Book review of: Plains Indian History and Culture by John C. Ewers.

Distinguishes three basic types of powwows and concentrates on the third type, the annual summer powwow.

Photographs and descriptions of works shown in exhibit in Kansas City.

Book review of: The Plains Warbonnet by Barry E. Hardin.

Describes the material, techniques used, and design of a ladies beaded handbag representative of the Nez Perce beadwork style.

Exhibition and catalogue review: Poignant Regalia

Apologia:The titles of some postcards use 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. Selection of early Western Canadian postcards held at the University of Saskatchewan Library Special Collections Department. Includes studio portraits as well as depictions of camps, powwows, parades, totem poles and residential schools.

Description of four examples attributed to the tribe and construction details.

Negative of an artists representation of Chief Poundmaker, in traditional costume.

A few Aboriginal men in ceremonial dress stand in the foreground. Most of these men wear a full head-dress. There is a teepee and a large group of people in the background.

File contains 19 negatives of Pow Wow dancers at Indian Pow-Wow Parade and Pow Wow Princesses Aug15-90. The negatives are all outdoor pictures of dancerns in traditional garb.

File contains 4 negatives of Pow Wow dancers in costume (presumably in Prince Albert, SK) on August 13, 1991.

File contains 4 negatives of traditionally costumed dancers at a Pow Wow (presumably in Prince Albert, SK) on Aug 15, 1990.

File contains 8 negatives of floats with Aboriginal people on board at an unnamed Pow-Wow Parade (presumably in Prince Albert, SK) on Aug 15, 1990.

Image of a pow-wow with Chief Beardy (plumes on hat) and Chief Okamesis [after] the Northwest Resistance. A group of non-Aboriginal men stand behind the Chiefs.

Need to return to traditional format of Indian ceremonies is discussed.

Photographs of powwow contestants along with descriptions of the dancers' regalia.

Produced in conjunction with an exhibition of 11 examples of regalia worn by dancers. Contains links to series of ten videos about the history of the powwow, curator's talk and demonstrations of the various dance styles. Related material: Educational Guide

Describes the origin of the Thunderbird American-Indian Dancers, made up of Cherokee and Hopis Native Americans, who operate out of New York City, often holding powwows at the YMCA.

Anthropology Thesis (Ph.D.)--Indiana University, 1981.

Discusses the social and spiritual power of traditional and contemporary dance.

Image depicts two women walking outside of a settlement. Both wear blankets, one with beadwork and the other holding a buffalo horn (?).

Historical note:

Mr. Shepherd was a farmer, author and curator of the Western Development Museum, Saskatoon. His papers consist of personal correspondence, 1938-1977, subject files, 1933-1977; books, 1961-1977 and newspapers. Among the subject files are ones on the Royal Canadian Mounted Police, the Cypress Hills area, Sioux Indians, and the Western Development Museum. The Books section is mainly about books he wrote.

Aboriginal people from Prince Albert Saskatchewan in costume for the Yorkton Saskatchewan Jubilee Exhibition in 1958.

A group of Cree men, women and children in powwow style clothing pose in front of a group of teepees. Taken at Yorkton Jubilee celebrations, July, 1958. An Aboriginal man in western clothing kneels at the centre.

A photograph of a totem pole lying prone in the Prince Albert Armories, 1975. The pole was carved by a First Nations man originally from British Columbia.

Entitled: "Jim Delaney's Drunk". Indigenous people in background (3 on horseback), Delaney up front. One man non-indigenous person in back. Town site visible in background.

Entitled: "Our Neighbours in the Arctic". Elderly man, two children with man and woman. Elderly man with pipe in his mouth holding a large knife.

Entitled: "A Cree Indian". Portrait of a man with pipe and fur cap.

Note: The title and 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. Titled: "Cocona, Sinipawksoyissi Stokeman, Sarcee Squaw". Standing with hands crossed in front.

Titled: "Cree in Exhibition Dress" Johnny Bear. Seated in elaborate chair made with horns.

Entitled: "Cree Indians". Depicts two people wrapped in blankets (one standing, one on horseback) with a small settlement/camp of five teepees in the background.

Title: "Immoyimi, Blackfeet Indian".

Labeled: "Iron Shield, Blackfoot". Person posing in front of teepee with Treaty medals (?).

Close-up (profile) portrait of man with cowboy hat (with feather).

Titled: "Mutsenamakan & Stumetsekini, Sarcee Indians". Mutsenamakan kneeling, Stumetsekini seated in chair.

Title: "Omukoatasskim, Sarcee Indian".

Portrait of man seated in chair.

Portrait of unidentified man. Seated wrapped in patterned blanket, feather in hair.

Titled: "Sikunmakio, Sarcee Indian Girl". Seated, looking away from the camera.

Entitled: "(?)stokumi, Sarcee Indian". Studio portrait profile of man seated wearing headdress and metal arm bands.

Title: "The Horn Society of Alberta Indians". Several men in full dress standing in line.

Title: "Three Indian Chiefs". Celebrating Queen Victoria's Diamond Jubilee. Three men in mixed traditional and European dress.

Entitled: "Three Indian Maids". Depicts three women posing standing in front of tent/teepee.

Two men lying down smoking pipes inside of a teepee. Hanging above them are numerous blankets. Head dresses lay on the floor. Bedding is clearly visible.

Looks at how the sneaker has become an object of cultural production, reflecting identity construction of youth subcultures.

Story tells of the purchase of a Native Copper by the Tsimshian chief Wasaiks.

Finds no reference to traditional use of bands prior to the Grace Dance. Includes diagrams and photographs.

Discusses the intricacies and nuances of Lakota performances of popular culture. Challenges perspectives which dismiss Indigenous engagement in contemporary culture as mimicry or assimilation, and that portray contemporaneity as opposed to indigeneity.

Examines cultural and historical contexts of particular images and questions romanticization and appropriation.