In Aboriginal™, Jennifer Adese explores the origins, meaning, and usage of the term "Aboriginal" and its displacement by the word "Indigenous." In the Constitution Act, 1982, the term's express purpose was to speak to the "aboriginal rights" acknowledged in Section 35(1). Yet in the wake of the Constitution's passage, Aboriginal, in its capitalized form, became far more closely aligned with Section 35(2)'s interpretation of which specific groups held those rights, and was increasingly used to describe and categorize people. More than simple legal and political vernacular, the term Aboriginal (capitalized or not) has had real-world consequences for the people it defined. Aboriginal™ argues the term was a tool used to advance Canada's cultural and economic assimilatory agenda throughout the 1980s until the mid-2010s. Moreover, Adese illuminates how the word engenders a kind of "Aboriginalized multicultural" brand easily reduced to and exported as a nation brand, economic brand, and place brand--at odds with the diversity and complexity of Indigenous peoples and communities. In her multi-disciplinary research, Adese examines the discursive spaces and concrete sites where Aboriginality features prominently: the Constitution Act, 1982; the 2010 Vancouver Olympics; the "Aboriginal tourism industry"; and the Vancouver International Airport. Reflecting on the term's abrupt exit from public discourse and the recent turn toward Indigenous, Indigeneity, and Indigenization, Aboriginal™ offers insight into Indigenous-Canada relations, reconciliation efforts, and current discussions of Indigenous identity, authenticity, and agency. -- Provided by publisher.
Contents
Introduction -- 1. Aboriginal, aboriginality, aboriginalism, aboriginalization: what's in a word? -- Aboriginalized multiculturalism tm: Canada's olympic national brand -- Selling Aboriginal experiences and authenticity: Canadian and Aboriginal tourism -- Marketing aboriginality and the branding of place: the case of Vancouver international airport -- Conclusion: thoughts on the end of aboriginalization and the turn to indigenization.
Notes
Title appears with the trademark symbol after the word "Aboriginal".
Sub-series pertains to ca. 436 black & white negatives and b&w and colour prints pertaining to various activities and events, including hosptial tours, Banff Elementary School activities, study groups, Banff Indian Days parade and grounds, winter activities, ski jumping, banquets, conferences, wedd…
A two dimensional drawing of a donkey who has been injured. He has a bandage on his head and right ear, and a bump on the top of his left ear. He has sweat droplets coming off of his head. To the right of the drawing it says “AN ASS”inside the fold: Two drawings: 1) a man with a huge smile, which m…
A two dimensional drawing of a donkey who has been injured. He has a bandage on his head and right ear, and a bump on the top of his left ear. He has sweat droplets coming off of his head. To the right of the drawing it says “AN ASS”inside the fold: Two drawings: 1) a man with a huge smile, which makes his teeth look very boxy, and he is wearing a turtle neck, and 2) a goose. verso: a profile view of a man’s head, he has a look of surprise on his face.
Native American tribes living on the Great Plains have long attracted the attention of Euro-American scholars, inspiring over the years a vast quantity of research. The contributors to this volume discuss and evaluate all the major works of scholarship devoted to the culture of Plains Indians, from the arrival of these peoples on the North American grasslands thousands of years ago, through their subsequent Village and High Plains lifeways, to their present-day adaption to reservation and urban life. Toghether, the twenty-two authors undertake a comprehensive survey of the state of anthropology on the Plains: what it has been, what it is now, and what it may offer theory and method in the future. -- From interior dustjacket
Contents
The Plains setting / B. Miles Gilbert -- The influence of Plains ethnography on the development of anthropological theory / E. Adamson Hoebel -- The Plains culture area concept / Richard Scaglion -- Prehistoric studies on the Plains / Alfred E. Johnson and W. Raymond Wood -- An overview of Great Plains physical anthropology / David V. Hughey -- Studies in Plains linguistics : a review / Robert C. Hollow and Douglas R. Parks -- Plains trade in prehistoric and protohistoric intertribal relations / W. Raymond Wood -- The ethnohistorical approach in Plains area studies / Mildred Mott Wedel and Raymond J. DeMallie -- Plains economic analysis : the Marxist complement / Alan M. Klein -- Morgan's problem : the influence of Plains ethnography on the ethnology of kinship / John H. Moore -- Social control on the Plains / Garrick Bailey -- The Sun Dance / Margot Liberty -- The Ghost Dance / Omer C. Stewart -- The Native American church / Omer C. Stewart -- Plains Indian art / Mary Jane Schneider -- Plains Indian music and dance / William K. Powers -- Psychological anthropology / Margot Liberty and Robert Morais --The formal education of Plains Indians / Janet Goldenstein Ahler -- Plains Indian women : an assessment / Katherine M. Weist -- Research in health and healing in the Plains / Luis S. Kemnitzer -- Peoples of the Plains / compiled by Douglas R. Parks, Margot Liberty, and Andrea Ferenci.
The Banff train station is in the foreground with a Mountie directing a tourist. In the backgound is the Brewster bus station and to the right is a moose and beaver dam in Vermilion Lake. The many buildings from the town of Banff are in the background along with people engaged in various activities…
The Banff train station is in the foreground with a Mountie directing a tourist. In the backgound is the Brewster bus station and to the right is a moose and beaver dam in Vermilion Lake. The many buildings from the town of Banff are in the background along with people engaged in various activities such as fishing and boating on the Bow River, bicycling etc.. The upper half is Rundle Mountain and the Banff Springs Hotel and the Sulphur Mountain Gondola Lift.
The worldview of the Siksikaitsitapi is a journey into the heart and soul of Blackfoot culture. In sharing her personal story of coming home to reclaim her identity within that culture, Betty Bastien offers us a gateway into traditional Blackfoot ways of understanding and experiencing the world. As a scholar and researcher, Bastien is also able to place Blackfoot tradition within the context of knowledge building among indigenous peoples generally, and within an historical context of precarious survival amid colonial displacement and cultural genocide. -- From back cover
Contents
Context -- Introduction -- Innahkootaitsinnika'topi -- History of the Blackfoot-speaking tribes -- Introductory remarks -- Iitotasimahpi Iimitaiks -- The era of the dog or the time of the ancestors (Pre-eighteenth century) -- Ao'ta'sao'si Ponokaomita -- the era of the horse (eighteeneth century to 1880) -- Ao'maopao'si -- from when we settled in one place (1880) to today -- Cultural destruction -- policies of ordinary genocide -- Tribal protocol and affirmative inquiry -- Niinohkanistssksinipi -- Speaking personally -- Traditional knowledge in academe -- Cultural affirmation -- Protocol of affirmative inquiry -- Affirmation of indigenous knowledge -- Kakyosin -- traditional knowledge -- Kiitomohpiipotoko -- ontological responsibilities -- Siksikaitsitapi ways of knowing -- epistemology -- Knowledge is coming to know Ihtsipaitapiiyo'pa -- Kakyosin/Mokaksin -- Indigenous learning -- Niisi'powahsinni-language -- Aipommotsspistsi -- transfers -- Kaaahsinnooniksi -- grandparents -- Conclusion: renewal of ancestral responsibilities as antidote to genocide -- Deconstructing the colonized mind -- Eurocentred and Niitsitapi identity -- Reflections and implications.
Botanist Robin Wall Kimmerer's best-selling book Braiding Sweetgrass is adapted for a young adult audience by children's author Monique Gray Smith, bringing Indigenous wisdom, scientific knowledge, and the lessons of plant life to a new generation.-- Provided by publisher.
Contents
Meeting sweetgrass. An invitation to remember ; Skywoman falling ; Wiingaashk -- Planting sweetgrass. The council of pecans ; The gift of strawberries ; An offering ; Asters and goldenrod -- Tending sweetgrass. Maple sugar moon ; Witch hazel ; Allegiance to gratitude -- Picking sweetgrass.Epiphany in the beans ; The three sisters ; Wisgaak Gokpenagen : a black ash basket ; Mishkos Kenomagwen : the teachings of grass ; Maple nation : a citizenship guide ; The honorable harvest -- Braiding sweetgrass. In the footsteps of Nanabozho : becoming indigenous to place ; Sitting in a circle ; Burning cascade head ; Putting down roots ; Old-growth children -- Burning sweetgrass. Windigo footprints People of corn, people of light ; Shkitagen : People of the seventh fire ; Defeating Windigo.
Brave Like the Buffalo is a children’s book with a message that will inspire all readers to face the storms in their life with the help of their support systems and with a brave mindset.
Baby buffalo is surprised and scared when a storm on the prairies passes through. Mama buffalo puts on a brave face and demonstrates how to use courage and bravery to get through the literal and metaphorical storms we may face in life.
Written by Melissa Allan and illustrated by Cree illustrator Jadyn Fischer-McNab, this story uses a powerful animal, the buffalo, as a symbolic message and connection to Indigenous ways of knowing and being that helps to create a wonderful narrative rich with Indigenous ties and a heartwarming message around facing adversity.
Brave Like the Buffalo is intended for audiences aged 4-8, to be used educationally as a way to intertwine Indigenous ways of knowing and being through story. -- From publisher
Foreground from near top left to near bottom right is a snow covered mountain slope, 3 climbers with rope are on the slope, background is snow covered mountains protruding through cloud cover, top quarter is clear blue sky
Foreground from near top left to near bottom right is a snow covered mountain slope, 3 climbers with rope are on the slope, background is snow covered mountains protruding through cloud cover, top quarter is clear blue sky
Multiple sketches throughout paper: 1) Boxed off drawing of a mountain, with clouds above it and trees framing the edges, 2) A cabin surrounded by snow, with smoke coming out of the chimney, and there are some trees on either side of the cabin, 3) A lighthouse/fort like structure on the edge of a r…
Multiple sketches throughout paper: 1) Boxed off drawing of a mountain, with clouds above it and trees framing the edges, 2) A cabin surrounded by snow, with smoke coming out of the chimney, and there are some trees on either side of the cabin, 3) A lighthouse/fort like structure on the edge of a rocky cliff that has ocean waves beating up against the rocks, 4) A small cabin at the bottom of a mountain surrounded by snow, there are trees in the background and smoke coming out of the chimney, 5) In an almond shaped outline there is a profile cartoon sketch of a man with a large nose, wearing glasses, and he has a mustache, 6) A sketch of three trees, 7) Profile cartoon sketch of a man in a dress shirt and tie that is wearing a hat, 8) A mountain that is framed by trees and has a single cloud up above the peak, 9) Full body sketch of a man in profile cartoon style, and he is wearing a suit, 10) Cartoon sketch of a man’s head in profile, he appears to be wearing a scarf, 11) A cactus in the middle of a desert, 12) A sketch of a field that has trees off in the background, and is lined with a fence made from rope and two linear objects put together in an ‘x’ shape. In between 5, 6, 7, 9, 10, and 11 it says “BREWSTER TRANSPORT Co. Canadian National Parks.”