Dance

Consists of a brief description of a contemporary Sundance and of healing practices.

Traces the history of a one-hundred-year-old caribou skin men's dancing garment (kapitaq) from the moment the caribou was killed, through construction of the garment by an Inuinnait woman, its acquisition by the museum, loan to Juliette Gaultier de la Verendrye for use in her stage performances, and finally back to the museum's cold storage. History research essay towards a Master of Arts.

Observations at a Sundance encampment.

Males watching pow-wow; boy in foreground with Mohawk haircut, man with headdress in middle of image, and man playing drum in background. Indoor scene.

Book review of: The Ojibwa Dance Drum by Thomas Vennum.

Interviewee gives a general account of her life.

Discusses the influence the Wild West show had on dance customs and the suppression of the dance on reservations.

Argues that no serious attempt has been made to understand the date of its origin and whether the dance has a mythical origin or an historical foundation.

Image of several Aboriginal youth in ceremonial dress dancing at the Pow Wow.

Historical note:

One Arrow Cree First Nation signed Treaty 6 on September 6, 1878; while the One Arrow Reserve is located 53 km southwest of Prince Albert, the band has a total of 9,331.4 ha surrounding the South Saskatchewan River. This band settled on its reserve late in the autumn of 1880, in what was considered a fine location to begin agricultural development. As the chief was old, a headman by the name of Crowskin was in charge of the band in 1882, and contributed much to its development.

Comments on dance originating with the Kiowa or Comanche in Oklahoma between 1911 and 1918.

Explores the origin of various jingle dances and the traditions behind them.

A black & white photograph of Richard Lindemere's painting of an Aboriginal person in ceremonial dress. The person wears a fur [bear] robe and a [wolf] mask and carries a hand drum and a large spear.

People, some of whom are in traditional dress, at Pion-Era, Saskatoon, SK, 1958.

Book review of: The People Have Never Stopped Dancing: Native American Modern Dance Histories by Jacqueline Shea Murphy.

Book review of: The People Have Never Stopped Dancing by Jacqueline Shea Murphy.

Book review of: The People Have Never Stopped Dancing by Jacqueline Shea Murphy.

Book review of: The People Have Never Stopped Dancing by Jacqueline Shea Murphy. Entire issue on one pdf. To access review, scroll to page 128.

People in traditional dress form a dance line at the Pion-Era Festival, Saskatoon, SK, 1958.

People in traditional dress performing a dance at Pion-Era in Saskatoon, SK. Two tipis can be seen in the background. Taken in 1958.

A crowd watching a traditional First Nations dance at Pion-Era in 1960.

Discusses strategies and exercises used to promote individual and community healing. Chapter seven from Healing Collective Trauma: Using Sociodrama and Drama Therapy edited by Eva Leveton.

Anthropology Thesis (Ph.D.)--Indiana University, 2009.

Examines how cultural displays for non-Aboriginal audiences, which were sometimes revised for public presentation, were used as a method to increase political legitimacy.

Argues that during the period between the 1860s and the 1960s performance art offered the most favourable site for answering to stereotypes such as vanishing, pre-modern and degenerate races. Uses the careers of Ester Deer and Molly Nelson as examples. Chapter from: Antimodernism and Artistic Experience: Policing the Boundaries of Modernity edited by Lynda Jessup

Discussion about the meanings of various Indian words in English ; family relationships ; and the cannibal dance known as Hamatsa. Mentions a fire in Katit, British Columbia in 1935.

Discussion of the English equivalent of a number of Indian words. Describes how power may be acquired.

Gives Indian names for various geographical features; and discusses family relationships.

Photograph of a Kwiakutl dancer.

36 images of Physically Challenged Children at a Christmas party at HMCS Unicorn in Saskatoon on December 13, 1975. Scanned here are six images of Native dancers who performed for the children.

Explains the meaning of the dance.

Interview of Mr. Harper that includes stories about the Lousy Ones and Scar Face.

Consists of an interview about various aspects of the Pigeon Society; the role of various members; women in the society; competing for wives; the Crow Carriers Society; the Brave Society including a story of a fight against the Cree when the enemy was scared away by the dancing of the Braves; and the Scaping dance.

Consists of an interview about the acquisition of the Pigeon Society by the Blood Indians; the ceremonials of the Pigeon Society, including the transfer of bundles.

Describes this very old dance.

Transcriptions of Elders' oral histories of the Kangiryuarmiut's seasonal migration and culture, and description of the Ulukhaktok Literacy Research Project.

Film about the Hawaiian approach to gender diversity and a true story about a girl who wants to be in an all-boy hula troupe at her school. For grades 6-12. Duration: 24:41 Discussion Guide.

Discussion guide to accompany A Place in the Middle, true story about a girl who wants to be in an all-boy hula troupe at her school. For grades 6-12. Watch A Place in the Middle.

Describes changes in the dance ceremony and argues that it serves as an example that assimilation is neither complete nor inevitable.

Outlines the committee work needed to stage a good powwow.

Two Indigenous dancers who discuss the ongoing trend on non-Indigenous people "playing Indian" and how this trend reinforces stereotypes and could lead to the erasure of Indigenous culture over time.

Cultural and artistic criticism piece; considers Alexie’s film as an adaptation and as a poetry film. Discusses artistic tools of referencing, trans media adaptation, and genre defiance; and considers the social and political statements made about identity formation, cross cultural relationships, and the centering of Indigenous narratives.

Part of: University of California in American Archaeology and Ethnology, vol.12, (pp443-465).

Book review of: The Potlatch Papers by Christopher Bracken. Hamatsa by Jim Dowell. To access this review, scroll to page 87.

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.

Discusses the significance of powwows.

Leadership Studies Thesis (Ed.D.)--University of San Francisco, 2013.

Powwow basics, protocols, and frequently asked questions.