Cree Council on Sweetgrass Reserve
Crowns of Honor Sacred Laws of Eagle-Feather War Bonnets and Repatriating the Icon of the Great Plains
Cultural Climate Change: A History of Aboriginal Arts Organizations in Toronto, 1970-2010
Cultural Property Acquisitions: Navigating the Shifting Landscape
A Cultural Snapshot: Exploring the Value of Community Photography for the Coquille Indian Tribe in a Climate Change Era
Culturally Modified Capitalism: The Native Northwest Coast Artware Industry
Curator Q&A: How Indigenous Art Took Centre Stage in Sakahàn
Da.A.XIIGang, Charles Edenshaw, "Master Carpenter"
Dakota Stone Head Wand
Dancing to Say "Mahalo": Bazaar Artist Kumu Kawika Alfiche
Decolonizing Cultural Heritage of Indigenous People's Knowledge From Images in Global Films
Decolonizing Disability, Indigeneity, and Poetic Methods: Hanging Out in Australia
Decolonizing the Runway: Jessica R. Metcalfe Brings Native American Fashion Into the Spotlight
The Delaware Indians and the Development of Prairie-Style Beadwork
A Design Analysis of Quechquemitl From the Cordry Collection
Desire, Settler Colonialism, and the Racialized Cowboy
Detecting Preference in the Archaeological Record: A Study of Glass Trade Beads Among the Natchez Indians
Detoxifying Aboriginal Self-Perception and Outward Identity With Buffy Sainte-Marie
Discovering Totem Poles: A Traveller’s Guide
Domestic Production Among the Innut of La Romaine: Persistence or Transformation?
Draw, Draw, Draw and Keep on Drawing
Looks at Inuit artist, Kenojuak Ashevak, whose artwork was featured on Canada's 1970 six cent stamp.
Entire issue on one pdf. To access article scroll to p.30.
Dressing Indian: Appropriation, Identity, and American Design, 1940-1968
Driving With the Driven: A Re(-)view of the Trail of Tears in the Roadside Montage
"Drum Connection" Aboriginal Grad 2013
Duck Lake Battle Grounds
Dumb Talk: Echoes of the Indigenous Voice in the Literature of British Columbia
Eastern Beads, Western Applications Wampum Among Plains Tribes
Edenshaw's Legacy in Contemporary Art
Edwin Forrest, Metamora, and the Indian Removal Act of 1830
The Effects Upon Students of Supplementing Aboriginal Post-Secondary Transition Programs With Traditional Cultural Activities
Electro Cellist Cris Derksen 'Pow-Wow-Wows' With Creative Blend
Looks at an artist who mixes the cello with traditional Aboriginal music to pioneer her own sound.
Entire issue on one pdf. To access article scroll to p.11.
Ełexègots'edo: Sharing Our Stories
"A collection of stories and photographs of objects from the Tłı̨chǫ region".
Enabling Women to Live the Life They Choose: Women’s Work
Engaged Resistance: American Indian Art, Literature, and Film from Alcatraz to the NMAI by Dean Rader
Evaluation of Hip Hop Workshops in Arctic Bay, Pond Inlet and Leadership Youth Hip Hop Summit in Pangnirtung, Nunavut
An Exploratory Study on the Use of Photovoice as a Method For Approaching FASD Prevention in the Northwest Territories
Expressive Therapy as a Treatment Preference for Aboriginal Trauma
The Face Pullers: Ch. 1 Images - Big Bear 1825-88
The Face Pullers: Ch.1 Images - Chief Bobtail and Son
The Face Pullers: Ch. 1 Images - Lt. Gov. Edgar Dewdney, Piapot and Montreal Garrison Artillery
The Face Pullers: Ch. 1 Images - North-West Rebellion Participants from Both Sides
Photograph of a group of participants in the Northwest Resistance, from both sides. Left to Right: Constable Black, Louis Cochin, Inspector R.B.Deane, Alexis Andre, Beverly Robertson, Horse Child, Big Bear, Alexander Stewart, Poundmaker. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.
The Face Pullers: Ch.1 Images - Poundmaker
The Face Pullers: Ch.2 Images - Deerfoot with rifle
The Face Pullers: Ch.2 Images - Sarcee Woman
The Face Pullers: Ch. 2 Images - Unidentified Blood Warrior
Subject holding rifle, sitting on animal hide wearing traditional clothing. Shot in studio. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.
The Face Pullers: Ch. 3 Images - Staff and Students of Government Industrial School
Photograph of the staff and students of a government industrial school in Fort Qu'Appelle. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.