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An Arts-Based Curriculum Encounter: What Does It Mean to Live on This Land?
Call Me Angakkuq: Captain George Comer and the Inuit of Qatiktalik
Changemakers Lesson Plans: Remote Learning
Lesson plans focus on Native Americans who are fighting invisibility and creating change through their work, contributions from the past, and current actions which will impact the future.
Chasms and Collisions: Native American Women's Decolonial Labor
Contemporary Indigenous Arts in the Classroom
Decolonizing Hydrosocial Relations: The River as a Site of Ethical Encounter in Alan Michelson's TwoRow II
Digital Indigeneity: Digital Media's Uses for Identity Formation Education, and Activism by Indigenous People in the Northeastern United States
Equality
Framing Colonialism: An Analysis of Kent Monkman’s mistikôsiwak (Wooden Boat People)
Discusses two-panelled work commissioned by the Metropolitan Museum of Art in New York. One panel, entitled Welcoming the Newcomers, depicts the moment of first contact, the other, entitled Resurgence of the People, depicts contemporary struggles of Indigenous peoples.
Frederick Alexcee's Entangled Gazes
From Sea to Sea to Sea: Celebrating Indigenous Picture Books
Garden of Relatives Coloring Book
Colouring pages based on design that features plants and the animals associated with them.
Giving Life to the Truth: Indigenous Art as a Pathway to Archival Decolonization
Haa Léelk'w Hás Ji.Eetí, Our Grandparents' Art: A Study of Master Tlingit Artists, 1750-1989
Honouring: Project of Heart / Speaking to Memory
“If Only It Makes Them Pretty”: Tattooing in “Prompted” Inuit Drawings
Image-based Storytelling: A visual Narrative of My Family’s Story
A series of paintings and text written by the artist narrate pieces of her father’s story, and through the narrative offer a comparison of Dene and Western world-views and understandings of well-being. Journal has reversed the text of the third and fourth paintings.
Incorporating Culture: How Indigenous People Are Reshaping the Northwest Coast Art Industry
Indian Summer: Reclaiming and Revitalizing Native American Identity through Art
Inspiration from Museum Collections: An Exhibit as a Case Study in Building Relationships between Museums and Indigenous Artists
Inuit Art and HBC: Lesson Plan
Examines the company's role in fostering the development, promotion, collection and market for Inuit art. Suitable for Grades 4 to 12.
Kent Monkman: Life and Work
Kinscapes, Counter Histories, and Nineteenth-Century Tintypes
Examines a photograph of a North-West Mounted Police officer to discuss how Kinscape can be used to discover more interpretive possibilities within the history of the prairies.
Learn about Western Canada in the Early 1900s through the Art of C.D. Hoy: Teacher Resource Guide for Grades 7-12
Hoy was a photographer who worked in Quesnel, British Columbia at the start of the twentieth century, when the Fraser River and Cariboo Gold Rushes were taking place, resulting in different cultural groups coming together in one location. Many of his portraits were of Indigenous people living in the area. Designed to complement the online exhibition Through the Lens of C.D. Hoy: How a Chinese Canadian Photographer Memorialized a Community.
A Legal Love Letter to My Children: If These Beads Could Talk
Discusses possible changes to the legal system through Indigenous pedagogies.
Made with Love: Tracing Personal and Cultural Resilience in Annie Pootoogook’s Drawings
Art History Major Research Paper (M.A) - Ontario College of Art & Design University, 2018.
Motherland
Art Thesis (MA) -- University of Manitoba, 2022.
Northwest Coast: Educator Resource Guide
Lessons structured around items from the Seattle Museum of Art's collection.
Painting Native America in Public: American Indian Artists and the New Deal
Painting You, Painting Me: Viewing the 'Other' through Gendered-Violence against Indigenous Women and Girls in Kent Monkman's "Shame and Prejudice: A Story of Resilience"
Religion Master's Essay (M.A) -- Queen's University, 2018.
Performing Archive: Curtis + "the vanishing race"
Picking Up the Pieces: The Making of the Witness Blanket
Pocahontas Looks Back and Then Looks Elsewhere: The Entangled Gaze in Contemporary Indigenous Art
Potlatch 67-67: Then and Now
Catalogue for exhibition held to mark the 67th anniversary of the lifting of the Potlatch ban.
Related material: Lesson Plan.
“Rather Unusual Stuff”: Nathan Jackson's Early Advent of a Tlingit Modern
Reconciliation through Revitalization
For use with the article The Big Land, the Kayak and Reconciliation! by Lisa Jane Smith found on page 24 of Remembering the Children.
Remediating the “Famous Indian Artist”: Native Aesthetics beyond Tourism and Tragedy
Report on the Impact of Inauthentic Art and Craft in the Style of Frist Nations Peoples
Representations of Missing and Murdered Indigenous Women in Canadian Art
Resilience
Rethinking Image and Narrative at the Heart of Empire: Notes from Indigenous London
Presenter discusses how there has been a record of an Indigenous travelers to London dating as far back as 1502, which debunks the common attitude that Indigenous peoples and urbanity and modernity are mutually exclusive.
Duration: 48:36
Rita Letendre's Astral Abstractions
Robert Houle: Life & Work
Sovereign Graffiti on Haida Gwaii
Speaking Our Truth: A Journey of Reconciliation: Teachers' Resource Guide
For use with the book by Monique Gray Smith. Includes summary, essential questions, key concepts, vocabulary and learning activities for each chapter of book. Recommended for ages 9-13.
Teacher Resource Guide for Grades 9-12: Learn about Family and Intergenerational Knowledge through the Art of Annie Pootoogook
Includes artist biography, learning activities, explanation of her style and technique, image file, and link to book about the artist.
Through Our Eyes: Expressions of First Nations, Métis, and Inuit Cultures: Grade 9 NAC 10
Uses video clips by five Indigenous artists as a starting point for discussion, writing and research activities.
The Time of Things: The Continuum of Indigenous Customary Practice into Contemporary Art
Catalogue for exhibition of the same name which featured works by Daphne Boyer, Maureen Gruben, Susan Pavel, Skeena Reece, and Marika Echachis Swan.