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7 teachings resource

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Short story good for grades 5+

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Curriculum supports for Alberta Year 1-9

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This website shares documents for Grades 1 to 9 English Language Arts, Social Studies, Science and Math that aim to provide: Clarity and consistency related to the Grades 1 to 9 Essential Learning Outcomes in the four core subject areas in Alberta Education's Programs of Study Understandings of

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Huge google doc of resources

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Lesson Plan: Examining the evidence of daily life in residential schools

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Lesson Plan: Examining the evidence of daily life in residential schools

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Lesson Plan: The role of media on public awareness of residential schools

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Lesson Plan: The role of media on public awareness of residential schools

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Lesson Plan: Preparing for difficult conversations

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Lesson Plan: Preparing for difficult conversations

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Helps teach K-12 what appropriation is and what revitalization is.

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In the past year, Haisla hip-hop duo Snotty Nose Rez Kids released two albums, played clubs across Canada and found themselves in rotation on several radio stations including CBC Music, which named their track "Skoden" one of the best Canadian songs of 2017.

All of that feels a little surreal to Darren "Young D" Metz and Quinton "Yung Trybez" Nyce given that they didn't even decide to pursue musical careers until last year.

"Just before 2017 we were like, 'Yo, let's do an album and call ourselves the Snotty Nose Rez Kids,'" Nyce said of the band's creation.

Now based in Vancouver, both Metz, 25, and Nyce, 28, grew up in Kitamaat Village, a Haisla First Nation reserve in northwest B.C. Nyce explained the band's music comes directly from their experiences growing up.

"We wanted to make music for our area, for people to relate to out here," Nyce said.

"And it's funny, because we always did call our friends snotty nose rez kids."

Though they've heard of kids being sent home from school for wearing a T-shirt with their band's name on it and had a (now former) manager who insisted they change it to something more palatable, the Rez Kids say it's important to embrace negative language that has been directed toward Indigenous people in Canada and claim it as a point of pride.

"When we interact with these slurs, we are confronting them, deconstructing them and regurgitating them to create our own impressions that exemplify us as the strong, creative, and intelligent Savages we know ourselves to be," they wrote in liner notes to their album, The Average Savage.

Stereotypes are also confronted in the music, as the duo frequently samples clips from old documentaries and cartoons portraying Indigenous people across North America as "savages." Those clips, Nyce said, are taken from when he was in his youth.

"Red skins, savages, Indians, kill the Indians! That was such a big part of my life growing up," he said, adding he also heard the slurs directed at him by non-Indigenous children. "This.... has been drilled into these kids' minds since they were, like, infants."

The pair hopes that by injecting themselves into popular culture, they can help create a new narrative for Indigenous people in Canada.

"It's a way to give a rant but in the form of music. And that way people actually sit there and listen as opposed to being there in person and arguing," Metz said.

"Definitely music can help out. That's my favourite way to address whatever's on my mind."

The message seems to be connecting. Although written from a firmly West Coast perspective with references to local landmarks and politics, Snotty Nose Rez Kids have won over fans across Canada and even around the world.

"We've had people from New Mexico, Denver, all over the States, buying our album and it's kind of weird to see because we're just a couple of kids from Kitamaat Village reservation who never thought this was possible," Nyce said.

He hopes to be a positive role model for the next generation of Indigenous youth.

"It doesn't matter what anybody says to them, they can do anything they want... that's what's most important to me," he said.

As for 2018, the Snotty Nose Rez Kids will release another album with fellow northwest B.C. rappers Mob Bounce under the name "Devil's Club" in the first part of the year.

"We're looking to expand as much as we can while still being ourselves," Metz said.

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How Haisla hip-hop duo Snotty Nose Rez Kids took on stereotypes and won fans in 2017 | CBC News

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In the past year, Haisla hip-hop duo Snotty Nose Rez Kids released two albums, played clubs across Canada and found themselves in rotation on several radio stations including CBC Music, which named their track "Skoden" one of the best Canadian songs of 2017.

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Buffy Sainte-Marie is touring constantly, and coming off her critically acclaimed, award-winning 2015 album Power in the Blood, nobody could ever accuse the Academy Award-winning songwriter of taking it easy. Since her groundbreaking debut, 1964's It's My Way!, the Cree singer-songwriter has been a trailblazer and a tireless advocate, an innovative artist, and a disruptor of the status quo.

Sainte-Marie has spent her whole life creating, and her artistry, humanitarian efforts, and Indigenous leadership have made her a unique force in the music industry. In 1969, she made one of the world's first electronic vocal albums; in 1982 she became the only Indigenous person to win an Oscar; she spent five years on Sesame Street where she became the first woman to breastfeed on national television. She's been blacklisted and silenced. She's written pop standards sung and recorded by the likes of Janis Joplin, Elvis Presley, Donovan, Joe Cocker and Jennifer Warnes. She penned "Universal Soldier," the definitive anti-war anthem of the 20th century. She is an icon who keeps one foot firmly planted on either side of the North American border, in the unsurrendered territories that comprise Canada and the USA.

In 2017's climate of damaging #fakenews and toxic hubris, Buffy Sainte-Marie's incisive honesty, clarity, and intelligent compassion stand out in sharp relief.
There's still work to be done, and that work is Medicine Songs.
The nineteen songs in this collection are about the environment, alternative conflict resolution, Indigenous realities, greed, and racketeering. It features a brand new politically charged rocker, "The War Racket," that slinks and pounds as Sainte-Marie sing-speaks wisdom like, "You pretend it's religion, like there's no one to blame/ for the dead and impoverished in your little patriot game." There are new recordings of some of the most insightful songs Buffy's ever written, like the decades-spanning, rock 'n' roll reportage "Bury My Heart at Wounded Knee," or the first powwow rock song, "Starwalker," an anthemic celebration of Indigenous leadership. There are timeless protest classics like "Universal Soldier," "Now That the Buffalo's Gone," and "Little Wheel Spin and Spin," as well as forgotten gems that were simply ahead of their time when first released, like the shimmery, eye-opening "Priests of the Golden Bull," and the chillingly prescient "Disinformation."
But this isn't an album of just protest songs.
"Protest songs are good, they're important, and they talk about a problem," Sainte-Marie says. "But there are other activist songs which don't have a label, but they can enlighten and liberate, inform, motivate or otherwise encourage solutions." 'Carry It On' is like that. So is 'You Got to Run,' another new rocker and collaboration with acclaimed experimental vocalist Tanya Tagaq. 'You Got To Run' might be championing a marathon runner or an election candidate, charging through self-doubt to the real victory beyond the win.

Sainte-Marie doesn't sugarcoat the truth, nor does she shy away from hard realities, but Medicine Songs is never overwhelming or oppressive. Rather than making us feel smaller, sadder or more cynical, Buffy Sainte-Marie makes us feel stronger and more capable of seeing the world around us clearly. Part rhythmic healing, part trumpeting wakeup call, Medicine Songs is the soundtrack for the resistance.

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Buffy Sainte-Marie is touring constantly, and coming off her critically acclaimed, award-winning 2015 album Power in the Blood, nobody could ever accuse the Academy Award-winning songwriter of taking it easy. Since her groundbreaking debut, 1964's It ' s My Way!, the Cree singer-songwriter has been a trailblazer and a tireless advocate, an innovative artist, and a disruptor of the status quo.

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Lance Cardinal: Cree artist and designer

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Lance Cardinal: Cree artist and designer

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paintings "Wesakechak and the origin of the moon" "ORLOFF LAKE" 1994 "Ice Fishing" 1992 "Mother Earth" 1993"...

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Welcome to the new and improved website of Alan Syliboy! An established Mi'kmaq artist, Alan Syliboy's work is influenced by the indigenous Mi'kmaq rock drawing and quill weaving traditions. Working in acrylic and mixed media, Alan creates vibrantly coloured images exploring the themes of family, searching, spirituality, struggle, and strength. The use of layering symbols and mark making creates depth and texture in Alan's work.

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Welcome to the new and improved website of Alan Syliboy! An established Mi'kmaq artist, Alan Syliboy's work is influenced by the indigenous Mi'kmaq rock drawing and quill weaving traditions. Working in acrylic and mixed media, Alan creates vibrantly coloured images exploring the themes of family, searching, spirituality, struggle, and strength.

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Made with love on the unceded Coast Salish Territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and sə̓lílwətaʔɬ (Tsleil-Waututh) peoples. © Richard Van Camp 2021. All Rights Reserved.

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Ostoro Petahtegoose: Anishinaabe and non-binary multimedia artist

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Ostoro Petahtegoose: Anishinaabe and non-binary multimedia artist

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Germaine Arnaktauyok: Inuk printmaker, painter and drawer

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Germaine Arnaktauyok: Inuk printmaker, painter and drawer

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Germaine Arnaktauyok is an Inuk printmaker, painter, and drawer originating from the Igloolik area of Nunavut, then the Northwest Territories. She is one of the Canadian North's most prolific and recognizable artists.

Teen Books (1)

Kids Books (6)

The young Inuit child Moshi longs for a pet dog like the one owned by her friend Jessica. Moshi''s father explains that the puppies that Nuna, their missing sled dog, is expecting are work dogs not playthings. While out walking, Moshi and Jessica are surprised by a sudden whiteout. Nuna finds the children and leads them to shelter in a small shed, where the dog is keeping her puppies. While the girls huddle with the pups, Nuna runs off, soon returning with rescuers. Praised by her father for thinking "like an Inuk" to survive the snow, Moshi happily chooses a pup--deciding she would rather have a sled dog than a pet.

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Germaine Arnaktauyok (Artists) - Strong Nations

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Germaine Arnaktauyok is an Inuk printmaker, painter, and drawer originating from the Igloolik area of Nunavut, then the Northwest Territories. She is one of the Canadian North's most prolific and recognizable artists. The young Inuit child Moshi longs for a pet dog like the one owned by her friend Jessica.

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"The last keynote speech I give-the reason I want this to be the last, and I say that respectfully-is because I grew up in Métis and non-status Indian politics. I have been in conferences such as this since I've been a small girl, perhaps even while I was still in my mother's belly.

I have heard talks, I have heard the hope, I have heard promises for change. I myself have been inspired at conferences, and perhaps those were in my naïve days when I didn't know then what I know now-and that is what is happening to the earth."

So began Christi Belcourt's address, "The Revolution Has Begun," at Maamwizing: Indigeneity in the Academy, a conference held at Laurentian University in November 2016.

As she made clear from the outset, Belcourt wanted this to be the last keynote for her, ever, having witnessed the vast amount of resources poured into academic and political gatherings-events where children, families and Elders, to a large extent, are not present, and where powerful expressions of hope and change too often do not result in actual change outside of the conference venue.

Kahnawake Mohawk scholar Audra Simpson, author of Mohawk Interruptus, has critiqued the framework of reconciliation for attempting to "harmonize and balance a fundamental disjuncture: a sovereign state that was and is unwilling to rescind its false claims to Indigenous land and life, and Indigenous struggles for that land and life as sovereignty."

Simpson's quote drives to the heart of Belcourt's own critique of systems of power, and her assertion of the need for Indigenous communities to build and rebuild from within.

"Reconciliation is neither comfortable nor convenient, and it shouldn't be," Belcourt herself noted in that hoped-to-be-final keynote speech. "Reconciliation without land returned and a correction of all that has resulted from our dispossession is not even possible."

She added: "Politically...I see the word reconciliation being used to rebrand the existing insidious assimilationist policies of the government."

Belcourt's practice overall bridges the immense efforts of self-organizing, resisting and sharing knowledge on the land with the space of the gallery, yet works to decentre the colonial gaze inherent in these institutions.

Further, Belcourt's work could be described as both resurgent and conciliatory, of nurturing relations through kinship networks that are place-based, inter-species and otherworldly, and in turn demonstrates, through beauty, strength and wonder, that other (to colonial capitalist) ways of being in relation to one another and to the earth are both possible and desperately urgent.

Perhaps this is a lot to ask of the artist, or of art more broadly, but Belcourt challenges us to think of the artist away from the individual and to think of art as interwoven with the variegated fabric of life. And she challenges us to walk softly in careful consideration of where and how we step.

In my recent phone conversation with this Michif (Métis) artist-whose ancestry originates from the historic Métis community of Manitou Sakhigan (Lac Ste. Anne) in Alberta and who was raised in Ontario, where she is currently based in Anishinaabe territory on the North Shore of Lake Huron-we spoke about her recent work, much of which is geared towards revitalizing Indigenous culture, language and land-based knowledges as well as drawing attention to the urgent situation facing the planet as a result of resource extraction and climate change.

Indeed, Belcourt's position of less-talk-more-action is reflected in her wide-ranging practice as a visual artist and community organizer; this positions her artistic practice within a continuum that, for Belcourt, is related to offerings, ceremony, resistance, resurgence and everyday life as a Michif woman while simultaneously calling to our shared responsibility as human beings as one species among many.

"I do not feel my work is separate from the work of the hundreds and thousands of Indigenous Peoples and Nations who are doing work that brings health, healing or light to their communities and yet go unheralded," Belcourt said upon receiving the Governor General's Innovation Award in 2016. "These awards are coming at a time when Canada is gearing up to celebrate its 150-year anniversary. Unfortunately, it is an anniversary that will not hold the same celebratory feeling for many Indigenous Peoples as it does for Canadians."

Belcourt centres her practice in the relationality of all beings and the responsibility arising from this.

"In Indigenous ways of thinking and knowing and being, the concept of walking softly on the earth is not a quaint thought," she tells me over the phone. "It's a practical thought about preserving life on the earth."

Christi Belcourt, Water Song, (2010-11).

Belcourt's well known paintings of floral motifs-one of which is going on view starting June 22 as part of "Wapikwanew: Blossom" at Karsh-Masson Gallery in Ottawa-evoke customary Métis beadwork designs. Water Song (2010-11)-which is in the collection of the National Gallery of Canada and served as the basis for Belcourt's collaboration with the Italian fashion house of Valentino -are profoundly sumptuous. Their rich colours are dotted upon a black velvet-like background, and they draw upon a deep understanding of the medicinal uses of plants and the need for clean water to sustain healthy ecosystems.

A recent painting directly addresses the artist's concern for water systems. The Great Mystery of Water (2016) depicts a school of fish in Belcourt's beadwork style combined with a more fluid brushstroke. The fish, which look to be walleye that are found in the Great Lakes and Northern Ontario waters, swim in a diamond formation and are surrounded by water adorned with jewel tones. Trails of gold stream from the fishes' fins as they cut through the water.

This painting is flat and decorative yet full of movement and vitality, a testament to the artist's developed sense of composition and rhythm. Belcourt's creative collaborator Isaac Murdoch is featured in a video promoting a petition to recognize the Great Lakes as a living being, and Belcourt's painting expresses this message through aesthetic means.

Christi Belcourt, The Great Mystery of Water, 2016.

The aesthetic pleasure derived from these works is not meant to elevate the natural world to the status of art, but rather to signal the connection to the natural world as itself transformative.

"Images are sources of power and have the ability to confront history," writes curator Candice Hopkins, drawing from the writings of philosopher Vilém Flusser, in her essay "Why Can't Beauty Be a Call to Action?" This power derives from what Flusser terms "the world of magic, a world in which everything is repeated and in which everything participates in a significant context," as opposed to the world of history, which is a world of causes and consequences.

Such images, include, I would argue, Belcourt's paintings, which dazzle with visual delight and abundance while also confronting the crisis of history-including our colonial past and present-by making visible the "magic" or mystery contained in the world around us.

The images Belcourt creates also circulate in significant contexts beyond the art world.

One of her images, Water is Life (2016), has been silkscreened on banners in what that artist calls "community-art builds," screen-printing sessions organized by members of the Onaman Collective, which is comprised of Belcourt, Erin Konsmo and Isaac Murdoch.

Both Belcourt and Murdoch have made several such images available for free on the collective's website to be used in actions and marches. The banners made during the community-art builds are mailed to water protectors and water actions across North America with the request that they be forwarded on to another protector, another action as they continue to be needed.

Christi Belcourt, Water is Life, 2016.

The phrase Water is Life speaks to "the popular Lakotayapi assertion 'Mni Wiconi'-water is life or, more accurately, water is alive," as Jaskiran Dhillon and Nick Estes explain in "Introduction: Standing Rock, #NoDAPL, and Mni Wiconi" on the Cultural Anthropology website.

Belcourt's imagery for this phrase, in painted form, depicts a woman with ceremonial markings-tattoos on her face and a skirt wrapped with blue and green ribbons-pregnant with child (described by Belcourt as a "Thunderbird baby"), raising her fist in the air. Water courses through her womb and gives her something to hold onto before returning to the clouds/Thunderbird beings that send rain to replenish her container.

Belcourt's work here and the message it represents begins to unravel-at least in aesthetic terms-the intersectional violence of colonialism and capitalism that are propagated through gender, race, class and sexuality. Indigenous women are differently impacted by the gendered effects of resource extraction industries, which is incommensurable with the belief held by many Indigenous cultures that women hold knowledge of the water and are its protectors.

Belcourt's practice also moves beyond representational strategies, beyond the symbolic. She is particularly interested in actively revitalizing Indigenous knowledges and ways of being in relation to the land.

Working with the Onaman Collective, whose name references traditional materials used in red ochre paint and in treating wounds, Belcourt has been raising funds for Culture Camp Forever, which has recently been named Nimkii Aazhibikong. ( An online auction supporting the camp started earlier this month, and continues to June 29.)

Youth-led with Elder guidance, the year-round camp will be a place where land-based activities like trapping and gardening, self-governance and ceremony can take place daily, becoming normalized as these practices once were. Already, some of these activities have taken place in shorter-term bursts.

Christi Belcourt and Isaac Murdoch, Reconciliation with the Land and Waters, 2016. Acrylic on buffalo robe. Buffalo robe gifted to Onaman Collective by Grand Chief Derek Nepinak. Exhibited at #callresponse at grunt gallery in Vancouver.

Recently, I worked with Belcourt and Murdoch on #callresponse, co-organized with Maria Hupfield and Tania Willard in partnership with grunt gallery in Vancouver.

Belcourt and Murdoch's collaborative work for #callresponse, titled Reconciliation With the Land and Waters (2016), begins with ceremony on the land-a move to restore the practice of offerings that was at one time commonplace.

A record of these activities was then painted on a buffalo robe and placed in the gallery space at grunt, signalling a relationship with land and the other-than-human beings that comprise it as exceeding the colonial concept of land as property-as well as current appeals for a reconcilable future, at least where the nation-state is concerned.

As the #callresponse project tours-currently, it is on view at SAW Gallery in Ottawa until July 30-the robe will eventually be returned to the artists to be used in teaching and storytelling, perhaps at the Culture Camp Forever.

"We are in sacred times," Belcourt said near the end of her lecture in Sudbury last November. "We are in a spiritual battle for this earth. We need a revolution of people who are willing to follow the pipe, not have one. The earth needs us and the future generations have us and we are out of time for the waters."

She continues: "So I apologize if this was not the keynote you thought you would get. And like I said, I hope that this will be the last keynote speech ever. Because I want to spend all of my time, from here on in, on the land, building the Culture Camp Forever."

The final thought she left her audience with?

"All good stories end in a revolution."
Tarah Hogue is a curator and writer based in the unceded Coast Salish territories of Vancouver. In September, Hogue will join the Vancouver Art Gallery as its first senior curatorial fellow in Indigenous art.

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"The last keynote speech I give-the reason I want this to be the last, and I say that respectfully-is because I grew up in Métis and non-status Indian politics. I have been in conferences such as this since I've been a small girl, perhaps even while I was still in my mother's belly.

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Nathalie Coutou: Mi'kmaq graphic artist and entrepreneur

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Nathalie Coutou: Mi'kmaq graphic artist and entrepreneur

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Khewa, the Indigenous art gallery boutique in Wakefield, was born out of fire and ashes.

A refugee from an abusive relationship, a 26-year-old Nathalie Coutou was looking for a safe place to land when she arrived in Wakefield in 1996. Coutou, whose father is French and mother Mi'kmaq, was running from the violence in her personal life, and a more widespread hostility towards Natives after the Oka.

Her world was in crisis.

"I never associated myself growing up as just one identity, Canadian, Quebecoise, Indigenous or Métis," Coutou says. "My roots are multicultural. That's why I came here. I felt at home."

A graphic artist with no business training to speak of, Coutou opened Khewa in 2000 as a meeting place with art. On her first day, she only had 13 paintings for sale. She named her gallery Khewa after the north wind; the same wind, she says, that blew her into Wakefield.

More importantly, she had created a space where people like her - Métis, mixed-race, First Nations and Canadian artists, artisans and their friends - would feel welcome.

"There was nowhere I could find myself except through entrepreneurship," Coutou explains. "I love people. They feel safe [and] accepted here."

Despite Coutou's goodwill and best intentions, the village proved slow to warm to a shop selling Aboriginal art. The Oka crisis was still fresh, and racism towards First Nations was festering. Nevertheless, Coutou was on a mission to make a home for her children, keep her boutique going and help pave the way to make Indigenous culture Canadian culture.

There were lean years in the beginning. No matter, Coutou was confident her boutique would succeed eventually.

"The accountant didn't know how I stayed open after the first year," Coutou says laughing a little. "I borrowed money and kept opening the door every day. I was determined to keep my dream alive."

Twenty years later, Khewa is regarded as one of the leading galleries for Indigenous arts and crafts in the region, winning the Outaouais' Grand Prize for Tourism in 2007.

On the morning I visited, customers were lined up waiting for a half-hour before she opened the store.

Every item Khewa sells - clothing, art, footwear and housewares - is made in Canada by Indigenous artists and artisans. In 2018, she launched Coutou Collection, a line of wearable art she designs.

"Being an entrepreneur is my culture," she says. "I was born to make things happen. Khewa is a life legacy, a commitment to support Indigenous, Inuit and Métis art and culture."

A charismatic storyteller, she gradually seduced the community, building professional relationships and a business selling art, crafts, footwear and jewelry. Every item comes with a story.

"I have to keep regular hours, otherwise we'd never close," she says.

She also hosts social and educational events to promote Indigenous art and shares time with the community. She started producing the Wakefield Harvest Festival, an event she produced for eight years.

"I'm a guide to cultural, entrepreneurial understanding," she says after some thought. "I believe in people coming together without judgment through dialogue."

"I had no clue that it was going to be here for 20 years," she laughs. "Everything in the boutique is due to the resilience of the artist who believes they can make a difference with their art."

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'Being an entrepreneur is my culture:' Wakefield's Khewa Indigenous Art Gallery and Boutique was born of fire

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Khewa, the Indigenous art gallery boutique in Wakefield, was born out of fire and ashes. A refugee from an abusive relationship, a 26-year-old Nathalie Coutou was looking for a safe place to land when she arrived in Wakefield in 1996.

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Kent Monkman is a Cree artist who is widely known for his provocative interventions into Western European and American art history. He explores themes of colonization, sexuality, loss, and resilience - the complexities of historic and contemporary Indigenous experiences - across a variety of mediums

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Leah Dorian: Metis children's book author and illustrator

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Leah Dorian: Metis children's book author and illustrator

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Leah Dorion is proud to announce the release of her new book, sînapân kîskasâkâs : a guide to making contemporary style Métis ribbon skirts, co-authored by Bonny Johnson and published by Gabriel Dumont Institute Press.

sînapân kîskasâkâs: A Guide to Making Contemporary-Style Métis Ribbon Skirts will assist you in the creation of your own Métis style ribbon skirt. Authors, Bonny Johnson and Leah Marie Dorion guide you through the process with detailed instructions which are accompanied by photographs of each step. This resource comes with a companion DVD, and introductions from both authors on the historical and contemporary uses of these traditional Métis style ribbon skirts. Available now for$24.95 at www.shopmetis.ca!

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Leah Dorion now has some of her original art available on products created by Oscardo. Oscardo currently features her artwork "Breath of Life" on different types of items such as scarves and magnets.

oscardo.com/collections/leah-dorion

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Strong Nations has just released a "Winter Series" of art cards featuring winter themed paintings by Leah Dorion. Also, they have released a new collection of children's books by Leah Dorion.

Strong Nations Order Form - New Collection

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Leah's Art is on Storybird.com!
With the support of the Library Services for Saskatchewan Aboriginal Peoples (LSSAP) Digital Imaging Project, Leah's original art is now available for kids and adults to write and print their own books and poetry. Visit www.storybird.com to check it out!

Title: Three Red Wing Blackbirds, 2015

Title: Waving to the Northern Lights, 2015

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NOW AVAILABLE: Mother Earth Colouring and Activity Book (2015) by Metis Artist Leah Marie Dorion

MADE IN SASKATCHEWAN

Also Available at:

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When a mother...

When a mother writes, she observes the world.
When a mother reads to her children, she nurtures imagination.
When a mother sings songs of inspiration, she spreads joy.
When a mother searches out solutions, she role models creativity.
When a mother asks her child for an opinion, she brings forward voice into our world.
When a mother smiles, her home is warm and loving.
When a mother is self-aware, she holds a powerful fire!

-Leah Marie Dorion

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Leah dorion has original art for sale through the Saskatchewan Craft Council Boutique in Saskatoon.
They are located at 813 Broadway Avenue.

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Strong Nations is proud to announce a new addition to our Strong Readers series ~ We welcome the work of Leah Marie Dorion! Forthcoming titles will introduce 8 new Métis leveled readers that will support all learners. Students will learn about our Métis Peoples and educators will be supported with embedded literacy instructional practices.

The Strong Readers series are currently available at www.strongnations.com

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Leah Dorion's latest children's book My First Metis Lobstick has been published by the Gabriel Dumont Institute. Visit www.shopmetis.ca to purchase! View the press release here.

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FEATURED POEM BY LEAH MARIE DORION
WHO WILL SPEAK FOR THEM?

Indigenous rights, human rights, water rights, rights of the child, enter the age of survival, for all earthly species. Who will speak for them?

World ecological destruction from industrial pollution, oceans containing plastic reefs, toxic mercury, nuclear waste, is this humane?

What about rights of our whale, our salmon, our tuna to live in clean water?

Traditional clan systems speak but who listens to the elderly, powerless, non-confrontational, and humble?

Fracking, uranium waste, toxic gases, intergenerational by-products of western capitalism...

What gives corporations the exclusive power to disregard the rights of all earthly species? Media campaigns touting social responsibility, carbon credits...

Which world bank holds the royalty payment in "trust" for interspecies compensation of capitalist ecological destruction to their territories? Will there be a time when our animal kingdom holds the balance of power? Will they accept our blood money royalties or will they laugh at our ridiculous love for money and power?

Asbestos, arsenic, underground death rivers, birds dropping dead from the sky, deformities in caribou. Who will speak for them?

Development decisions made by elite millionaires drinking treated water, breathing from oxygen bars...Will people of privilege listen to our grandmothers and the clan mothers?

Treaties, agreements, false consultations, narrowly defined impact studies, duty to consult and accommodate, convenient distractions....while unmarked loads of radioactive waste move unknowingly through our communities and nations....decisions already made and implemented...

Enslavement, containment, misinformation, divide and conquer, all species indentured servants to oil and gas capitalist production, animal birth defects, infertility, allergies, as dark forces modify, commodify, strategize, and capitalize on suffering of all earthly species.

What about ALL our rights to clean air, clean water, clean food, clean land, and truthful education, as fish spawn in black sludge leaked from an uncontained tailings pond?

Oil slicked eggs, alarming death rates of pollinators, is this sustainability?

Who will speak for them?

Are there any balanced solutions we have not considered to heal the ugly truth of our current reality!

I will speak for equal rights to clean air, clean water, clean land, clean food, and pray every day as a beautiful blanket of white northern winter snow gives Mother Earth her well-earned rest.

Leah Marie Dorion, North Saskatchewan River, 2013

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Leah Dorion is proud to announce the release of her new book, sînapân kîskasâkâs : a guide to making contemporary style Métis ribbon skirts, co-authored by Bonny Johnson and published by Gabriel Dumont Institute Press. sînapân kîskasâkâs: A Guide to Making Contemporary-Style Métis Ribbon Skirts will assist you in the creation of your own Métis style ribbon skirt.

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Educator's Guide: Remembering the Children

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Educator's Guide: Remembering the Children

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Accompanies the Remembering the Children document

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2022 Resource from NCTR

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This searchable database (while not exhaustive) features a diverse array of documents and on-line resources about and for Indigenous education across Canada. NCCIE researchers have generated these lists based on what they could find in their respective regions. If you would like to recommend another resource to add to the library, please click here.

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One of the core messages heard during NCCIE's first year is how important languages are to First Nations, Métis and Inuit Peoples and the central role languages play when passing on knowledge and culture through Indigenous education. To reflect this close relationship between Indigenous languages and Indigenous education, and in support of the United Nations Declaration that 2019 is the 'Year of Indigenous Languages', NCCIE has initiated a number of language projects. Click on the links below to explore these initiatives.

Ten videos about Indigenous education programs have been voiced-over in different Indigenous languages. Listen to them here.

Do you wonder how 'Indigenous Education' is written in different Indigenous languages? Click here and learn.

NCCIE has several stories about different Indigenous language learning experiences across the country. Begin with these ten and then search for more.

Regardez ces conseils de site Web pour activer les sous-titres.

A number of tips have been created to help you navigate the website. To learn how to view English stories with French subtitles and vice versa, watch these.
Des conseils ont été créés pour vous aider à naviguer sur le site Web. Nous vous invitons à les consulter pour savoir comment visionner des vidéos en anglais avec sous-titres français et inversement.

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Indigenous Languages One of the core messages heard during NCCIE's first year is how important languages are to First Nations, Métis and Inuit Peoples and the central role languages play when passing on knowledge and culture through Indigenous education. To reflect this close relationship between Indigenous languages and Indigenous education, and in support of the [...]

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Use the area below to select different background maps for displaying NCCIE stories, illustrating regions by treaties, languages and territories. Please note that the maps are a work-in-progress and may not be 100% accurate. Information for the maps is sourced through Native-Land.ca.

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FilmsSharing Knowledge Learn More

Introductory VideosStart Your
Journey Here Watch Videos

PlaylistsLand, Language
and Culture Explore Playlists

Indigenous GovernanceIndigenous
Governance Learn More

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The National Centre for Collaboration in Indigenous Education (NCCIE) is hosted by First Nations University of Canada, which has a 40-year history of being indigenous-owned, operated, and controlled.

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In these video and audio stories about Indigenous education initiatives, three questions are explored:

What is the initiative about? Listen to a description.

What is their perspective on Indigenous education? How do they understand it?

What is their vision for Indigenous education over the next ten years?

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In these video and audio stories about Indigenous education initiatives, three questions are explored: What is the initiative about? Listen to a description. What is their perspective on Indigenous education? How do they understand it? What is their vision for Indigenous education over the next ten years?

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Weaving Indigenous Education into your practice: A Teacher's Resource Guide

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Weaving Indigenous Education into your practice: A Teacher's Resource Guide

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Chapter 1 introduces the NCCIE and this guide, which is grounded in Indigenous education principles. Elder Shirley Williams opens with a prayer in Anishinaabemowin, followed by her explanation in English. Introductory and key background information is shared by the co-authors, NCCIE founder Dr. Mark Dockstator, and Dr. Nicole Bell. Dr. Jennifer Dockstator concludes this chapter with a tour of the NCCIE website to show viewers how to find resources and lesson plans.

For the documents introduced in Chapter 1 and referred to in future chapters, click here.

References for Chapter 1
(in order of appearance)

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Weaving Indigenous Education into Your Practice: A Teacher's Resource Guide - NCCIE

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This virtual guide comprises a playlist of five video chapters, which illustrate how teachers can weave interviews, videos, and lesson plans from NCCIE.CA into their practices. Elementary and secondary teachers who are new to Indigenous education can use this guide when introducing Indigenous lesson plans into their classrooms and land-based learning.

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Teaching Resource Center: Huge collection of lesson plans!

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Teaching Resource Center: Huge collection of lesson plans!

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Teaching Resource Centre - National Centre for Collaboration in Indigenous Education

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NEW!! Watch the 'virtual guide' to the Teaching Resource Centre: "Weaving Indigenous Education into Your Practice: A Teacher's Resource Guide" Click here. Welcome! The educational resources you find here are for Indigenous and non-Indigenous educators teaching students and learners of all ages. Here, you will find: Lesson plans developed with an Indigenous perspective for [...]

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In this atlas, you will find outstanding reference maps of Indigenous Canada, as well as a section devoted to Truth and Reconciliation, including detailed pages on many aspects of the topic with contemporary and historical photography, maps and more.

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A local commitment to reconciliation

The Calgary Aboriginal Urban Affairs Committee reviewed the 94 Calls to Action from the Federal Truth and Reconciliation Commission to determine which are actionable by Calgary's municipal government. The results are Calls to Action identified in White Goose Flying: A Report to Calgary City Council on the Indian Residential School Truth and Reconciliation, which includes local context and alignments.

The report specifies that Calgary Public Library should:
"... inspire stories, and through its work with community partners including the Heritage Triangle, coordinate and collaborate on exhibits and programming about the true history and legacy of Indian residential schools, in and surrounding Calgary. Libraries and museums are among the most highly utilized and trusted public 'gathering spaces' in the city, therefore their reach is substantial. A two-pronged approach in (a) training City staff internally while at the same time as (b) creating outward-facing public awareness and learning opportunities for Calgary citizens, creates impact."

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Truth and Reconciliation | Calgary Public Library

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The Truth and Reconciliation Commission of Canada's 94 Calls to Action and the White Goose Flying Report call upon the Calgary Public Library to help share the true history of what happened to Indigenous peoples at Canadian residential schools. Learning the truth is an important first step for all Canadians toward healing our community.

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Treaty 7 Storytime | Trudy Wesley: “Ne Îethka Makochî Chach” | Calgary Public Library

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0:00 / 2:41•Watch full video

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Treaty 7 Land Acknowledgment | Indigenous Services | Calgary Public Library

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Residential Wreck - Heritage School with Harmony Parent - HarmonyiacKids

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Okicitawak: Worthy young men - perceptions of Indigenous manhood | Keestin O'Dell | TEDxMacEwanU

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We are more than murdered and missing. | Tamara Bernard | TEDxThunderBay

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Canadian Shame: A History of Residential Schools | Ginger Gosnell-Myers | TEDxVancouver

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Decolonization Is for Everyone | Nikki Sanchez | TEDxSFU

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A Beginner's Guide to Decolonization | Kevin Lamoureux | TEDxSurrey

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Four Faces of the moon: animated short doc

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Four Faces of the moon: animated short doc

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"Four Faces of the Moon" - Canada's dark colonial past | Animated Short Doc

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The National Aboriginal Veterans Monument in Ottawa | Image Source: waymarking.com

There are many Indigenous warriors to be honoured throughout time however, Aboriginal Veterans Day and Remembrance Day are both days for Indigenous and non-Indigenous Canadians to come together to remember the ultimate sacrifice Indigenous soldiers made to protect the freedom of this country. Initially government policy didn't allow Indigenous people to serve in the army overseas because they weren't considered Canadian citizens and didn't even have the right to vote. Eventually these policies were disregarded due to the high number of war casualties and demand for troops. Although First Nation soldiers in the First and Second World Wars made significant contributions, they still faced racism, discrimination, language barriers and were never awarded the same benefits that non-Indigenous soldiers received once they returned home.

Last year MUSKRAT Magazine published an article, honoring Indigenous warriors throughout time. This year MUSKRAT is shining a light on Indigenous warriors from the First and Second World Wars. More than 7000 Indigenous Canadians volunteered for these wars, including 72 Indigenous women, with over 500 of them losing their lives in battle. MUSKRAT Magazine presents Indigenous War Heroes of World War 1 and World War 2.

1. Alexander Smith, Jr.
Haudenosaunee WW1

Lieutenant Smith served in the militia for 17 years before the First World War. He won a Military Cross for his work on September 1916 in Somme, France where "he proceeded with a party of bombers and captured an enemy trench and 50 prisoners, displaying the greatest courage throughout. He was twice buried by shells but stuck to his post" while he was injured in the deadly battle where 111 soldiers lost their lives. On April 1917 he returned to Canada to continue his military career and was promoted to Captain and named an Officer of the Order of the Black Star, an honour given to only 5 other Canadians.

2. Charles Checker Tompkins
Cree/Métis WW2

Once Tompkins completed his military training in 1940, he was summoned to the Canadian Military Headquarters in London to be recruited in a top secret mission. Fluent in Cree, he took on the new role as a "code talker", where he would translate military messages into Cree to send throughout European battlefields to reach their destinations. Once received these messages would then be translated back into English by another "code talker".

3. Charles Denton Smith
Haudenosaunee WW1

Charles Smith worked with the militia for 10 years and quickly rose to the position of Captain. He was awarded a Military Cross two days before the war ended on November 9, 1918. According to his citation he, "led his platoon forward with such rapidity that he surprised a party of [enemy] sappers preparing to blow up a road mine." His party deactivated the fuse just before ignition with Smith capturing a machine-gun from the enemy group.

4. Charlotte Edith Anderson Monture
Mohawk WW1

Monture became the first First Nations nurse to serve as a member of the Army Nurse Corps during World War 1. Some historical publications state that she was denied nursing training in Canada because she was Aboriginal. After being trained in the US and serving in World War 1, she returned home to her reserve at Six Nations to work as a nurse.

5. Francis Pegahmagabow
Ojibwa WW1

Pegahmagabow is recognized as one of the fiercest snipers in Canadian war history, although figures aren't exact, he is credited with 378 "kills" and the capture of 300 prisoners. He won two Military Medals, one in 1916 at the Battle of Mount Sorrel for capturing a large number of German prisoners and another in 1917 at the Passchendaele Battle for exemplifying bravery as a runner and scout. He returned home in 1919 to live on Parry Island where he served as Chief and then as a councillor.

6. George McLean
Syilx WW1

Mclean served in both the Boeing War at the turn of the century and in the First World War. During the Battle of Vimy Ridge, April 1917, he launched a daring solo attack on a group of enemy soldiers where he "single-handedly captured 19 prisoners and later when attacked by five more prisoners who attempted to reach a machine-gun, he was able-although wounded-to dispose of them unaided, thus saving a large number of casualties." Afterwards, he returned to Canada for medical treatment and became a firefighter in Vancouver.

7. Henry Norwest
Métis WW1

Norwest was another well known Indigenous sniper during WW1 who spent most of his time in the dangerous no man's land and often slipping behind enemy lines. He was awarded a Military Medal for his brave work on "the Pimple", an almost impenetrable peak on Vimy Ridge that Canadian Forces conquered. A week later, On August 18, 1918 he was killed by an enemy sniper bullet while moving into position for his next assignment and was buried in Somme, France.

8. Tommy Prince
Ojibway WW2

After being turned down several times to serve in the war, Sergeant Prince was finally allowed to enlist in 1940. In 1994, while spying on the Germans in an abandoned farmhouse, he exemplified bravery by donning civilian clothing to fix a communication wire right in front of German soldiers. That same year he walked across enemy lines for several days without food or water to locate an enemy camp. Soon after he was decorated by King George VI with a Military Medal and Silver Star. During the Korean War, he was injured and honorably discharged from the military.

9. Tom Longboat
Onondaga WW1

Longboat was a champion long distance runner who won the Boston Marathon in 1907 and the Professional Marathon Championship in New York City in 1909. At the age of 29, he put his running career aside to enlist in the army. During service he was wounded twice and declared dead once, but survived and returned home to Canada in 1919.

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REMEMBERING AND HONOURING INDIGENOUS WAR HEROES: WORLD WAR 1 AND 2 - MUSKRAT Magazine

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The National Aboriginal Veterans Monument in Ottawa | Image Source: waymarking.com There are many Indigenous warriors to be honoured throughout time however, Aboriginal Veterans Day and Remembrance Day are both days for Indigenous and non-Indigenous Canadians to come together to remember the ultimate sacrifice Indigenous soldiers made to protect the freedom of this country.

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Book: Aboriginal People in the Canadian Military

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Book: Aboriginal People in the Canadian Military

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Yann Castelnot is a former resident of Vimy, France, who immigrated to Canada 13 years ago. Over the past 20 years, he's been researching Indigenous people who served in the Canadian Armed Forces, and the US Army. He's an amateur historian who's done his investigation voluntarily, and collected the names of over 154,000 veterans to date.

Castelnot's efforts earned him a Minister of Veterans Affairs Commendation in 2017, an award given to those who've contributed to the remembrance of
the contributions, sacrifices, and achievements of veterans.

I had the opportunity to interview the historian, Castelnot, who said he's always been fascinated with North American Indigenous people.

"It started with a passion for the North American Indigenous people during my childhood, I was like a lot of French, very curious about this culture, and I started to read a lot on the subject, to attend exhibitions, to enter associations," said Castelnot. "In 1998, I saw an article about Sioux in the trenches. At the time, the internet was not as developed as today, and the subject of Native American veterans was not addressed anywhere. There were some vague documents, but nothing more."

He began by looking for information about Native soldiers that enlisted in both world wars, and then created a list of these soldiers.

"It had to be a temporary project since I thought it would be too difficult to find information and names. I started by creating the list of Native Canadians during the world wars - easier for me because of the proximity of the military cemeteries," Castelnot said. "I later added the names of those from the USA, than those of Korea, and finally I decided to look for all those who served after the date of December 29, 1890, the date of the massacre of Wounded Knee and the official end of the Indian wars."

In 2013, he received the Diamond Jubilee Medal, and it triggered him to search for other wars. "Would those who served in the Boer War, or the War of 1812 also have the right to be honored?" said Castelnot.

Yann uncovered a lot of interesting information beyond well-known soldiers like Francis Pegahmagabow, Tommy Prince, Thomas Longboat, Joseph Brant, and Henry Louis Norwest. He said we could add to that prominent list the names of Sgt. Jerome Frank Narcisse - a recipient of three military medals, Captain Smith Alexander - Military Cross and recipient of the Order of the Black Star of Poland, and a woman from the Six Nations named Krystal Lee Anne Giesebrecht Brant - Master Corporal, and descendant of Joseph Brant.

When it comes to Native veteran history, it's also necessary to include the lack of information, the errors often conveyed, and the historical oversights, Castelnot pointed out.

"We forget that more than 11,000 Natives fought alongside their British friends during the War of 1812," said Castelnot. "We forget that nearly 30,000 of them fought with the French or English during the colonial wars because they had established military, political, and economic alliances with newcomers. North American history is not only about massacres."

Indigenous men, young and old, volunteered for the same reasons as other Canadians, and they were respected by their brothers-in-arms.

"There are some cases of racism, but it's marginal," said Castelnot. "They did not have an easy life when they returned from the front, for a majority of them, yet they massively reengaged during World War II."

Restoring data is important. For example, before starting his research, Castelnot heard there were 7,000 to 12,000 enlisted during the two world wars, and 500 dead; whereas in reality, more than 14,800 Indigenous served in the Canadian army, resulting in 1,600 deaths. The database includes information and stories about the United States' first code talkers; on Admiral Clark, who served during the two World Wars, and Korean War; Walkabout Billy, who was one of the greatest heroes of the Vietnam War; the first Native American officers during the War of 1812; and completely Native American units during the American Civil War who fought for the south. In each war there is a special case to tell.

I asked Castelnot if it was true that most Indigenous soldiers never received farmland and money that was promised to them when they returned from World Wars I and II.

"The story is a bit more complicated. It is necessary to go back to the context of the time: Reserves were administered by Indian Affairs, and those who lived there depended on the Indian agents. Money and land were controlled by these agents," said Castelnot. "It should be noted that there were a few instances where these agents actually worked for the good of people in their reserves, and thereby did encourage young people to go out of the reserves and live 'free' with their own money and property."

It must also be remembered that the First World War had an impact. Native people are no longer perceived as a savage, but as a brother in arms (within the war) who has done his duty. Most of the soldiers send money to their families still on the reserves, where they were no longer enfranchised. As a result, the money belonged to the reserve and not to the family, and that is the same for the lands, so they mostly disguised their aboriginal status in order to obtain off-reserve property.

When you look at the Indian Affairs reports of the time, you realize that more than half the Aboriginal soldiers hired did so without declaring their status, and the Indian officers actually learned by chance that these men (and women) were enrolled. The majority of Indigenous soldiers lived on reserves and did not own property - land and money to come back to without any benefits from their wartime efforts.

But in summary, this remains a minority case.

"In fact, in the Indian affairs archives (RG10 de bibliotheque and archives Canada) there are nearly 2,500 document references for land transfers for Aboriginal veterans on reserves (at least those known to date), this is small compared to the 8,300 who served," said Castelnot.

In 2003, the federal government offered a public apology and compensation to Native veterans.

Castelnot's database is one of the largest collection of Indigenous soldiers' names, and provides a way to learn more about Indigenous men and women's contributions to Canadian, and American forces.

Luc O'Bomsawin, founding president of the Aboriginal Veterans of Quebec Association, told CBC News that the database has shed much-needed light on history that's often forgotten or "put aside."

"His work is essential, and there's not too many people that did the same kind of work with that dedication," said O'Bomsawin, an Abenaki veteran from Odanak, Que.

O'Bomsawin said he was surprised by the new information Castelnot uncovered, such as the number of soldiers who received decorations, and even just the sheer number of soldiers from both sides of the border who served in various conflicts.

"We were told different numbers, but nobody really had something to base their assumptions on," said O'Bomsawin. "With him going through the records, and newspapers, and whatever he's searched, he managed to change these figures. The figures that he puts on are a lot more serious than what I've seen up to now."

Castelnot's database is at NativeVeterans-en.e-monsite.com.

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Indigenous Soldier Database Lists Over 150,000 Names

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Yann Castelnot is a former resident of Vimy, France, who immigrated to Canada 13 years ago. Over the past 20 years, he's been researching Indigenous people who served in the Canadian Armed Forces, and the US Army. He's an amateur historian who's done his investigation voluntarily, and collected the names of over 154,000 veterans to date.

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Namwayut: Chief Robert Joseph shares his residential school story

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Namwayut: Chief Robert Joseph shares his residential school story

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Namwayut: we are all one. Truth and reconciliation in Canada | Canada is ...

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Indigenous name changes for Alberta places is about preserving culture, language, says First Nations

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First Peoples Principles of Learning for Teachers

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First Peoples Principles of Learning for Teachers

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Lesson Plan: Exploring the Life of Thanadelthur

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Lesson Plan: Exploring the Life of Thanadelthur

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Canadian Indigenous Woman

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Every Child Matters: Reconciliation through Education

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Every Child Matters: Reconciliation through Education

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https://www.youtube.com/playlist?list=PLkeHzCJcF3sXo2duvNk30EMqPc3FSJo5d

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Competition Pow Wow #SSIF2021 - YouTube

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Share your videos with friends, family, and the world

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YouTube Playlist: Summer Solstice Indigenous Festival (creative workshops all ages)

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YouTube Playlist: Summer Solstice Indigenous Festival (creative workshops all ages)

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https://www.youtube.com/playlist?list=PLkeHzCJcF3sU9_N6yin5Fcm_VHwiGH-Y7

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Creative Workshops #SSIF2022 - YouTube

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Share your videos with friends, family, and the world

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YouTube Playlist: Summer Solstice Indigenous Festival (videos for kids)

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YouTube Playlist: Summer Solstice Indigenous Festival (videos for kids)

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https://www.youtube.com/playlist?list=PLkeHzCJcF3sV0YS5-pWovIViP7qaCmweI

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Education Days #SSIF2022 - YouTube

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Share your videos with friends, family, and the world

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https://open.spotify.com/playlist/6S2tY1iBvQTlQ9aoL7SXhp?si=f0aad50ed5a5480c&nd=1

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(overview)

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La nouvelle de la mise au jour de 215 tombes non marquées sur le site de l'ancien pensionnat indien de Kamloops a provoqué une onde de choc dans tout le pays et dans le monde entier, alors que les survivants racontent depuis des décennies l'histoire de ces précieux enfants disparus. Cette carte cherche à transmettre des faits véridiques sur les enfants disparus et les lieux de sépulture non marqués, donnés par les survivants, les familles et les communautés. Certains de ces sites ont été retrouvés bien avant 2021 et de nombreux autres font encore l'objet d'enquêtes actives.

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La nouvelle de la mise au jour de 215 tombes non marquées sur le site de l'ancien pensionnat indien de Kamloops a provoqué une onde de choc dans tout le pays et dans le monde entier, alors que les survivants racontent depuis des décennies l'histoire de ces précieux enfants disparus.

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Star Stories - Indigenous astrology and storytelling

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Guiding Voices: Curriculum Development Tool

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Guiding Voices: Curriculum Development Tool

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Activities to build foundational knowledge in teachers

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Activities to build foundational knowledge in teachers

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Building and Applying Foundational Knowledge in Schools

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Building and Applying Foundational Knowledge in Schools

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Residential Schools Workshop Facilitator Guide

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Residential Schools Workshop Facilitator Guide

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FNMI – First Nations, Métis, and Inuit Professional Learning Project

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The First Nations, Métis, and Inuit Professional Learning website provides educators with supports and tools to design and facilitate professional learning. It offers curricular resources that build capacity, engage learners, and build paths toward reconciliation through education.

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Home

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Resources to support reconciliation in the classroom. Staff development, foundational learning, classroom supports.

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First Nations, Métis and Inuit students experience greater success as engaged participants in learning that is authentic and connected to their personal values and life experiences. First Nations, Métis and Inuit students, families and communities need to feel that curricula honours their perspectiv…

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Home

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Accompanies a document

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Where are The Children- Healing The Legacy of Residential Schools

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Beautiful short films celebrating Canadian Indigenous musicians and artists

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GIIWEWIZH Artist Vignettes & Live Programming Night Two

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Paddle Painting Workshop with Claire Brascoupé

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Drawn to Nature with Alberta Rose W/Ingnuk - National Indigenous Peoples Day

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Education Days - Summer Birds Storytelling and Art Activity

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Accompanies video

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Accompanies a document

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Children's story about lack of clean water in First Nations communities

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CHILL LOGICAL?

Most original reddnation fans are wondering who is chill logical?. blayden brule new owner of Reddnation is chill logical. most rapers need a name for the game and he has picked his.

ORIGINAL REDDNATION SONGS

Check out more of the projects Reddnation has worked on.

CONTACT ME

contact me if you have any questions about new songs or future outcomes of Reddnation

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CHILL LOGICAL? Most original reddnation fans are wondering who is chill logical?. blayden brule new owner of Reddnation is chill logical. most rapers need a name for the game and he has picked his. ORIGINAL REDDNATION SONGS Check out more of the projects Reddnation has worked on.

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Lawrence Paul Yuxwelupton: Cowichan/Syilx Visual Artist

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Lawrence Paul Yuxwelupton: Cowichan/Syilx Visual Artist

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Lawrence Paul Yuxweluptun, graduated from the Emily Carr School of Art and Design in 1983 with an honours degree in painting. Yuxweluptun's strategy is to document and promote change in contemporary Indigenous history in large-scale paintings (from 54.2 x 34.7cm to 233.7 x 200.7cm), using Coast Salish cosmology, Northwest Coast formal design elements, and the Western landscape tradition. His painted works explore political, environmental, and cultural issues. His personal and socio-political experiences enhance this practice of documentation. Yuxweluptun's work has been included in numerous international group and solo exhibitions, such as INDIGENA: Contemporary Native Perspectives in 1992. He was the recipient of the Vancouver Institute for the Visual Arts (VIVA) award in 1998.

Introductory video

The introductory video narrated by artist Lawrence Paul Yuxweluptun is a brief artist statement on the political discourse of his work. Duration: 59 seconds.

This video requires the free Flash Player, which may be downloaded from this link.

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Lawrence Paul Yuxweluptun, graduated from the Emily Carr School of Art and Design in 1983 with an honours degree in painting. Yuxweluptun's strategy is to document and promote change in contemporary Indigenous history in large-scale paintings (from 54.2 x 34.7cm to 233.7 x 200.7cm), using Coast Salish cosmology, Northwest Coast formal design elements, and the Western landscape tradition.