn more about labour and working-class history and the power of solidarity.

Reviews
"There are so many exciting and vitally important stories from the history of social movements, and the most engaging way to tell those stories is through art, in its various forms.  The Graphic History Collective is brilliantly doing just that." - David Rovics, singer, songwriter, activists 

"The Graphic History Collective shows us that art can inspire hope for radical social change" - Noam Chomsky

"Brilliant in narrative power and artistic expression, Direct Action Gets the Goods offers more proof of the Graphic History Collective's prowess with the graphic form. Magnificent!" - Paul Buhle 

"Direct Action Gets the Goods is a brilliant and essential resource. Through well-researched history and powerful graphic art, it shows how the strike is key to revolutionary unionism and social movement solidarity. This book will inspire future generations to fight and win against bosses and capitalism." – Harsha Walia, community organizer and author of Undoing Border Imperialism

Educator Information
The Graphic History Collective is made up of activists, artists, writers, and researchers passionate about comics, history, and social change.  They produce alternative histories - people's histories - in an accessible format to help people understand the historical roots of contemporary social issues. 

Additional Information
64 pages | 8.50" x 11.00" | 80 illustrations

Authenticity and Content Note: This work contains contributions from Gord Hill, a member of the Kwakwaka'wakw Nation.  Indigenous content and perspectives, therefore, may be included but are not the sole focus of the work.

“I feel that it is important to re-establish our Salish footprint upon our lands, to create a visual expression of the link between the past and present that is both accessible and people-friendly. . . . I create unique, ‘original’ artwork that honours both my people and the diverse group of peoples from around the world who have come to live upon our lands on the Northwest Coast. My hope is that my art leaves a lasting impression on visitors, locals, and the surrounding communities.” — Susan Point

This beautifully designed book is the first to explore Susan Point's publicly commissioned artworks from coast to coast.

Susan Point’s unique artworks have been credited with almost single-handedly reviving the traditional Coast Salish art style. Once nearly lost to the effects of colonization, the crescents, wedges, and human and animal forms characteristic of the art of First Nations peoples living around the Salish Sea can now be seen around the world, reinvigorated with modern materials and techniques, in her serigraphs and public art installations—and in the works of a new generation of artists that she’s inspired.

People Among the People beautifully displays the breadth of Susan Point’s public art, from cast-iron manhole covers to massive carved cedar spindle whorls, installed in locations from Vancouver to Zurich. Through extensive interviews and access to her archives, Robert D. Watt tells the story of each piece, whether it’s the evolution from sketch to carving to casting, or the significance of the images and symbolism, which is informed by surviving traditional Salish works Point has studied and the Oral Traditions of her Musqueam family and elders.

In her long quest to re-establish a Coast Salish footprint in Southwest British Columbia and the Pacific Northwest of the US, Point has received many honours, including the Order of Canada and the Audain Lifetime Achievement Award. This gorgeous and illuminating book makes it clear they are all richly deserved.

Additional Information
208 pages | 10.17" x 12.39" | Colour photographs throughout | Hardcover 

Social action art in book form, Perception: A Photo Series encourages readers to look and then look again.

Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called “Perception Photo Series,” it confronted common stereotypes of First Nation, Inuit and Métis people to illustrate a more contemporary truthful story.

First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg’s downtown buildings, Adam’s stunning photographs now appear in her new book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds.

Reviews
"Indeed, the potential lasting impact of this collection can’t be underestimated; this is socially engaged art at its best." — Kirkus Reviews, March 2019

"KC Adams' Perception series challenges us to bridge thought and reality; emerging on the other side better having challenged ourselves to see Indigenous peoples for what they really are. We are grandparents, parents, children - and everything in between. As Adams shows through this incredible exhibition of faces and feelings, we are beautiful, whole, and complex peoples irreducible to stereotypes and slander." — Romeo Saganash (Cree, father, activist, and dreamer)

"KC Adams's Perception series absolutely captured the most devastating perceptions from the colonial mind, and the accompanying lack of knowledge about the truth of Canada's historical relationship to Indigenous Peoples. Succinctly and beautifully, KC transformed that narrative in this series. It is a prolific piece which will always be a source of inspiration for truth and reconciliation. It is unforgettable. Kichi miigwetch KC Adams!." — Tina Keeper, March 2019

"We hear the saying, “A picture can say a thousand words” quite often, but sometimes we don’t take the time to actually look at what we are seeing and what it is saying. Sometimes photographs are taken for fun, with no real meaning behind them. But there are times when a photograph is taken for a purpose, taken to deliver a message. KC Adams, with Perception, is doing just that. She is not only delivering a message, she is also making a statement in order to break down the racial prejudices and stereotypes towards the indigenous community in Canada.... From looking at the first picture that shows their reaction to what people think of them to looking at their second picture that shows their look of pure happiness coupled with their name, their tribes, and the words they would use to describe themselves is what is causing people to think twice, think differently, and spark conversation." — Leslie Trotter, NetGalley, March 2019

"I admire what KC Adams did when she kept hearing disparaging remarks and slurs against the Native peoples of Canada. As an indigenous person herself, she too, had been subjected to mistreatment and prejudice just be being someone who looks different. She was determined to find a way to get people's perceptions to change. The Native/indigenous people and their cultures were here to stay and non-Native people had to come to terms with and accept that. Adams choose to use her skill as a photographer as a catalyst to address the racism and prejudice head on.... She took a series of two photographs of the same person; one as she said a racist remark, the other as she said something positive about the person. She then put up these pictures as posters around municipal areas. The first picture was headlined with the slur said while filming it, the bottom said "Think again". The second picture (taken when she invoked a positive response in them) told who they were and some things about them. This photography series (now captured in her book Perceptions) helped people recognize their own reactions to Native peoples and realize that they were unfair and untrue.... I love when art is not only creative, but an agent for social change! Kudos, Ms. Adams! Well done!" — Kathy Fuchs, NetGalley, February 2019

"Perception is an impressive collection...an inside look into a living legend’s photography practice (I say this in no uncertain terms) and, more importantly, as Adams intended, a reminder to look past the hurt in search of a love that can bring us all home." — Lindsay Nixon, Editor-at-Large Canadian Art, author nîtisânak, Metonymy Press, March 2019

"This is an amazing portrayal of the indigenous community. The emotions displayed by each individual are clearly defined. I highly recommend this resource be placed in all libraries and used to dispel racism and discriminatory ideas." — Shelley Stefanowich, NetGalley, April 2019

Educator & Series Information
For Grades 9-12 / Young Adults

Foreword by Katherena Vermette; Critical essay by Cathy Mattes

Caution: Mature subject matter/language in some instances as this book is dealing with stereotypes and prejudice (radicalized language and derogatory terminology).

Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list for grades 10 to 12 for Art Education, Social Studies, Social Justice, and English Language Arts.

This book is part of The Debwe Series, a collection of exceptional Indigenous writings from across Canada.

Additional Information
120 pages | 6.75" x 9.00" | Hardcover | Foreward from Katherena Vermette

Following the Final Report on Truth and Reconciliation, Performing Turtle Island investigates theatre as a tool for community engagement, education, and resistance.

Comprised of multidisciplinary and diverse perspectives, Performing Turtle Island considers theatre as a tool for community engagement, education, and resistance, and examines how communities in turn influence the construction of Indigenous identities through theatre.

Contributors:
Megan Davies (York University)
Spy Dénommé-Welch (Brock University)
Floyd Favel (Poundmaker First Nation)
Carol Greyeyes (University of Saskatchewan)
Michael Greyeyes (Muskeg Lake First Nation)
Kahente Horn-Miller (Carleton University)
Dione Joseph (Onehunga, New Zealand)
Catherine Magowan (Hamilton, ON)
Daniel David Moses (Queen's University)
Yvette Nolan (University of Saskatchewan)
Armand Ruffo (Sagamok Ojibway and Chapleau Cree Fox Lake First Nations, Queen's University)
Annie Smith (Grand Prairie Regional College)

Reviews
“Brilliantly introduces pedagogies that jump scale; a bundling project for future ancestors revealing knowledges for flight into kinstillatory relationships. ” —Karyn Recollet, co-author of In This Together: Blackness, Indigeneity, and Hip Hop

“An important resource for those who want to introduce or incorporate Indigenous artistic perspectives in their course or work. ” —Heather Davis-Fisch, author of Loss and Cultural Remains in Performance

“A very significant and welcome contribution to the growing body of work on Indigenous theatre and performance in the land now called Canada. ” —Ric Knowles, author of Performing the Intercultural City

Educator Information
Understanding Indigenous cultures as critical sources of knowledge and meaning, each essay addresses issues that remind us that the way to reconciliation between Canadians and Indigenous peoples is neither straightforward nor easily achieved. Comprised of multidisciplinary and diverse perspectives, Performing Turtle Island considers performance as both a means to self-empowerment and self-determination, and a way of placing Indigenous performance in dialogue with other nations, both on the lands of Turtle Island and on the world stage.

Additional Information
256 pages | 6.00" x 9.00" | 5 photos, 1 table

Every object tells a story.

Picking Up the Pieces tells the story of the making of the Witness Blanket, a living work of art conceived and created by Indigenous artist Carey Newman. It includes hundreds of items collected from residential schools across Canada, everything from bricks, photos and letters to hockey skates, dolls and braids. Every object tells a story.

Carey takes the reader on a journey from the initial idea behind the Witness Blanket to the challenges in making it work to its completion. The story is told through the objects and the Survivors who donated them to the project. At every step in this important journey for children and adults alike, Carey is a guide, sharing his process and motivation behind the art. It's a very personal project. Carey's father is a residential school Survivor. Like the Blanket itself, Picking Up the Pieces calls on readers of all ages to bear witness to the residential school experience, a tragic piece of Canada’s history.

"In the traditions of my Salish ancestors, a blanket is gifted to uplight the spirit, protect the vulnerable or honour the strong. I made this blanket for the Survivors, and for the children who never came home; for the dispossessed, the displaced and the forgotten. I made this blanket so that I will never forget -- so that we will never forget." - Carey Newman

Reviews
"Picking Up the Pieces is both a crucial record of history and an outstanding assertion of love and community. The story behind the creation of the powerful Witness Blanket project is one of great care and consideration, with residential school Survivors and their families at the centre. By sharing his own family's connection to a brutal and shameful part of Canadian history, renowned artist Carey Newman brilliantly guides us through the meticulous and thoughtful process of creating one of the most important pieces of art to exist in this country. I had the privilege of experiencing the Witness Blanket on its tour, and it was a poignant moment that will stay with me for the rest of my life. Reading how it all came together is yet another vital experience. Like the Witness Blanket itself, Picking Up the Pieces will educate and enlighten Canadians for generations to come. It's a must-read for anyone seeking to understand Canada's residential-school saga. Most importantly, it's a touchstone of community for those survivors and their families still on the path to healing." — Waubgeshig Rice, journalist and author of Moon of the Crusted Snow, March 2019

Educator Information
Themes: Indigenous Art, Reconciliation, Residential Schools, Survivor Stories, Intergenerational Trauma

Suitable for most ages (about 12 years+).  Useful social studies or Indigenous studies resource for pre-teens and teens; however, it does make reference to sexual, emotional, and physical abuse and trauma.

Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list for grades 11 and 12 and as a teacher resource.  Useful for these subjects: English Language Arts, Media Studies, Social Studies.

Additional Information
180 pages | 10.75" x 10.00"

For over two decades, Manitoban artist Gerald Kuehl has travelled to the far-flung corners of Canada to draw out these answers from the last generation of Indigenous Peoples born on the land, and, pencil in hand, to record their likenesses and experiences. These Elders shared their gripping stories with him so that he might share them with the world.

Picking up where Kuehl’s acclaimed Portraits of the North left off, these pages follow the artist as he crosses the 60th parallel into Nunavut and the Far North, to meet the few Inuit Elders who still remember the days when their people lived entirely off the bounty of the land. The astonishing graphite pencil drawings and accompanying stories within—the result of Kuehl’s travels in Nunavut over thirteen years, hundreds of interviews with Elders, and thousands of hours at the drawing board—provide an unprecedented, poignant account of the changing realities Inuit experienced over the course of the last century, and their bright hopes for the future. These are tales of hardship and survival, of family and tradition, and of optimism and resilience. These are the faces and the voices of the Far North.

Additional Information
240 pages | 10.25" x 10.50"

David Neel was an infant when his father, a Kwakwa̱ka̱’wakw artist, died, triggering a series of events that would separate him from his homeland and its rich cultural traditions for twenty-five years. When he saw a Potlatch mask carved by his great-great-grandfather in a museum in Fort Worth, Texas, the encounter caused the aspiring photographer to wonder if he could return to follow in his father’s footsteps.

Drawing on memory, legend, and his own art and photographs, Neel tells the story of his struggle to reconnect with his culture after decades of separation and a childhood marred by trauma and abuse. David returned to the Pacific Coast, where he apprenticed with master carvers from his father’s village on Vancouver Island, and his career as an author and artist took him to the United States and to Mexico, to Europe and back again to British Columbia. Along the way, he met and photographed some of the most talented artists and Indigenous people of his generation. His travels helped him grow as a man and become an accomplished and prolific artist, but they also reconfirmed the healing power of returning home.

The Way Home is a testament to the strength of the human spirit to overcome great obstacles and to the power and endurance of Indigenous culture and art.

Educator Information
This memoir is a must-read for anyone interested in Canadian art and artists, particularly Indigenous art, as well as those learning about or active in cultural revitalization in Indigenous communities.

Subjects / Themes: Indigenous Art, Canadian Art, Memoir.

This resource is recommended in the Canadian Indigenous Books for Schools 2020/2021 list for grades 9 to 12 for Art Education, English Language Arts, and Social Studies.

Caution: includes memories of domestic violence.

Additional Information
192 pages | 8.00" x 10.00"

In They Write Their Dreams on the Rock Forever, ‘Nlaka’pamux elder Annie York explains the red-ochre inscriptions written on the rocks and cliffs of the lower Stein Valley in British Columbia. This is perhaps the first time that a Native elder has presented a detailed and comprehensive explanation of rock-art images from her people’s culture. As Annie York’s narratives unfold, we are taken back to the fresh wonder of childhood, as well as to a time in human society when people and animals lived together in one psychic dimension.

This book describes, among many other things, the solitary spiritual meditations of young people in the mountains, once considered essential education. Astrological predictions, herbal medicine, winter spirit dancing, hunting, shamanism, respect for nature, midwifery, birth and death, are some of the topics that emerge from Annie’s reading of the trail signs and other cultural symbols painted on the rocks. She firmly believed that this knowledge should be published so that the general public could understand why, as she put it, “The Old People reverenced those sacred places like that Stein.”

They Write Their Dreams on the Rock Forever opens a discussion of some of the issues in rock-art research that relate to “notating” and “writing” on the landscape, around the world and through the millennia. This landmark publication presents a well-reasoned hypothesis to explain the evolution of symbolic or iconic writing from sign language, trail signs and from the geometric and iconic imagery of the dreams and visions of shamans and neophyte hunters. This book suggests that the resultant images, written or painted on stone, constitute a Protoliteracy which has assisted both the conceptualization and communication of hunting peoples’ histories, philosophies, morals and ways life, and prepared the human mind for the economic, sociological and intellectual developments, including alphabetic written language.

Additional Information
320 pages | 6.75" x 9.75" | 2nd Edition

Explore the past 150 years through the eyes of Indigenous creators in this groundbreaking graphic novel anthology. Beautifully illustrated, these stories are an emotional and enlightening journey through Indigenous wonderworks, psychic battles, and time travel. See how Indigenous peoples have survived a post-apocalyptic world since Contact.

Watch for new stories and familiar characters:

• Métis businesswoman Annie Bannatyne and Louis Riel
• Oka Crisis, Meech Lake Accord, and Kelowna Accord
• the Berger Inquiry into the Mackenzie Valley Pipeline
• Jack Fiddler, an Anishinaabe shaman charged as a serial killer
• Rosie, an Inuk girl coming of age during WWII
• wâpanacâhkos, an Indigenous woman sent back from the future to the early 2000s
• fishing raids and salmon wars in Listuguj, Quebec
• Francis Pegahmagabow, WWI sniper and veterans’ rights activist
• the impact of the Sixties Scoop and the child welfare system
• Chief Billy Assu and the potlatch bans in British Columbia

Reviews
Niigaanwewidam James Sinclair, one of the contributors to this work, says the book is, an “opportunity to shine a light on the stories most Canadians haven’t heard, to learn from Indigenous communities from 1867 to present day—whether these stories are influenced by the creation of Canada or not." 

"…breathtaking comics anthology…this mix of powerful storytelling and memorable illustrations is a place to begin a dialogue with Indigenous peoples in Canada." —The Globe and Mail

"The anthology is visually gorgeous. Each story is powerfully conveyed, reflecting a time and moment in the Indigenous history of Canada…great read for any age." —Quill & Quire, starred review

"This Place is the graphic novel I’ve waited my whole life for, and the graphic novel Canada has needed for 150 years. The stories contained within its pages are both beautifully rendered and vitally necessary. They represent a history not only largely untold and unknown, but one obscured, hidden from sight, so that other stories may occupy a privileged place in the defining a national story. Their importance is exquisitely captured on these pages, told by some the leading artists working today. This is an essential book, for comic fans, teachers and anyone who wants to learn the stories of this place we now share." —Jesse Wente, broadcaster and film critic

"A landmark collection of Indigenous comics that redraws how we understand the past, present, and future of Indigenous communities and cultures since Confederation. Each chapter immerses us in a gripping story about real people brought to life through vivid and affecting artwork. This collection proves the power of comics storytelling to create fresh pathways to knowledge and new ways of envisioning Indigenous experiences." —Candida Rifkind, University of Winnipeg

"This is the power of storytelling. It’s going deeper and truer than the history books and the newspaper accounts. It’s bringing the stories to the people for the people and doing it for the right reasons: to teach and to illuminate. This Place: 150 Years Retold is the dawn to a new storytelling tradition that doesn’t need to be held back. It should be shouted forward from now on." —Helen Kubiw, CanLit for LittleCanadians

Educator Information
This graphic novel is recommended for ages 15+.

Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list for grades 7 to 12 for Art Education, English Language Arts, Law, and Social Studies.

These stories refer to real incidents and include graphic violence, abuse, and death.

A teacher's guide is available: This Place: 150 Years Retold Teacher Guide

Additional Information
250 Pages

As beautiful as it is useful, Understanding Northwest Coast Indigenous Jewelry is an invaluable tool for anyone interested in learning about or deepening their understanding of a fascinating craft.

Indigenous hand-engraved jewelry from the Pacific Northwest Coast is among the most distinctive, innovative, and highly sought-after art being produced in North America today. But these artworks are more than just stunning—every bracelet, ring, and pendant is also the product of a fascinating backstory, a specialized set of techniques, and a talented artist.

With a clearly written text, a foreword by award-winning First Nations artist Corrine Hunt, and more than one hundred striking color photographs and sidebars, Understanding Northwest Coast Indigenous Jewelry offers an illuminating look at an exquisite craft and the context in which it is practiced.

Providing a step-by-step overview of various techniques, the book also introduces the specifics of formline design, highlights the traits of the most common animal symbols used, offers tips for identification, and features biographies and works from over fifty of the Coast’s best-known jewelers. Finally, it delves into the history of the art form, from the earliest horn and copper cuff bracelets to cutting-edge contemporary works and everything in between.

Educator Information
Recommended in the Canadian Indigenous Books for Schools 2019-2020 resource list for grades 9 to 12 for Arts Education, English Language Arts, and Social Studies.

Additional Information
192 pages | 6.00" x 9.00"

The Skeena, second longest river in the province, remains an icon of British Columbia’s northwest. Called Xsien (“water of the clouds”) by the Tsimshian and Gitksan, it has always played a vital role in the lives of Indigenous people of the region. Since the 1800s, it has also become home to gold seekers, traders, salmon fishers and other settlers who were drawn by the area’s beauty and abundant natural resources.

Voices from the Skeena takes readers on a journey inspired directly by the people who lived there. Combining forty illustrations with text selected from the pioneer interviews CBC radio producer Imbert Orchard recorded in the 1960s, the book follows the arrival of the Europeans and the introduction of the fur trade to the Omineca gold rush and the building of the Grand Trunk Pacific Railroad.

Open the pages to meet Robert Cunningham, an Anglican missionary who would later become the founder of the thriving Port Essington. Here too is a man called Cataline, a packer for whom no settlement was too remote to reach, and the indominable Sarah Glassey, the first woman to pre-empt land in British Columbia. At the heart of these stories is the river, weaving together a narrative of a people and their culture. Pairing the stories with Roy Henry Vicker’s vibrant art creates a unique and captivating portrait of British Columbia that will appeal to art lovers and history readers alike.

Additional Information
112 pages | 11.00" x 8.00" | 40 colour illustrations

This work has received the Authentic Indigenous Text label because of the interviews/contributions with Indigenous people like Vicky Sims and Chief Jeffrey H. Johnson. It is up to readers to determine if this work is authentic for their purposes.

Fully illustrated with gorgeous color photographs of the forest and its inhabitants, Among Trees is a lush guided journal that helps you record and reflect on your therapeutic trips into the woods. Use the blank pages to capture the date, season, weather, and location of specific outings. Creative prompts throughout will help you deepen your experience. Inspirational quotes and sidebars on the benefits of forest bathing pepper the pages for added motivation and depth.

Reviews
"[This journal] can help you add this delightful practice to your life and help you experience greater health on all levels.” —New Spirit Journal​

Additional Information
224 Pages | 6" x 8.25"

Native Elements - Colouring Our Drums: Northwest Coast First Nations and Art

We are all born to the beat of a drum, it is within us. Our drum beat is what leads us to find our own path through our journey in life. - Doug Horne, Coast Salish

Features:

Features 32 pages of original drum drawings from Northwest Coast Indigenous artists.  One page at the beginning of the book includes words and insights from the artists about drums.

Printed in Canada using non-toxic, vegetable based ink, and water based coating.

32 pages; measures 8.5" x 11".

Additional Information
This is a colouring book for adults and young adults; however, intermediate and secondary students would still enjoy colouring in the intricate drum drawings.

Known for her expansive multidisciplinary approach to art making Vancouver-based Dana Claxton, who is Hunkpapa Lakota (Sioux), has investigated notions of Indigenous identity, beauty, gender and the body, as well as broader social and political issues through a practice which encompasses photography, film, video and performance. Rooted in contemporary art strategies, her practice critiques the representations of Indigenous people that circulate in art, literature and popular culture in general. In doing so, Claxton regularly combines Lakota traditions with "Western" influences, using a powerful and emotive "mix, meld and mash" approach to address the oppressive legacies of colonialism and to articulate Indigenous world views, histories and spirituality. This timely catalogue is the first monograph to examine the full breadth and scope of Claxton's practice. It's extensively illustrated and includes essays by Claxton's colleague Jaleh Mansoor, Associate Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia; Monika Kin Gagnon, Professor in the Communications Department at Concordia University, who has followed Claxton's work for 25 years; Olivia Michiko Gagnon, a New York-based scholar and doctoral student in Performance Studies; and Grant Arnold, Audain Curator of British Columbia Art at the Vancouver Art Gallery.

Additional Information
160 pages | 9.08" x 10.60"

An Indigneous Art Colouring Book for Adults and Children.

IKWE is a colouring book by Anishinaabe artist Jackie Traverse. Featuring brand new works, the stunning images in IKWE celebrate the spiritual and ceremonial aspects of women and their important role as water protectors. 

“I had the privilege of going to Standing Rock twice. The strength and power that came from the women there inspired this book. To be a woman is to be a life giver and water protector. Even if you never have children, you have that sense, and the duty to honour and protect the water is within you,” writes Traverse.

Reviews
“The importance of celebrating Indigenous women and girls’ space and place within our collective journey toward healing, empowerment and reconciliation cannot be overstated. When we, as Indigenous women and girls, see ourselves reflected in positive and powerful ways, it renders emotional and spiritual transformative change in our lives. Jackie’s art, her book and her life fundamentally contribute to the positive imagery of Indigenous women and offers a sacred way to understand one another moving toward reconciliation in Canada.” — Nahanni Fontaine, NDP MLA for St. Johns, Legislative Assembly of Manitoba

“Jackie’s work is that medicine that connects us all to a time when the earth and her women were equally respected as sacred —life givers, leaders, teachers and healers. Her genius is to help make us remember.” — Leslie Spillett, Ka Ni Kanichihk, Winnipeg

“I first received Jackie’s colouring book as a gift. I was immediately struck by the feminine strength, beauty and resiliency in her drawings. The teachings she shares in the back of the colouring book add so much spiritual depth to her already powerful work! Hiy hiy mistahi Jackie for sharing your gifts of art and words, along with your cultural teachings with your drawings. — Lynette La Fontaine, Aboriginal nurse educator with Chee Mamuk, BC CDC

Additional Information
50 pages | 10.00" x 8.00"