Looks at the performance project Radio Healer that combines traditional Indigenous music and performances with modern digital technologies.
From PDC '14: Proceedings of the 13th Participatory Design Conference: Short Papers, Industry Cases, Workshop Descriptions, Doctoral Consortium papers, and Keynote abstracts -- Volume 2
American Review of Canadian Studies, vol. 31, no. 1-2, [Aboriginal Peoples: Special Issue], Spring/Summer, 2001, pp. 209-23
Description
Discusses artists who are reclaiming rock art as part of their own history and "re-inventing" the art form. Includes artists such as: Joanne Cardinal-Schubert, the late Norval Morrisseau, and Ahmoo Angeconeb.
Pencil sketch of the steamer Northcote. Members of 'C' Company, Infantry School Corps, on shore in foreground, smaller boat in front of Northcote. Trees and landscape in background. Item found within folder 1 of file Rebellion, 1885.
Pencil sketch of Indian chief mounted on horse at left and Red River Cart at right; trees in background. Written at bottom of sketch: Pte. J.W. Craig / C.Co. I.S.C / Toronto Ont. Item found within folder 1 of file Rebellion, 1885.
Sketch of Metis fighters on land firing upon a government relief boat in background; possibly based on the attack on the steamer Northcote during the battle of Batoche during the Northwest Resistance.
Image of a refugee camp during the Northwest Resistance. Women and children of Batoche were permitted to leave the village to escape enemy fire. Visible are supplies piled up on the ground in front of a cluster of tents.
Canadian Journal for Traditional Music, vol. 28, 2001, pp. 24-32
Description
Discusses reasons for Aboriginal participation in the military, links between historic warrior societies and powwows, and the activities at contemporary powwows which honour veterans.
Humanities, Social Sciences and Social Justice in Education Thesis (Ph.D.)--Ontario Institute for Studies in Education of the University of Toronto, 2014
Collection of Dr. Peter Purdue, College of Education, University of Saskatchewan.
Published in Harper's Weekly, May 9, 1885 [Page] 297.
No article associated with this image in the newspaper.
Drawn by T. De Thulstrup from sketches in the Toronto "War News."
A series of 1885 newspapers with articles covering the Saskatchewan Uprising. Includes The Penny Illustrated Paper and Illustrated Times of May 16, 1885, the Montreal Daily Herald and the Daily Commercial Gazette of July 8, 1885. Papers cover the battles of Batoche and Cut Knife Hill.
Riel Rebellion troops (Canadian militia?) in the Touchwood Hills, east of Humboldt, en route to Long Lake, N.W.T. Man on white horse is General Middleton, according to Aboriginal archivist Wes Fineday. (See RDB). There were several successive HBC fur trade ports in Touchwood Hills. Note telegraph poles.
Indigenous Affairs, no. 4, Sustainable Development, 2001, pp. 50-57
Description
Describes the challenges faced by the nomadic residents of south and central Sahara due to violence, governmental instability and a possible resurgence of tourism.
To access this article scroll down to page 50.
Note: The description of this document uses wording that was common to mainstream society of that time period in history. As such, it contains language that is no longer in common use and may offend some readers. This wording should not be construed to represent the views of the Indigenous Studies Portal or the University of Saskatchewan Library.
A short article on the ongoing Northwest Resistance and some biographical information and a sketch of Louis Riel from the perspective of an Eastern Canadian Newspaper. Includes a large sketch of Louis Riel "in his costume of a Canadian half-breed."
Humanities Research, vol. 8, no. 1, 2001, pp. 37-50
Description
Argues that the inclusion of exhibitions and collections came about because of three developments: changes in perceptions about definitions of "art" and"primitive art", and the recognition of art as a commodity.
CultureWork, vol. 6, no. 1, September 2001, p. [?]
Description
Study consisted of literature review, survey of art galleries and interviews with practicing artists. Found that issues with accessibility to markets involved differences in culture, categorization of works as "traditional" or "contemporary", and expectations based on identity.
The individual in the photograph is on guard duty at a sentry post at Prince Albert, NWT, 1885. A few possibilities exist for what this photograph represents. It appears to be a Northwest Mounted Police man (note the pith helmet), or less likely, a member of the Prince Albert Volunteers, or the Prince Albert Home Guard taken during the "siege" of Prince Albert.
[Studies in American Indian Art: A Memorial Tribute to Norman Feder]
E-Books » Chapters
Author/Creator
Arni Brownstone
Description
Analyzes pictorial styles of different robes in an effort to identify which tribes produced them.
Excerpt from: Studies in American Indian Art: A Memorial Tribute to Norman Feder edited by Christian F. Feest.
Hybridity: Objects, Trade, and Transformation: A Mini-Symposium
Media » Film and Video
Author/Creator
Karen Kramer Russell
Description
Curator of Shapeshifting: Transformations in Native American Art, mounted at the Peabody Essex Museum in 2012, speaks about the exhibition.
Duration: 27:48.
Indian Arts Research Center at the School of Advanced Research 2014 Speaker Series
Media » Film and Video
Author/Creator
Christi Belcourt
Sherry Farrell Racette
Dylan Miner
Douglas Miles
Description
Three projects are discussed: Walking with Our Sisters, Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes), and Apache Skateboards.
Duration: 1:13:53.
A head and torso portrait of Chief Whitecap of the Moose Woods Reserve, now called the Whitecap Dakota First Nation. Photo taken in Regina in 1885 after the North West Resistance. Whitecap reportedly saved the people of Saskatoon from massacre at the time of the resistance. The Dakota people under his leadership fled the U.S. Cavalry for Canada in ca. 1862.
Decolonization, vol. 3, no. 1, Indigenous Art, Aesthetics and Decolonial Struggle, 2014, pp. 101-118
Description
Examines a form of creative resistance and discusses how a music video is used to develop a Native feminist aesthetic that is tied to land sovereignty, representation and community power.
Study looks at the meaning and significance of musical recordings that reflect Aboriginal identity and presents three case studies of Aboriginal rock groups.