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 Museums: Representing Native America in National and Tribal Museums]
Decolonizing Social Work "Best Practices" through a Philosophy of Impermanence
Decolonizing the Runway: Jessica R. Metcalfe Brings Native American Fashion Into the Spotlight
The Delaware Indians and the Development of Prairie-Style Beadwork
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
Developing and Organizing an Archival Education Training Opportunity for Oregon's Tribal Communities: The Oregon Tribal Archives Institute
Dinjii Zhuh: Productive Disruptions
Discovering Totem Poles: A Traveller’s Guide
Douglas Cardinal and the Indigenous Creative Process
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.
Drawn from the Ground: Sound, Sign and Inscription in Central Australian Sand Stories
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
Early Osage Dancers: 1885-1923
Eastern Beads, Western Applications Wampum Among Plains Tribes
Edenshaw's Legacy in Contemporary Art
Editor's Note [American Indian Quarterly, Volume 39, Number 1]
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
Endurant Bodies/Atmospheric Borders: Race, Indigeneity, and Transmedia Art in Contemporary Canada
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
Evaluation of the Kòts'iìhtła ("We Light the Fire") Project: Building Resiliency and Connections through Strengths-Based Creative Arts Programming for Indigenous Youth
An Examination of Native Americans in Film and Rise of Native Filmmakers
Explorations in Haida Formline Design: Abstract Paintings
Four lessons designed for Grades 8-12.
An Exploratory Study on the Use of Photovoice as a Method For Approaching FASD Prevention in the Northwest Territories
Exploring the Relationship Between Cultural Identity, Health, and Social Support With An Aboriginal Women's Hand Drum Group
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.