Tag Archives: identity

Module 3 Post 4 – Longhouse Media TV Youtube Channel

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I explored the Youtube channel for the host of the March’s Point video (Longhouse Media TV) and found a wealth of documentary videos made by many young natives using media technology. The statement of purpose from this media source echos much of the things we are learning in the course: “to catalyze Indigenous people and communities to use media as a tool for self-expression, cultural preservation, and social change.”

One of the video’s that caught my attention was Awakening Our Community. This documentary is comprised of interview snippets of indigenous people of various ages and gender discussing the topic of ‘where community comes from’ and how staying sober and having community impacts their lives. Here are some of their voices:

“It takes a community to raise a child, and when we lose children (e.g. to drugs and alcohol) it affects our community also”.

“Getting involved in my culture, I guess that pulled me away from that negative world out there… and not wanting my kids to grow up in a household like that.”

“I think it’s about each of us helping one another, and lifting each other up because we have a lot of gifts and talents within ourselves, and we just need to reach out to each other and support one another, and stop pulling each other down, but lift ourselves up together”.

“I think the first step to saving our community would be to heal, to come together and heal together, and have people come to community events where we can come together and pray together, and sing together… because the loss of our culture is a huge reason why have these addictions.”

Technology is seen here as a tool bringing people together, and promoting culture and expression as a way of bringing healing to a community.

Module 3 – Post 3 – Voices in the Wind Productions

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Voices in the Wind Productions is the website of Dr Judy Iseke, who is the Canada Research Chair in Indigenous Knowledge and Research and Associate Professor, Faculty of Education, at Lakehead University in Thunder Bay, Ontario.  Dr. Iseke’s work is focused on “challenging the appropriation and misrepresentation of Indigenous Knowledge in mainstream art and media.”  Dr. Iseke received a $500,000 grant in 2012 for Michif language research, the results of which will be presented on the website.  The site also contains some short films (descriptions sourced from the website) with aspects of storytelling and traditional knowledge:

How the Spirit Moves – In this animated short film, we see the human beings who enter the lodge in their spirit form and the animal spirits who help them heal.

A Living History of Metis Families as told by Dorothy Chartrand – Dorothy Chartrand, a Métis grandmother, tells the story of her Metis families as their lives are affected by the political and social change that impacted Métis lives in the 1800s to today.

Grandmothers of the Metis Nation – This film shares Metis grandmothers stories and histories told by the grandmothers and a narrator, to understand the complex roles and responsibilities of Metis women in the past and today.

Understanding What Life is About – Storytelling with Tom McCallum – Tom McCallum (White Standing Buffalo), Métis Elder and storyteller, explains that stories are a history of our people from many lifetimes and that stories are real. In English, with some Cree, he shares 6 entertaining stories which have been animated.

Paper Mache Totem Poles – Misrepresentation, appropriation, and denigrating Indigenous knowledge is still common practice in educational institutions despite efforts of critical educators to challenge these practices.

If you have time for only one, I recommend “Paper Mache Totem Poles”, as it does a nice job of exposing problematic representational practices common to Western education

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Module 2 – Post #5 – Through the Eyes of Youth

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In her video interview for ETEC521 Module 2, Amy Parent mentions the deep insights that she felt were captured through the film projects undertaken by youth, at the Centre where she was working, in collaboration with an exceptional organization called Reel Youth.

After some searching, I tracked down three film projects (Residential Truth: Unified Future, Bandaid, and Decolonization) that had been produced with Reel Youth, expressing the thoughts and feelings of First Nations youth regarding residential schools and the concept of decolonization. The longest of these three films conveys how raw the feelings are and how much of the hurt from the residential school system endures in the current generation. This project includes footage of video interviews with young people and their parents, sharing their thoughts and emotions in a frank and very moving way. The two shorter films are both claymation projects, which employ simple and beautiful imagery that evokes just as powerful a reaction as the video interviews.

This site and these film projects served as good reminders to me of the range of ways, (music, image, voice) in which messages can be conveyed when there is an important and compelling story to be told.

Module 2 – Post #3 – Generational Journeys

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As part of my research into digital storytelling as a means of expression for indigenous culture and knowledge, I have been seeking out digital stories that are shared online for public review and consideration.

Six such stories have been made available through the Prairie Women’s Health Centre of Excellence, and their project kiskino mâto tapanâsk: Intergenerational Effects on Professional First Nations Women Whose Mothers are Residential School Survivors . Each storyteller, in this project, has a unique perspective on the long term effects of the residential school system on her family and relationships. However, as Lisa Forbes states in the opening of her video story, there is a great value in viewing all of these pieces together, to understand the collective strength of their message. Each woman has the opportunity to introduce her digital story, providing insight into her choices and her motivation for the piece. While much of the material has a sombre tone, there is also a common thread of strength and resilience passed along from one generation to the next. The journeys of these storytellers provide snapshots of the ongoing legacy of the residential schools, but also reflect the plans and hopes of these women for the generations that follow them.

Entry 7: Canadians increasingly reporting aboriginal identity

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Gloria Galloway and Travis Grant published this article in 2013 in The Globe and Mail  The authors report on the phenomenon where many Canadians are now claiming to be aboriginal.   Galloway and Grant cite Wayne Smith of Staistics Canada, who discovered “an unexpectedly high number… who claimed to be aboriginal”  in the 2011 data from the National Household Survey. Yet, many of these Canadians did not report aboriginal identity in the census of 2006.

I find this article worrisome on the basis of comparing data from 2006 and 2011. Having worked with Staistics Canada for the 2002 census, I was told, and in turn relayed, that nams on the census were simply for keeping track of households completed.

The authors comment that aboriginal leaders believe the trend to be partly a result of social media and a new sense of pride.  Betty Ann Lavallee, National Chief of the Congress of Aboriginal Peoples states that young people ” are no longer afraid. They know they have the basis of law behind them and they’re becoming extremely vocal.”

Wilf falk, Manitoba’s top statistician,  indicated that ‘the number of  people who self-identified as Metis at both the national and provincial level went up about 60 percent… He attributes the shift to increased awareness of identity.”

http://www.theglobeandmail.com/news/national/native-people-boldly-standing-up-to-be-counted/article12912056/

 

 

 

Entry 6 : Who are the Indengious peoples?

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One of the pages under The International Work Group for Indigenious Affairs  (IWGIA)  is entitled Identification of Indigenious People  offers a fairly clear definition of the concept of Indigenious people.  This site offers definitions by the International Labour Organization (ILO) as well  as Martinez Cobo(report to the UN Sub-Commission on the Prevention of Discrimination of Minorities(1986)) and Mme Erica-Irene Daes (chairperson of the united Nations’s Working group on indigenious People).

A commonality of the definitions focuses on the ancestry of indigenious people of having inhabited a territory or area prior to colonization.  Also, the definitons indicate that indigenious peoples  have maintained an unique social, cultural, religious, linguistic and political aspects differing from the mainstream society.

Likewise several important challenges of indigenious peoples include:

Collective Rights:  rights for the collective groups not just rights for the individual.

Self- determination:  the preservation, development, and tansmission of their unique identity

Self-Identity;  identified and accepted as a group with an unique culture, language, etc.

Land and Natural resources’ rights : rights for the lands and resources that the ancestors have inhabited before colonization

Martinez Cobo states that “They form at present non-dominant sectors of society and are determined to preserve, develop and transmit to future generations their ancestral territories, and their ethnic identity…”

Mod 2:1 Mary Greyeyes

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A popular representation of First Nations people is that of the “noble savage.”  The character of Nanook in Nanook of the North is a prime example of the noble savage who lives off the land using traditional tools against the elements of nature. The noble savage is a romanticized representation that serves to contrast First Nations peoples with modern western culture. At best, the noble savage image makes us gaze in awe at a long-gone past, at worst it is a deliberate misrepresentation that reinforces a stereotype.

There is a photo in the Canadian War Museum archives once labelled,  “Unidentified Indian princess getting blessing from her chief and father to go fight in the war.” and currently, wrongly, labelled, “Mary Greyeyes being blessed by her native Chief prior to leaving for service in the CWAC” Neither is accurate. It is interesting to think of the purpose of this picture with the captions originally given it. I’m not sure that I would have questioned the second title (the first does seem far fetched) but it certainly serves to paint a rosy picture of First Nations people in the second world war. The story of this picture does not belong to me so I will let you read it from the source.

Module 2 – Post 2 – National Film Board of Canada

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While researching Nanook of the North and looking for other film based cultural media, I came across the Daughters of the Country film series that was produced by the National Film Board of Canada.  The series dramatize general themes and time periods in Metis history, from 1770 to present day.  Film descriptions provided by NFB Canada.  All films are available on the National Film Board of Canada’s website for online viewing, and/or purchase.

The films are:

1) Ikwe – This film features a young Ojibwa girl from 1770 who marries a Scottish fur trader and leaves home for the shores of Georgian Bay. Although the union is beneficial for her tribe, it results in hardship and isolation for Ikwe. Values and customs clash until, finally, the events of a dream Ikwe once had unfold with tragic clarity.

2) Mistress Madeleine – This film, set in the 1850s, unfolds against the backdrop of the Hudson’s Bay Company’s monopoly of the fur trade. In protest, some Métis engage in trade with the Americans. Madeleine, the Métis common-law wife of a Hudson’s Bay Company clerk, is torn between loyalty to her husband and loyalty to her brother, a freetrader. Even more shattering, a change in company policy destroys Madeleine’s happy and secure life, forcing her to re-evaluate her identity.

3) Places Not Of Our Own – This film, set in 1929, depicts how Canada’s West, home to generations of Métis, was taken over by the railroads and new settlers. As a result, the Métis became a forgotten people, forced to eke out a living as best they could. At the forefront is Rose, a woman determined to provide her children with a normal life and an education despite the odds. But due to their harsh circumstances, a devastating and traumatic event transpires instead.

4) The Wake – This film , set in contemporary Alberta, is the story of the love affair that blossoms between a well-meaning Royal Canadian Mounted Police officer and a young Metis woman. The Metis have a strong sense of community but there is also a feeling of separateness defined by racial origins and economics. In this atmosphere, the romance offers a new sense of hope. Then, during a dark winter’s night on a frozen lake, something happens to change the lovers’ lives forever.

The films are available here: National Film Board of Canada

Research Interest: Identity, the Arts, and New Media Technologies

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Through the use of this blog, I would like to gain a greater understanding of contemporary Aboriginal cultural identity, specifically in a Canadian context. I feel that the arts provide a valuable lens from which to explore this topic, as art forms such as music, dance, carving, and textiles have long played a pivotal role in First Nations culture. The arts provided artists and communities with ways of preserving traditions, history and affirming a shared sense of tribal identity, something that was adversely affected by the federal laws that restricted or prohibited traditional practices, and of course the residential school system that separated children from their families over several generations.

As First Nations communities attempt to heal the scars of these traumatic experiences, I’m curious to know what role the arts are playing in revitalizing Aboriginal cultural traditions and strengthening a sense of purpose and identity in the twenty-first century. In addition to revitalizing traditional art forms, new technologies such as video, audio recording and digital art software provide First Nations artists with an opportunity to create new works of art that merge tradition with modernity. The integration of new technologies, re-interpretations of traditional art forms and the influence of media produced by non-aboriginal artists, however, presents new challenges and questions about the meaning, purpose and sanctity of Aboriginal art that I feel is worth exploring.

 

Who are the Métis peoples?

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One of the central questions in ETEC 521 is: “How do communities balance educating non-Indigenous people, while preserving their culture?”  However, in order to answer this question as it pertains to the Métis peoples, one first needs to have an understanding of who the Métis peoples are.  However, the answer to the question of Métis identity seems to depend on who you ask. “Métis peoples insist that they are part of a distinctive cultural group.  However, Métis identity is frequently misinterpreted by non-Métis to refer simply to Aboriginal-European ancestry” (Ouellet and Hanson, 2008).

The question of Métis identity is an important one for me personally because my family has Métis ancestry.  In terms of my profession, I am interested in both the traditional and contemporary representations of the Métis presented in K-12 education.

My research project will investigate how the Métis are working to preserve and celebrate their culture while at the same time educate non-Indigenous people as to what it means to be Métis.

I will explore the following themes in my project:

Identity: Who are the Métis Peoples?  How do they define themselves?  How are they defined by others? How have these definitions changed over time?  Why does it matter?

Technology: How are the Métis using technology for historical research, cultural expression, cultural preservation, and education?

Possible sources of information include: