NATIVE ART AND SCHOOL
SASKATCHEWAN
ABORIGINAL
CURRICULUM:
ARTISTS' PERSPECTIVES
by
LINDA MARIE LYSYK
A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF
THE REQUIREMENTS
MASTER
FOR THE DEGREE OF
OF ARTS
in
THE FACULTY OF GRADUATE
Visual
and P e r f o r m i n g
We a c c e p t
this
Arts
thesis
to the r e q u i r e d
as
STUDIES
i n Education
conforming
standard
THE UNIVERSITY OF BRITISH COLUMBIA
November
(§)
L i n d a Marie
1990
Lysyk,
1990
In
presenting
degree
freely
at
this
the
available
copying
of
department
publication
of
in
partial
fulfilment
University
of
British
Columbia,
for
this
or
thesis
reference
thesis
by
this
for
his
thesis
and
study.
scholarly
or
for
her
of
I
I further
purposes
gain
shall
requirements
agree
that
agree
may
representatives.
financial
the
be
It
not
is
be
that
the
for
Library
of
Visual
and P e r f o r m i n g
The University of British Columbia
Vancouver, Canada
Date
DE-6. (2/88)
August
22, 1990
Arts
advanced
shall
permission for
granted
by
understood
allowed
the
without
i n Education
make
it
extensive
head
that
permission.
Department
an
of
copying
my
my
or
written
ii
ABSTRACT
This study
the
study
study
presents Aboriginal
of N a t i v e a r t i n t h e
is a naturalistic
techniques
females
four
Overall,
in
the a r t i s t s
agree
on h a v i n g
The
to
and
and
curriculum.
may
artists
or may
artists
not
p r e f e r an
The
research approach
peoples
be
male a r t i s t s ,
should
peoples.
ecology,
be
A l l the
involved
a r t i n the
stress
and
modelling
and
approach
to teaching
primarily,
f o r s t u d y i n g the
history,
content
traditional.
o b s e r v i n g and
about the a r t , the a r t i s t s
art
show t h a t c o n t e n t ,
l e a t h e r work, and
complex a r t of i n d i g e n o u s
including
five
students.
p r e s e n t a t i o n of t h e i r
The
t e a c h i n g bead and
painting.
case
ethnographic
Native
for Native
believe that Aboriginal
materials,
The
on
males.
the d e f i n i t i o n
school
school curriculum.
Saskatchewan a r t i s t s ,
i n s c h o o l programs, e s p e c i a l l y
artists
perspectives
i n q u i r y t h a t employs
to i n t e r v i e w nine
and
artists'
drawing
support
a
v a s t , d i v e r s e , and
As
w e l l as
learning
learning
£r_oj_L t h e a r t
a b o u t a r t from
a
non-Western
perspective.
The
words, s t o r i e s ,
and
views of a l l the
artists
emphasize
t h a t a r t i s a dynamic p a r t of A b o r i g i n a l
lives
cultures;
and
and
share.
one
which they are w i l l i n g
Native a r t i s a r i c h
resource
peoples'
to e x p l a i n
for school
iii
curriculum.
by A b o r i g i n a l
I t I s a r e s o u r c e t h a t must be and
peoples.
can
be
snap
lv
TABLE OF CONTENTS
Abstract
Acknowledgements
I.
II.
III.
IV.
V.
VI.
Introduction
R a t i o n a l e and Need f o r t h e S t u d y
Purpose
D e f i n i t i o n o f Terms
M e t h o d o l o g y and L i m i t a t i o n s
i l
vi
1
1
2
2
3
L i t e r a t u r e Review
Introduction
For N a t i v e S t u d e n t s
For Non-Native Students
For A l l S t u d e n t s
Conclusion
5
5
6
8
11
15
Methodology
Introduction
A r t i s t S e l e c t i o n and I n t e r v i e w s
D a t a C o l l e c t i o n and A n a l y s i s
17
17
17
20
Narratives
Introduction
Bonnie
Maxine
Shirley
Mary
Grace
Gerry
David
Charles
Alan
22
22
22
29
36
44
52
60
68
75
84
D i s c u s s i o n and A n a l y s i s
Analysis
V i e w p o i n t s on H a v i n g N a t i v e A r t
i n S c h o o l Programs
D e s i r a b l e C o n t e n t and A p p r o a c h e s
to Native A r t i n Curriculum
94
94
95
Summary and C o n c l u s i o n s
Implications for Practice
Implications f o r Future Research
110
115
116
98
V
References
117
Appendix A
122
Appendix B
123
Appendix C
124
vi
ACKNOWLEDGEMENTS
The
a u t h o r wishes t o thank h e r a d v i s o r ,
C h a l m e r s , a n d committee
Archibald,
fortheir
members,
D r . Graeme
D r . J e a n Barman and J o - a n n
h e l p and g u i d a n c e i n t h e c o u r s e o f t h i s
study.
Deep a p p r e c i a t i o n
participated
a l s o goes t o t h e a r t i s t s who
i n the study.
i
I.
INTRODUCTION
RATIONALE AND NEED FOR THE STUDY
The
study
all
Saskatchewan
Department
o f I n d i a n , M e t i s , and I n u i t
students
reform,
school
i n Saskatchewan
and p o l i c y ,
programs,
The
study
consistent
i s arts
1989,
Current
curriculum
April).
by n o n - N a t i v e s ,
to a r t ,
o f a number
Grigsby,
of Indigenous peoples
content i n
education
as i t r e l a t e s
the p o s i t i o n
( e g . C h a l m e r s , 1987;
studied
c u l t u r e s as a p r i o r i t y f o r
schools.
one o f w h i c h
of c u l t u r e ,
with
i d e n t i f i e s the
include incorporating Native
(Saskatchewan E d u c a t i o n ,
art
of Education
1977;
1986;
of a r t e d u c a t o r s
McFee, 1986).
has a l o n g h i s t o r y
and p r e s e n t e d
is
The
of being
i n school
curricula
from t h e W e s t e r n p e r s p e c t i v e .
Presentation
Native
of the Native
a r t i s needed.
g r o u p who c a n p r o v i d e
define
Artists
insight
p e r s p e c t i v e on t h e s t u d y o f
of Native
into Native
a n c e s t r y a r e one
a r t , and h e l p
i t s p r e s e n t a t i o n i n s c h o o l programs.
Inquiry with
relevant
selected artists
i n Saskatchewan
A research
would be
t o the purpose of d e f i n i n g the p r e s e n t a t i o n of
Native a r t .
2
PURPOSE
The
p u r p o s e o£
perspectives,
on
the
part
cultures,
Native
can
school
l e a r n i n g of N a t i v e
inform
the
field
can
be
Culture:
built.
"...
to the
study
of
inquiry
and
assist
but
(Highwater,
1983;
social
roles.
processes
of
knowing
d i s p l a y i n g s u c h meaning
s t r u c t u r e , of v a l u e s ,
Culture
i s learned
i s u s e d t o a d d r e s s new
i n some d e g r e e e m e r g e n t ;
p.
their
This research
knowing
i n c l u d e s both the
social
prepatterned,
by
in that
263).
l a n g u a g e , a r t , and
1988,
which r e p r e s e n t s
and
a c q u i r i n g knowledge and
received
school
i n Saskatchewan.
of s e e i n g ,
p.
s y s t e m s , and
in
TERMS
a way
McFee, 1988;
i n Saskatchewan,
of C a n a d i a n a r t e d u c a t i o n ,
development
DEFINITION OF
always
art
Native
i n v o l v i n g A b o r i g i n a l peoples
curriculum
in schools
curriculum
and
region
a more k n o w l e d g e a b l e a p p r o a c h
art
Art:
and
By d i r e c t l y
of the
i n q u i r y Is t o p r e s e n t
from w i t h i n a s p e c i f i c
teaching
programs.
this
through
belief
as
situations.
i t is transmitted
i n d i v i d u a l s i n somewhat d i f f e r e n t
It is
and
ways"
(McFee,
263).
Indian:
people
of
indigenous
descent,
legally
defined
3
i n Canada a s s t a t u s and n o n - s t a t u s .
indigenous
land
peoples:
the o r i g i n a l
c o l o n i z e d by E u r o p e a n s .
"Aboriginal,"
Native
and " N a t i v e
i n h a b i t a n t s of t h a t
Interchangeable
peoples."
with
t h e terms
A l s o , a s i d e n t i f i e d by
w r i t e r s and a s a s i g n o f r e s p e c t , words r e f e r r i n g t o
Aboriginal
Inuit:
peoples
or t h i n g s A b o r i g i n a l a r e c a p i t a l i z e d .
a culturally distinct
group of Indigenous
a culturally distinct
group of Indigenous
peoples.
Metis:
peoples.
Native:
context
Indian, Metis,
and I n u i t .
of Saskatchewan, r e f e r s
When u s e d w i t h i n t h e
particularly
t o I n d i a n and
Metis.
Native
enables
in
art:
"reflects
a certain
i t t o be i d e n t i f i e d
other
words, r e f e r s
Aboriginal
as such"
system of thought
(Pakes,
which
1987a, p. 3 ) ;
t o a r t produced by those of
ancestry.
Non-Native:
those
not of Native
ancestry.
METHODOLOGY AND LIMITATIONS
To
achieve
t h e r e s e a r c h p u r p o s e , t h e method i s
qualitative
i n nature.
techniques,
p r i m a r i l y the Interview.
ancestry
living
It relies
i n an a r e a
on
of c e n t r a l
ethnographic
Artists
of A b o r i g i n a l
S a s k a t c h e w a n were
4
interviewed.
of
the
This geographical
investigator's
familiarity
artistic
activity
research
is a naturalistic
case
study,
fleldwork
The
was
living
Inquiry that
to the area
was
chosen
because
w i t h t h e a r e a and
peoples
there.
with
The
i s presented
i n which the
the
as
a
research
conducted.
researcher, a non-Native,
c u l t u r e s are
study
of N a t i v e
specific
location
not
is limited
her
own.
t o her
existing
literature
research
experience.
on
worked w i t h
T h e r e f o r e , the
understanding
the
topic,
and
as
the
those
whose
outcome of
gleaned
from
particular
the
the
5
II.
LITERATURE REVIEW
INTRODUCTION
This
review
research,
Native
of the
o p i n i o n , and
v i e w s as
The
contexts:
for Native
c u r r i c u l u m development to a s c e r t a i n
investigation
i s framed by
students,
of N a t i v e
three
art in
study
f o r non-Native students,
study
of c u l t u r e ,
as
i t relates
t o a r t , i s one
major c o n t e m p o r a r y d e v e l o p m e n t s w i t h i n t h e a r t
field
( F a r l e y & Neperud, 1988).
thirty
years
fields
a p p l i c a b l e to the
art,
study
and
a l l students.
The
the
draws on p e r t i n e n t
they p e r t a i n to the
schools.
for
literature
of s e l e c t i v e
McFee p o i n t s o u t
knowing a r e
(1988, p.
232).
artist-educator
r e s e a r c h and
cultural
that
inadequate
In a r e c e n t
theory
dimensions
education
review
from
of
of
various
teaching
" W e s t e r n p e r s p e c t i v e s and
for theorizing
Comparatively,
Alfred
of
ways of
about non-Western a r t "
Young Man,
a
Native
in Alberta, states:
Bourgeois
institutions
concerned
with
conflict-free,
(and
ideology)
universalizing,
.. a r e
overly
ahistorical,
object p r i v i l e g i n g
assumptions
(1988,
28) .
Developing
perspective
a Native
which
p e r s p e c t i v e i s no
i s as
imperative
as
small order,
a
i t is essential
p.
6
t o an u n d e r s t a n d i n g
and a p p r e c i a t i o n o f N a t i v e a r t
(1988, p . 2 6 ) .
in
focus
the
Saskatchewan, c u r r e n t c u r r i c u l u m r e f o r m
on t h e
of indigenous
s i x guiding principles
education
and
study
c u l t u r e s o f Canada,
f o r development
program, which c o n s i s t s
visual
a r t , reads:
Indian, Metis
"The
and I n u i t
o f the
o f d a n c e , drama,
curriculum should
content
Similar
content
in a r t education curriculum
Schubert,
1988)
are
o c c u r r i n g i nother
FOR
NATIVE STUDENTS
The
for
efforts
and i n o v e r a l l
students
p a r t s of North
evidence
to indicate
increase.
Berger
1977).
The
p r o g r a m c e n t r e d on K w a k i u t l
develop
i n a Vancouver N a t i v e
cultural
to seventh
a r t ( e g . New,
self
and t a u g h t
students.
esteem c a n
a four-month
Indian a l t e r n a t e
culture,
Post
1972;
p r o v i d e s some
school.
a n d was d e s i g n e d t o
a w a r e n e s s a n d enhance s e l f
grade N a t i v e
1982;
most s t r o n g l y i n s u p p o r t
students*
(1983) d e s i g n e d
program
(Rapp,
America.
Research
that Native
art
include
t o include Native a r t
studying Native
Stump, 1973a; Z a s t r o w ,
music,
c u r r i c u l u m ( N o v e l l i , 1990)
N a t i v e v i e w comes t h r o u g h
Native
arts
November, p . 4; 1988b,
November, p . 4 ) .
and v i e w s
one o f
and p e r s p e c t i v e s "
1988a,
(Saskatchewan E d u c a t i o n ,
includes a
test
esteem
in fifth
responses
7
showed no
did
signficant
show c h a n g e s
positive
similar
little
study
significant
students'
in self
in attitudes,
behavior"
documented
change
(p. i i ) .
and
esteem, but
increasingly exhibited
Although
change, s t a t i s t i c a l
based
on E a s t
improvement
"students
Berger's
study
f i n d i n g s from a
I n d i a n c u l t u r e showed a more
i n indo-Canadlan
a t t i t u d e s towards t h e i r
own
elementary
group
(Ijaz
school
&
Ijaz,
1981).
When l i n k i n g
s c h o o l programming and
Verna K i r k n e s s , a s t r o n g Native
education
To
community
as
t h a t the
into culture
1
and
a p p r o a c h be
not
Indigenous peoples
from t h e
within
Young Man,
us'
societies
and
Native
for
Native
"courses
an
as
'education
as
for
from w i t h i n r a t h e r
s u r e l y 'the a n s w e r s
trend
a r t that serves
(1988, p.
the
are
i s once
needs of
again
Indian
28).
f o r t h e d e v e l o p m e n t of
Indian a r t education
secondary
'Indianness'
[and]
a
curriculum
revealed that curriculum should
which d e a l w i t h
is
1).
Americans' suggestions
students,
on
i t Is
It i s also necessary
comments: "The
education"
Southwest American
Canadian
'culture into education'
Western world
similarly
based
t o seek d i r e c t i o n
(1986, p.
toward d e v e l o p i n g
v o i c e w i t h i n the
Indigenous peoples,
commonly p r a c t i s e d t o d a y .
than
cultures,
says:
ensure s u r v i v a l
imperative
Native
a typical
include
core
8
of
fine
arts
the r e a l
c o u r s e s , " such
world"
(Schubert,
Sturgess, a non-Native
curriculum
Columbia,
Bella
that
s t u d e n t s c o u l d compete " i n
1988, pp. 201-202).
instructor
and i n s t r u c t i o n
ascertained that
who t a u g h t
i n a r t course
a university
i n northern
the p a r t i c u l a r
I n d i a n women was " t o l e a r n
Similarly,
need
techniques
British
of the B e l l a
and t h e m a s t e r y
o f new m a t e r i a l s " (1984, p. 2 0 ) .
Perhaps d e s c r i p t i v e
approach
figure
Santa
taken
of a r t e d u c a t i o n
by L l o y d New,
with the i n s t i t u t e
F e , New M e x i c o .
students
(1972, p . 4 1 3 ) .
aesthetics
I t s primary
framework t h r o u g h
and a k e y
I n d i a n A r t program i n
goal
i s to give Native
t o t h e h i s t o r y and
p e o p l e s ' a c c o m p l i s h m e n t s and
i n the a r t s ,
and d e v e l o p
i s the
p r i d e and s e l f - a c c e p t a n c e "
orientation
of Indigenous
contributions
investigate
After
of t h e Cherokee t r i b e
of American
"a b a s i s f o r g e n u i n e
into culture
s t u d e n t s a r e encouraged
to
within their
particular
cultural
s t u d y and c r e a t i v e
expression
(New, 1 9 7 2 ) .
FOR NON-NATIVE STUDENTS
With such
their
artistic
non-Native
It
a s t r o n g e m p h a s i s on N a t i v e s t u d e n t s s t u d y i n g
h e r i t a g e , i t seems t h a t
students t o study the a r t i s almost
has been g e n e r a l l y v i e w e d
develop
Native support f o r
incidental.
a s a way f o r s t u d e n t s t o
t o l e r a n c e and u n d e r s t a n d i n g
of A b o r i g i n a l
peoples
9
and
cultures
(Goddard,
a p p e a r s t o be a s h i f t
learning
Currently
in perception
i n terms
influence
1988).
(verrall,
i n t h e a r t (McMaster,
1981;
1979).
Stump, 1973b; Z a s t r o w ,
Stronger
there
from N a t i v e a r t ,
o f the environment
i s an Important
though,
from n o n - N a t i v e s t u d e n t s
about N a t i v e a r t t o l e a r n i n g
especially
Nature
1988).
support f o r non-Native students studying Native
art
comes from a b r o a d e r p e r s p e c t i v e a n d t h o s e a r t e d u c a t o r s
who
promote t h e s t u d y o f a r t w i t h i n
way
t o understand s o c i e t y
Chalmers,
1986).
about
1984;
itself
Duncum, 1987;
Research conducted
the a r t o f d i f f e r e n t
a cultural
( e g . Andrews,
G r i g s b y , 1977;
i n Canada
cultures
context as a
1984;
1986;
indicates
that
understanding
1983;
1981).
Various
Ijaz
theoretical
approaches
such as: c u l t u r a l l y - b a s e d
ethnographic,
1986),
cultural
literacy
resistant
(1987) w h i c h
ethnic arts
theory i s often
forward,
1980),
(Hamblen,
and a
i s based
a s examples
e x p e r i e n c e s " t o the dominant
o f r e f e r e n c e and purposes,
r e s e a r c h and
(Andrews,
(Boyer, 1987),
However, t h e a f o r e m e n t i o n e d a p p r o a c h e s
frames
put
(Andrews,
universal-relative
program
b y Duncum
s t u d y o f " m i n o r i t y and
have been
methodology
( C h a l m e r s , 1981),
neo-Marxlst approach
and
& Ijaz,
learning
can c o n t r i b u t e t o
elementary students' i n t e r c u l t u r a l
Cipywynk, 1987;
McFee,
on t h e
of a l t e r n a t e
society
come f r o m
(p. 12).
non-Native
such a r t e d u c a t i o n
of a multicultural
nature, with
10
cultural
similarities
cultures,
t h o u g h , do
paradigm; they are
The
Native
succinctly
p.
413).
the
peoples
belong
indigenous
says:
"Cultural
cultures,
i s not a l l the
"They f e l t
differences
(Rapp, 1982,
pan-Indian
a r e , not
peoples,
p.
for their
the
288).
Native
and
individual
1988,
As
w e l l as
artistic
writers
diversity
1974;
peoples
Young Man,
(1972,
cultures.
and
As
Native
Americans
the
tribes
suggest
and
hair"
and
(Rapp, 1982;
cultures,
see
avoiding a
uniqueness
rich
of
images.
feathers in their
pre-European contact
1988).
concern
of s t e r e o t y p e d
r e c o g n i z i n g the
of N a t i v e
towards
primary
and
Schubert,
complex
Native a r t i s t s
emphasize r e c o g n i z i n g the a r t i s t i c
Indigenous
New,
o n l y between N a t i v e
into a classroom
stressing
of
202).
precious"
suggestions
elimination
distinctiveness
p.
Lloyd
the a r t of
c o n s t r u c t i o n paper
approach,
are
America.
same.
demeaned when t h e y go
wearing
multicultural
differences.
a r t c u r r i c u l u m , the
N a t i v e A m e r i c a n s was
Native
c u l t u r e s to North
but a l s o among N a t i v e
a r t of non-Native
developing Native
factor.
w i t h i n the
view s t r e s s e s c u l t u r a l
When I n t e r v i e w e d
students
not
These d i f f e r e n c e s
non-Native
with
as a predominant
and
achievements
(New,
1972;
of
Stump,
11
FOR
A L L STUDENTS
The
i n f o r m a t i o n on N a t i v e a r t s h o u l d
(Aquila,
that
1988; Rapp, 1982,
"good c r i t i c a l ,
p . 288-289).
scholarly
i n quantity, continues
28).
I t i s informed
those
w i t h i n the N a t i v e a r t world
Wade, 1 9 8 6 ) .
1980;
literature
Warner
1985,
v a r i o u s views o f
and t h e i r
cultural
M c M a s t e r , 1981;
Of p a r t i c u l a r
Stump,
interest
i n Saskatchewan
toa r t
i s the
on t h e a r t o f t h e C a n a d i a n p r a i r i e s
1990;
Cuthand
1988;
not
(1988, p .
t o grow i n q u a l i t y "
e d u c a t i o n c u r r i c u l u m development
recent
... a l t h o u g h
by r e s e a r c h , and the
(eg. Highwater,
1973b; 1974;
Young Man n o t e s
literature
great
knowledge
be a c c u r a t e
McMaster
1988;
Pakes
(Anson
1987a,
1987b).
As
w e l l as e n s u r i n g the a c c u r a c y
of Information i n
N a t i v e a r t c u r r i c u l u m , A q u i l a p o i n t s out
materials
used
Furthermore,
suggests
for a l l students
a holistic
elder
made t h e
begin
the
the
that
should
f o l l o w i n g comment.
part
way.
communication,
(1988).
" I n our
1990).
in audio
and
c u l t u r e s he
A Saulteaux
t h e w h o l e , and we
(C. P a p a q u a s h ,
Aquila
visual
" t h e v o i c e s , m u s i c , a r t , and c u l t u r e
quality.
l e a r n i n g , we
t o t h a t whole"
June 13,
use o f r e c e n t advances
be o f h i g h
We b e g i n w i t h
in relation
resource
who s t u d y N a t i v e
sensory approach
traditional
examine e v e r y
personal
for instruction
that
advocates
m a t e r i a l s so
o f American
12
Indians
c a n be e x p e r i e n c e d
i n the classroom
by a l l s t u d e n t s "
(1988, p. 4 0 8 ) .
in
one M i n n e s o t a
program based
The
on " o j i b w e
program appears
curriculum
school, technology
to help build
e s t e e m , and t o h e l p n o n - N a t i v e
their
own."
of a c u l t u r e
students
that
A t t h e same t i m e ,
of
understanding
Kindergarten
t o grade
twelve
O j i b w e e l d e r s and a r t i s t s
culture,
artists
with
pressed
videodisc,
and
uses
"technology
culture
and t o r e l a t e
(p. 32).
will
interview
their
videotape
Ojibwe
images,
combined
w r i t t e n or a r t i s t i c
After
pilot
i s available,
of the p r o j e c t
project
curriculum"
disc.
and i f f u n d i n g
expansion
will
of the i n t e r v i e w s , w i l l
into a laser
point
1990, p . 31)
The v i s u a l
t h e i n t e r v i e w s , and s t u d e n t
interpretations
The f o c a l
i n t h e community a b o u t
skills.
i s to
v i d e o d i s c s c r i p t e d and
students
and h i g h s c h o o l s t u d e n t s
demonstrating
from
and promote
community."
(Novelli,
self
"gain a better
t h e program's purpose
in their
by s t u d e n t s .
students'
is vastly different
t h e c u r r i c u l u m i s "an i n t e r a c t i v e
videotaped"
v i e w as t h e
Native
"make l e a r n i n g more r e l e v a n t f o r s t u d e n t s
cultural
to a
I n d i a n a r t , c u s t o m s , and v a l u e s . "
t o r e s p e c t the Native
i s designed
understanding
i s central
will
occur
be s c r i p t e d and
t e s t i n g the
further evaluation
( p p . 32 - 3 4 ) .
to teach students
that culture
The
about the Ojibwe
to a l l areas
of the
13
l£ t h e
prove
promise
t o be
an
o£
the
important
project
curriculum for a l l students.
the
key
Ojibwe
"was
Our
32).
that
initially
history
The
has
and
herself
concern
On
l e d t o the
the
use
credibility
The
of o r a l
of o r a l
Minnesota
w i t h and
local
visltng
the
the Minnesota
t e a c h e r s and
influential
recognized
schools
study
students
Native
early
be
case,
of
(p.
the
Americans
study
c h a r a c t e r i z e d by
of the
focus.
want
the
Ojibwe
and
of
Native
interaction
curriculum.
culture
P r e s e n t l y , Ojibwe a r t i s t s
school
i n p r e p a r a t i o n f o r working
(p. 32).
The
of
late
S a r a i n Stump,
t o promote s t u d e n t s ' c u l t u r a l
based
understanding
teacher
going
(1973a).
of c u l t u r a l l y
being
are
with
an
i n Saskatchewan,
Indian a r t i s t s
Indian students
i n p a r t , t o the
culture.
r e c o g n i z e d by
o f community, c u l t u r e ,
the v a l u e
voiced
in developing art
r e v e a l s t h a t the
t h a t the s u c c e s s
attributed,
nature
American a r t i s t - e d u c a t o r
t o work w i t h
indicates
t o be
an
288).
p.
should
art, in this
determines
history
project
integration
history
of
tradition"
revealed that Native
(1982,
for a l l students
interactive
oral
may
Native
one
t h e main c o n c e r n
been handed down t h r o u g h
a c a d e m i c community
The
Wilson,
whether v i d e o d i s c c o u l d a c c u r a t e l y c o n v e y our
c u r r i c u l u m , Rapp's s t u d y
art
Although,
i n v o l v e d i n the p r o j e c t
Indian, said
videodisc.
the
true, technology
consideration i n developing
art
teachers
holds
may
into
Research
a r t programs
be
indigenous
to
the
14
culture
under s t u d y
This
art
be
factor
(Ijaz
u n c e r t a i n , and
implicitly
uninformed
the a r t o f Indigenous
that
be
study
whether
students.
study
the
I t i s t o Native
(1983)
Berger
culture,
l
" t h a t i t would
implementation
o f the
(p, 3 2 ) .
of teaching Indian c u l t u r e "
o f her
e d u c a t i o n m e t h o d o l o g y , Andrews
instructor
determined
f o r anyone, p a r t i c u l a r l y a n o n - I n d i a n t o
task
on t h e
can
approach t o teaching
the a r t i s s o i n t e r t w i n e d with c u l t u r e
fulfill
of Native
r e v e a l s t h a t non-Natives
in their
peoples,
or non-Native
impossible
that
p. 19).
becomes p e r t i n e n t f o r t h e
because r e s e a r c h
students
& Ijaz,
grade
"indicated
culturally
(1983)
based
reports that
a t o t e m was a t o t e m .
t o the s t u d y
she
It didn't r e a l l y
art
the
f o u r theme, N o r t h w e s t c o a s t
that prior
In a
had
Indian
assumed
mean a n y t h i n g ' "
(p. 486).
Further
instructors
from
support
t h a t i t may be p r e f e r a b l e f o r N a t i v e
t o teach Native
McFee's r e v i e w .
"comprehending
teaching
She w r i t e s t h a t t h e
the a r t o f c u l t u r e s other
students
who do n o t
become more a p p a r e n t "
There
share
(1988,
i s a general c a l l
culturally
a r t t o students, again,
sensitive.
For
from
the
study
complexity of
than
one's own, a n d
one's c u l t u r a l
roots,
has
p . 225).
f o r non-Native
t e a c h e r s t o be
example, t e a c h e r s
d e m o n s t r a t e a more r e s p e c t f u l
stemming
comes
o f the
could
approach t o a r t production
spiritual
foundations of
15
Native
a r t (Pakes,
aware t h a t N a t i v e
participate
influenced
artistic
1987a,
p. 5).
students
in certain
Also, teachers
who a r e i n c l i n e d
activites
c o u l d be
t o not
a r e perhaps
being
by t h e age and g e n d e r d i f f e r e n t i a t i o n
activity
of t h e i r
c u l t u r e s (Pakes,
F u r t h e r m o r e , t h e way i n w h i c h a p a r t i c u l a r
the
non-school
its
study
setting
may
indicate
i n the classroom
(Stuhr,
11).
p.
a r t i s learned i n
a similar
1987
i n the
approach to
p. v i l i ;
Zastrow,
1978).
CONCLUSION
It
and
becomes a p p a r e n t
complex a r e a
those
Native
a r t i s a vast, diverse,
artists,
i n research provide
and d i r e c t i o n
views expressed
art
of study.
who p a r t i c i p a t e
guidelines,
that Native
f o r i t s study
come f r o m t h e U n i t e d
States.
The
viewpoints
inclusion
peoples
Because t h e
included i n
i t i s b e n e f i c i a l to
from w i t h i n t h e C a n a d i a n
of Native
represents a s i g n i f i c a n t
curriculum
curriculum,
content
change
Most
o f s t u d y , and
a r t and p e r s p e c t i v e s a r e b e i n g
Saskatchewan a r t e d u c a t i o n
examine N a t i v e
general
i n schools.
i s a v a s t , d i v e r s e , and complex a r e a
because Native
w r i t e r s , and
context.
and p e r s p e c t i v e s
from p r e v i o u s
a r t education
In S a s k a t c h e w a n where r e f e r e n c e s t o A b o r i g i n a l
and t h e i r
a r t were r a r e , and e v e n t h e n ,
appear i n
16
mainstream terms
May).
One example
single
reference t o Native
from
Canadian a r t s e c t i o n ,
English
Speaking
Ten
over
peoples
Canada" w i t h
1978, May,
years
a little
t e n y e a r s ago n o t e d a
i n the
history of
under t h e major p e r i o d o f " A r t i s t s o f
W e s t e r n Canada p a i n t i n g
Education,
1967; 1977; 1978,
(Saskatchewan E d u c a t i o n ,
" P a u l Kane
scenery
and
[who]
Indians"
travelled to
(Saskatchewan
p. 243).
later,
Aboriginal
McMaster
(1988) c l a r i f y t h e
artistic
e x p r e s s i o n and
artists,
omission
activity
Saskatchewan h i s t o r i c a l l y
and
and
Metis r e s i s t a n c e
years.
When t h e y awake, i t w i l l be t h e a r t i s t s
research
s p i r i t " (as c i t e d
i n q u i r y with a r t i s t s
Saskatchewan can
In
help
Canadian s c h o o l s .
further
by J o h n s o n ,
will
s l e e p f o r 100
"Louis R l e l
back t h e i r
My p e o p l e
who g i v e
1990, p . 5 4 ) .
of Aboriginal
d e f i n e the
rich
peoples In
leader,
l
(1988) a n d
w r i t e o f the
of Native
presently.
once s a i d :
Cuthand
A
ancestry in
study
of Native a r t
17
III.
METHODOLOGY
INTRODUCTION
The
methodology used
i n this
study
tradition
of c o g n i t i v e anthropology
narrative
as the primary
knowledge.
i s based
which
focuses
way t o u n d e r s t a n d
Such r e s e a r c h a l l o w s
for a
holistic
and p r e s e n t a t i o n o f knowledge t h a t
directly
Issues
society
An
(Agar,
oral
cultures
of concern
on o r a l
cultural
understanding
with
on t h e
connects
i n e d u c a t i o n and i n o u r
1982).
approach
i s h i g h l y a p p r o p r i a t e because
have a s t r o n g t r a d i t i o n
of oratory.
Native
Current
r e s e a r c h demonstrates the e f f e c t i v e n e s s of the o r a l
approach,
of
primarily
Indigenous
art
(Haig-Brovn,
1988; S t u h r ,
forthis
their
Interviews
research
The f o l l o w i n g s e c t i o n s e l a b o r a t e on t h e p r o c e d u r e s
in: artist
collection
1988) and t o s t u d y
1987; Wasson, 1 9 8 3 ) .
t h e major p o r t i o n o f d a t a
inquiry.
used
peoples
(Schubert,
provided
the i n t e r v i e w , t o present p e r s p e c t i v e s
selection
and i n t e r v i e w s , and d a t a
and a n a l y s i s .
ARTIST SELECTION AND
Nine p r a c t i s i n g
INTERVIEWS
artists
of A b o r i g i n a l
a n c e s t r y , b o r n In
18
S a s k a t c h e w a n and c u r r e n t l y r e s i d i n g
S a s k a t c h e w a n were i n t e r v i e w e d
present-day
five
and
Saulteaux.
Indian Nations:
city
number
(see Appendix A ) .
Members
A s s i n i b o i n e , Cree,
of the Metis
r e s i d e i n the area
conducted.
the
The s p e c i f i c
geographical
location
come from t h e a r e a
(see Achlmoona
by s e l f
Native
people
individuals"
evidenced
art
on two c r i t e r i a :
definition
by a t l e a s t
work, p u b l i c a t i o n
literature,
o f a r t work
and e x p e r i e n c e
of r e s i d e n c e which
the
B. )
artists
was
from
by
Recognition
as a r e s o u r c e
and
work r e f l e c t s
Identification
was
i n e d u c a t i o n a l m a t e r i a l or
was made t o b a l a n c e
An e f f o r t
as
one o f t h e f o l l o w i n g : e x h i b i t i o n o f
effort
reserve.
identification
and by i d e n t i f i c a t i o n
1985, p. 3 ) .
conscious
place
internationally,
because c u l t u r e i s "shared
(Dougherty,
i n that a
1985).
f
and r e c o g n i t i o n a s an a r t i s t .
determined
other
based
of the study,
and w r i t e r s , n o t
b u t a l s o n a t i o n a l l y and
S e l e c t i o n was
Dene,
was
i s unique
o f w e l l known A b o r i g i n a l a r t i s t s
Nation,
Nations
where t h e r e s e a r c h
o f P r i n c e A l b e r t and d i s t r i c t ,
artist,
Within
Dakota,
and C r e e
only p r o v i n c i a l l y ,
an
of c e n t r a l
S a s k a t c h e w a n , a r e members o f t h e M e t i s
and
primarily
i n an a r e a
person.
aspects
of age, gender,
i n c l u d e s urban, r u r a l ,
was a l s o made t o s e l e c t
a variety
A
of a r t forms.
and t h e i n t e r v i e w o r d e r
and
informants
whose
( B a s i c i n f o r m a t i o n on
i s o u t l i n e d i n Appendix
19
Artists
others
The
a l r e a d y known by t h e r e s e a r c h e r
as s t r o n g p a r t i c i p a n t s
p u r p o s e and n a t u r e
of the Interviews,
three
were g i v e n .
which c o n s i s t e d of
i n the f i n a l
F o l l o w i n g consent,
chapter
sites
either
at
the a r t i s t ' s
were
contacted;
(Their non-participation i s
on summary and
and t i m e s
i n t e r v i e w s were a r r a n g e d .
of
Twelve a r t i s t s
chose not t o p a r t i c i p a t e .
discussed
by
were p e r s o n a l l y c o n t a c t e d .
two s t a g e s , were d i s c u s s e d , and a s s u r a n c e s
confidentiality
or suggested
conclusions.)
f o r the f i r s t
The i n t e r v i e w s took
s e t of
place i n
home o r i n t h e r e s e a r c h e r ' s work
t h e S a s k a t c h e w a n Urban N a t i v e
Teacher E d u c a t i o n
space
Program
In P r i n c e A l b e r t .
An i n t e r v i e w q u i d e
interviews.
I t was
d i s c u s s i o n s with
was
pilot
three areas
biographical
secondly,
t e s t e d and r e f i n e d
The g u i d e
of I n q u i r y .
and c u l t u r a l
their
f o r the f i r s t
s e v e r a l I n d i a n and M e t i s
knowledgeable about a r t .
around
prepared
Thirdly,
Native
their
content
of
a r t In s c h o o l s were s o u g h t .
i n q u i r y were
the
from
who a r e
the a r t i s t s '
a r t content
suggestions
i n school
on t h e
and a p p r o a c h f o r t h e t e a c h i n g and l e a r n i n g
interrelated.
interview guide.)
varied
people
semi-structured
Firstly,
desirable
Native
after
b a c k g r o u n d s were e x p l o r e d , and
v i e w s on h a v i n g
p r o g r a m s were s o u g h t .
was
s e t of
individual
A l l the areas
of
(See A p p e n d i x C f o r a c o p y o f
The e x a c t
manner
to individual.
of q u e s t i o n i n g
The a r t i s t s
were
20
aware t h a t
or
could
they could
refuse
A second
validation,
1986).
with
end t h e i n t e r v i e w
t o answer a n y
was a r r a n g e d
and an a t t e m p t a t r e s e a r c h
each a r t i s t
interview
session
of h i s or her r e s p o n s e s
interview,
verification
their
r e s p o n s e s was
DATA COLLECTION AND
Primary data
transcripts.
permission
Interview
not
and
The f i r s t
The
times,
and
Interview
initial
the data
preparing
first
understanding
tapes,
and
with the
and t r a n s c r i p t s were made.
the i n t e r v i e w .
the i n t e r v i e w
Most o f t e n ,
The s e c o n d
Throughout the conduct
contextual
data,
as the i n t e r v i e w i n g
i n the f i n a l
data
personal
was
research,
reactions,
were k e p t i n
of r e v i e w i n g ,
from t h e f i r s t
a n a r r a t i v e account
this
interview
of the
progressed
o r as
analysis.
analysis consisted
collected
notes,
was t a p e r e c o r d e d
f o l l o w i n g the i n t e r v i e w s .
to a s s i s t
and
sought.
n o t e s were t a k e n e i t h e r d u r i n g
reflections
(Lather,
discussion
from t h e
of the r e s e a r c h e r ' s
of a l l a r t i s t s ,
notes c o n t a i n i n g
order
involved
c o n s i s t s of i n t e r v i e w
tape recorded.
field
as p r a x i s
reasons:
ANALYSIS
soon as p o s s i b l e a f t e r
occurred
f o r two
f o r purposes of c l a r i f i c a t i o n ,
elaboration
of
chose
questions.
s e t of Interviews
The s e c o n d
whenever t h e y
several
interview
of the i n t e r v i e w .
session,
The
21
narrative
was
forwarded
Interview session.
verification
his
t o the a r t i s t
During
the second
of the n a r r a t i v e
The n a r r a t i v e
Interviews are included
confidentiality,
biographical
general
the
or c u l t u r a l
information
wa3
narratives,
three
or
revised
from t h e
text.
To e n s u r e
pertinent
i s referred
to i n
terms.
possible
d a t a and s t u d y i n g
able
were
pseudonyms a r e used and a n y
Once a l l n i n e n a r r a t i v e s
analysis
the t h e s i s
of
t o the
accounts developed
within
informant
presentation
Revisions
were n o t e d , and t h e n a r r a t i v e s
accordingly.
t o the second
interview,
(the w r i t t e n
o r h e r r e s p o n s e s ) was s o u g h t .
narratives
prior
patterns
the n a r r a t i v e s .
the a r t i s t s '
In t h e f i n a l
Interpreted
biographical
and c u l t u r a l
implications
f o r the study
developed.
In c o n s t r u c t i n g
s o o n emerged and t h e r e s e a r c h e r
of i n q u i r y .
themes were
a deeper
and began by t h o r o u g h l y r e v i e w i n g a l l
t o compare and c o n t r a s t
areas
were v a l i d a t e d ,
the
was
responses t o the
analysis,
the
patterns
by g e n d e r , and by t h e a r t i s t s '
backgrounds.
From t h i s
analysis,
of N a t i v e a r t i n s c h o o l s
were
22
IV.
NARRATIVES
INTRODUCTION
The
f o l l o w i n g n a r r a t i v e s are presented
are w r i t t e n accounts
all
of the i n t e r v i e w s with
n a r r a t i v e s have been v e r i f i e d
and o r d e r e d
artist.
b y age s t a r t i n g
Pseudonyms a r e u s e d ,
Information
i s referred
female
with
They
t h e a r t i s t s , and
by t h e a r t i s t s .
n a r r a t i v e s a r e g r o u p e d by g e n d e r , w i t h
first,
as d a t a .
The
artists
placed
the youngest
and a n y p e r t i n e n t p e r s o n a l
to i n general
terms.
BONNIE
Bonnie
Metis
i s Metis
community
and was r a i s e d
i n northern
on an o f f - t h e - r e s e r v e
Saskatchewan.
p r i m a r i l y bead and l e a t h e r work.
Bonnie
She a l s o makes g u i l t s and
paints.
Her mother t a u g h t
painting
talent
Bonnie's
present
involved
i n her c h i l d r e n ' s s c h o o l i n g , t h e s c h o o l
in
for certain
was s e l f
developed,
school
us
She remembers
separate
As a p a r e n t
bead.
who i s
i n v i t e s her
about N a t i v e a r t .
the a r t of beading
Mom"
but her
and a r t i s p a r t o f
studies.
"watching
her beads.
and q u i l t i n g ,
functions to talk
B o n n i e began l e a r n i n g
age.
her beading
university
does
at a very
"Mom
used
young
t o make
When y o u bead, y o u g e t t h e c o l o u r s
23
all
mixed up,
so s h e ' d make us
string
them.
when she
was
That's
how
I
started."
She
a l s o remembers a t i m e
old
and
a student
man
came t o t h e
materials
cents
strands
f o r the
mission
and
i t e m made.
of p a t t e r n e d
as
bead h e r e
and
and
The
little
a bead
things like
Students
dolls
with
items
belts,
j e w e l r y , and
as
cigarette
order
The
is
reflected
admits
Now
holders
additional
go:
%
0h,
use
v
and
other
forty-eight-inch
would s e l l
to
the
a l s o made l i t t l e
leather outfits
makes m u k l u k s ,
teepees
"with
a
income
f o r her
i n v o l v e d In an
I used
i t , you
great
moccasins,
t o do
economic
work.
Bonnie
i t by
t h i n k she
in
had
purpose
She
says:
a l o t of
hand.
I n d i a n anymore.'
grandmother
such
family.
technology."
t h a t ' s not
I f my
and
of d e c o r a t i v e p i e c e s
a l e a t h e r s e w i n g machine t o do
t o them:
could
she
for sale out-of-province
" i s more i n t o
s e w i n g , where b e f o r e
say
how
i n B o n n i e ' s d e s c r i p t i o n s of her
I use
people
She
of p r o d u c t i o n
t h a t she
A
other
f o r making l e a t h e r
a wide v a r i e t y
lighter
speed
community.
there."
i s economic.
to provide
years
p a i d them t h i r t y - t w o
Bonnie t e l l s
Today, B o n n i e ' s main p u r p o s e
beaded
In t h e
beads and
man
beads t h a t he
Indian a r t . "
of twigs,
school
provided
students.
"would make s i l l y
tourists
out
mission
f o r each
students
a t the
about e i g h t
my
And
my
Some
I would
machine
w o u l d n ' t have used
it?
and
You
24
know, she wasn't s t u p i d .
Just
because
she's I n d i a n ,
d o e s n ' t mean s h e ' s g o i n g t o keep d o i n g i t l i k e
forever.
Bonnie
hide
I t changes;
sews c o m m e r c i a l l y t a n n e d
change.'
h i d e because
i s e x p e n s i v e ; " a l t h o u g h , she p r e f e r s
needles
just
Commercial
She
slide
through, almost
beads m o s t l y f l o r a l
meaning. There's
me."
likes
bright
"colour
designs.
t o do.
no s y m b o l i s m
Patterns "just
"really
Bonnie,
like
"home t a n n e d
i t because "the
flannelette.
i s hard."
them, b e s i d e s i t ' s e a s i e r
for
t h e n you
this
She s a y s : " I l i k e
There's
not r e a l l y any
or n o t h i n g i n t h e g e o m e t r i e s
come" t o h e r when she b e a d s .
colours,
lots
serves a purpose,
She
of primary c o l o u r s . "
that
is, "it's
For
nice to
look a t . "
Some o f h e r bead
use,
b u t she f i n d s
particularly
Bonnie
leather
that
else
that
work
her c h i l d r e n
i n wearing
i s Intended
and husband
or u s i n g
" b e f o r e , p e o p l e would
work o u t o f n e c e s s i t y .
looks nice."
Now,
i s not e n t i r e l y
The q u i l t s
Bonnie
for family
a r e not
the items.
do bead and
i t gets b u i l t
useful
into
but i t s t i l l
makes, t h o u g h ,
a r e used
by
family.
Bonnie's
She
that
interested
comments
something
the
and l e a t h e r
says that
paintings
reflect
h e r need
"sometimes p a i n t i n g
c o n n e c t " w i t h h e r bead
and l e a t h e r
just
for self expression.
d o e s n ' t seem t o
work; y e t , h e r r e c e n t
25
painting
depicts patterns similar
designs.
skills
She
and
and
l e a r n i n g new
i n her
She
t h e a p p r o a c h t o be
has
used
will
artistic
talents
content,
i n the
art in
study
the
study
of N a t i v e
of
a r t i n s c h o o l programs b e c a u s e she
h e l p a l o t of p e o p l e . "
fast.
you
who
I f those
culture
live
Native
She
In town l o s e t h e i r
kids could
culture
understanding
"knowledge combats
know, t h e
less
really
l e a r n about t h e i r
pride
own
i s what
racism.
increase their
because
and
thinks that " i t
i t would g i v e them more p r i d e , and
need t o f i g h t
can
Indian, Metis,
says:
Bonnie b e l i e v e s t h a t non-Native s t u d e n t s
you
her
programs.
Indian people
art
and
s t r o n g views about the
Bonnie s t r o n g l y supports
Inuit
her p a i n t i n g
techniques.
pride
background.
school
geometric
i s e n t h u s i a s t i c about d e v e l o p i n g
Bonnie takes
Native
t o beaded
likely
ignorance
you
are
who
study
of N a t i v e
and
people
racism.
to judge
Native
The
more
without
thinking."
Furthermore,
believes
Native
"because ours
of t h e
many c u l t u r e s i n Canada,
c u l t u r e s should
was
here
first.
be
studied
It's pretty
In
Bonnie
schools
Important."
Bonnie e x p l a i n s :
We
have a h i s t o r y .
I t ' s not
or n e v e r been a n y t h i n g . . . .
We
like
we
have done
have a r t , and
the
nothing
white
26
race,
the white c u l t u r e ,
That's
what s t u d e n t s
Bonnie's s t r o n g support
are g e t t i n g taught
f o r Native
p r o g r a m s comes f r o m p e r s o n a l
racism.
pride
i s not a s u p e r i o r
experiences
with
should
sense
as
should
"definitely
to Bonnie.
of Native
...
Why
can't
Inquiring into
can't
I s how
separate
She
History i s very
c a n n o t make
t h e p a s t as w e l l
Indians
Bonnie
Why
make
their
What do t h e y do?
the decoration?
a r t from c u l t u r e .
i s I n d i a n a r t and t h a t ' s
I n d i a n a r t from
separate
Indian c u l t u r e .
i t .
way
You
You c a n ' t
I t Is a r t .
m o c c a s i n s f r o m t h e c u l t u r e and
just
there.
Bonnie a l s o b e l i e v e s t h a t study
relevant
they
f o r a l l t h i s , and i t has t o do w i t h
You c a n ' t
have t h a t s i t t i n g
and
an example:
W e l l , what's an I n d i a n ?
say t h i s
separate
You
studies."
do t h e y make m o c c a s i n s ?
life.
people,"
of A b o r i g i n a l peoples.
i s I n d i a n , and t h i s
There's a reason
of
social
a r t without
e l a b o r a t e s and p r o v i d e s
moccasins.
be N a t i v e
c u l t u r e s i n the
She b e l i e v e s t h a t s t u d e n t s
contemporary contexts
This
s c h o o l i n g and
Native.
"integrate a r t with
important
i n school
o f s t r e n g t h , and
Those t e a c h i n g a b o u t t h e a r t o f N a t i v e
classroom
i n schools.
a r t content
Her a r t work g i v e s h e r a s e n s e
i n being
culture.
of N a t i v e
a r t has t o be
to students.
recalls
learning i n school
"more t h e I n u i t
and West
27
coast
a r t " which,
thinks
that students
I n d i a n and
whether
She
people
who
i t Is an
urban,
a rural,
like
inviting
them
further
into
suggests
i t was,
should
local
I t i s , not
the
they can
trips,
and
and
or a r e s e r v e
are d i f f e r e n c e s
i t , be
community.
seeing
their
be
it,"
and
or
students.
videotaped
t h e way
to
a r t work
t o work w i t h
to get
somebody e l s e
study
She
i t the
thinks
According
Indigenous
with
communities
strategies:
s h a r i n g of t h e v i d e o t a p e s .
t o the a r t found
t h a t " t h e r e has
t o be
from
the
i n northern
more
exposure."
comparing
interesting
f o r Saskatchewan s t u d e n t s
I n d i a n and
environments.
M e t i s a r t from
that
communitltes,
Dene, i s d i f f e r e n t
to Bonnie,
going
She
p e r s p e c t i v e , Bonnie p o i n t s out
c u l t u r e s would be
understandable
own
the a r t of o t h e r
In a r t forms among C r e e
is different
familiar
community,
c u l t u r e s "has
B o n n i e p r o v i d e s two
says
From a b r o a d e r
Inuit."
immediate
a r e aware o f t h e a r t i n t h e i r
province.
communities,
nearby
i n the
be
Bonnie
be."
e s p e c i a l l y draws a t t e n t i o n
"Cree
Irrelevant."
l e a r n about the a r t of
t o see
the c l a s s r o o m
t h e way
community, t h e n
field
artists
that " i t should
Once s t u d e n t s
on
live
a t home -- by w a t c h i n g
visiting
within
firstly,
Metis
suggests
it
should,
"totally
t h i n k s t h a t t h e a r t of N a t i v e
learned
way
f o r h e r , was
from
t h e a r t of
and
and
the
different
more
after
their
there
they
were
immediate
and
28
When B o n n i e
bead and
leather
the t r a d i t i o n a l
traditional
people
can
pick
art.
she
t h e way
up
from
peoples.
traditional,"
and
leather
use
past,
also
and
"Teach
i t was,
then
and
talks
about
leather
go w h e r e v e r
practical.
has
y e a r s and
individual
"each
t o how
from
and
the
importance
She
believes
She
says:
wisely.
She
discussions
also
bead
Bonnie
believes
and
on e n v i r o n m e n t a l
still
she
has
in
i s wasted.
been
"saving for
to
can c o n t r i b u t e
today's
of N a t i v e p e o p l e s '
issues.
but
waste a n y t h i n g . "
peoples
there
i n the
are used,
i s , nothing
tradition
that
how
peoples'
only necessary,
for solutions
their
i n the a r t
indigenous
stresses
"I d o n ' t
problems because
f o r n a t u r e and
that
Indigenous
g r e a t d e a l towards working
regard
change
of d o i n g
of n a t u r e
not
manner, t h a t
that
way
emphasizes
M a t e r i a l s were u s e d ,
years."
environmental
her
will
by
traditional.
work, and
proper
tradition
o t h e r a r t forms
h e r m o t h e r ' s way.
"chunks o f l e a t h e r "
Bonnie
t h e y want t o . "
says
u s i n g n a t u r e ' s m a t e r i a l s was
Bonnie
the
i t won't d i e , and
and
of n a t u r e ' s m a t e r i a l s .
a practical
beading
i n beading
refers
work d i f f e r s
bead and
wise
She
c o n s i d e r s h e r work
Bonnie
says:
learning
t h i n k s s t u d e n t s s h o u l d r e c o g n i z e how
the
still
the a r t of
p r o m o t e s t e a c h i n g and
that
change work t o g e t h e r
Aboriginal
of
more s p e c i f i c a l l y a b o u t
work, she
way,
M o r e o v e r , she
and
talks
of u s i n g
i s need
For
high
nature
for
informed
i n s t a n c e , she
Is
a
29
irritated
by t h o s e
animals.
She comments:
They'd
like
people
who a r e a g a i n s t t r a p p i n g o f
t o c l o s e down t r a p p i n g i n t h e n o r t h .
what a r e t h e s e
people
when t h e a n i m a l s
going
start
to live
overrunning
on?
What a b o u t
e v e r y t h i n g e l s e ? ..
Don't t h e y know t h a t a l o t o f t h e f u r used
The
Then
i s ranched.
q u e s t i o n s p o s e d b y B o n n i e r e v e a l a p e r s p e c t i v e on t h e
study
of Native a r t t h a t c o n s i d e r s not o n l y
circumstances,
She
but a l s o
socio-economic
presents a picture
of the study
socio-cultural
conditions.
of N a t i v e a r t whic
needs t o c o n s i d e r t h e c o n t e x t
o f a r t and c u l t u r e
from
historical
times,
into the
future
through
as w e l l .
understanding
to present
As B o n n i e p u t s
Native
Bonnie b e l i e v e s ,
and p e r h a p s
i t , " t h e why" i s c r u c i a l t
a r t and c u l t u r e s .
can help b u i l d
s t u d e n t s , and b r e a k down r a c i s t
That
understanding
up t h e p r i d e o f N a t i v e
of
non-Native
M a x i n e does l e a t h e r work, and bead work.
She beads
students
towards A b o r i g i n a l
attitudes
peoples.
MAXINE
designs
purses.
mostly
style.
on hand sewn m u k l u k s , g a u n t l e t s , m o c c a s i n s and
Her d e s i g n s
floral
Maxine
Include
geometric
p a t t e r n s but are
p a t t e r n s , a s c r i b e d t o t h e Woodland
i s Woodland
Cree.
Cree
30
As
a young g i r l ,
S a s k a t c h e w a n and
woman who
father.
Maxine
lived
learned beading
Maxine remembers
learning
mother b e a d , and
"it
was
and
mother s e r v e d a p r a c t i c a l
order
time."
out
being taught
Initially,
to provide a d d i t i o n a l
by members of her
friends.
she
her
There
i s no
own
need
her
mother, a
marrying
"mostly
certain
purpose
Scottish
Maxine's
from
watching"
techniques
when
sisters
f o r the f a m i l y .
were p r o d u c e d
for sale
In
income f o r t h e f a m i l y .
beads a r t i c l e s
once a g a i n t o
f a m i l y , and
also
to s e l l
a r t work,
would n o t c o n s i d e r s e l l i n g
t a k e away from
i n northern
i t e m s made by M a x i n e , her
of n e c e s s i t y , items
T o d a y , Maxine sews and
used
from
obtained treaty status after
her
Later,
on a t r a p l i n e
pleasure
any
her
by r e l a t i v e s
in
them, and
and
fact,
p i e c e s because t h a t
in creating
be
would
in giving
them away.
Her
a r t work
necklaces,
teacher
taught
includes a variety
earrings,
and
a s s o c i a t e i n an
grade
key
urban
s i x s t u d e n t s how
chains.
o f beaded p i e c e s s u c h
While
elementary
working
as
as
a
s c h o o l , Maxine
t o make t h i s
type
of
bead
work.
Maxine t h i n k s t h a t
programs
having Native a r t content
i s "a v e r y good
reason
idea,"
i s because
i f taught
"in a
way."
One
Native
s t u d e n t s t o g e t h e r by h e l p i n g n o n - N a t i v e
closer
t o an
understanding
i t would b r i n g
i n school
proper
non-Native
of N a t i v e c u l t u r e s .
and
s t u d e n t s come
Maxine's
31
main c o n c e r n ,
positive
though,
effects
such
Maxlne's concern
in
i s f o r the Native
comes from
personal experiences
the a r t .
Maxine
Although
passing
taught
Maxlne's daughter
says
t h a t "he was b o r n
you
my g i r l
how t o do
r e g r e t t h a t I d i d n ' t s i t down
i s n o t a h e a d e r , one o f M a x l n e ' s
with a r t i s t i c
talent."
and Maxine
Maxlne's
f o r n o t p a s s i n g on h e r a r t t o h e r d a u g h t e r
such
a fast
moving pace
i n the c i t y .
i s because
On t h e t r a p l l n e ,
have a l o t o f t i m e . "
taught
culture,
She
taught
He works i n a modern s t y l e ,
Maxine r e a l i z e s
be
beading....
Mom d i d w i t h me and t e a c h h e r .
i s an a r t i s t .
"It's
me how t o do
i t on.... I never
sons
reason
w i t h h e r own
says:
bead work.... I r e a l l y
like
students
who a s an a d u l t now, w i s h e s t h a t she c o u l d
I'm g l a d my Mom
It's
working with Native
Maxine d i d n o t t e a c h bead and l e a t h e r work t o h e r
daughter,
practise
and t h e
programming c o u l d have on him o r h e r .
t h e s c h o o l and from
children.
student
now t h a t t h e y o u n g e r g e n e r a t i o n needs t o
the a r t forms,
i n order
which she c o n s i d e r s p a r t of
t o pass
them on t o t h e n e x t
generation.
explains:
I c a r e a b o u t what happens
seen
so many c h a n g e s
losing
i n t h e f u t u r e b e c a u s e I've
i n the past
our c u l t u r e . . . .
It's just
t h a t we're s l o w l y
like
I'm o p e n i n g
e y e s now and w o n d e r i n g , h e y , i t ' s g o i n g
t o be t h i s
my
way
32
1£ we
it
don't
all.
pass
who
The
i t on
a way
to t h e i r
i t .
k i d s because
i£ we
students
to teach
their
children
on
the
culture.
are
don't
do
lose
to
it
important
f o r the
have
bead and
now,
the
leather
the a r t i n s c h o o l s i s
I t i s a way
k n o w l e d g e , a p p r e c i a t i o n and
attributes
to
taught
many young u r b a n p a r e n t s
Maxine b e l i e v e s t h a t l e a r n i n g
t o pass
We're g o i n g
t o do i t ?
t h a t "not
or t i m e
work."
something about
y o u n g e r g e n e r a t i o n have t o be
i s going
Maxine n o t e s
skills
do
to give
p r i d e , and
f u t u r e of
Native
these
Indigenous
peoples.
She
s t r o n g l y believes students
accurate
and
Inuit
the
peoples.
ties
seen
Students
need t o be
among t h e a r t of A b o r i g i n a l
cultures,
connections
often
be
presented
with
Indian,
Metis,
i n f o r m a t i o n when s t u d y i n g t h e a r t o f
differences
and
should
though, are s i m i l a r
to nature.
i n Native
to nature
She
art;
t h a t her
refers
aware t h a t t h e r e
cultures.
in their
The
imagery
Maxine, t o o , p o i n t s out
i n her
art
strong
t o the animal
a r t work has
are
use
of
the c l o s e
floral
designs.
Along
with presenting accurate
encourages the
when d o i n g
a b o u t her
rather
use
of a c c u r a t e as w e l l as
l e a t h e r and
preference
than
the
Information,
bead work
Maxine
sensible materials
in schools.
She
f o r w o r k i n g w i t h home t a n n e d
commercially
processed
cowhide
talks
moosehide,
because
33
"cowhide
Is v e r y v e r y s t r o n g , and I b r e a k n e e d l e
needle."
easier
Moosehide
t o work.
Is a l s o
in
the t r a d i t i o n a l
Maxine
with
way,
realizes
that students
like
of doing
the Influence of technology,
h e r mother d i d .
she was
and
be a b l e t o work
t o see s t u d e n t s
i n t h e way
t h e way
m a c h i n e , b u t she s t i l l
as
v e r y s t r o n g , but Is s o f t e r
She s u g g e s t s
w i t h moosehide and would
after
being
taught
taught.
h e r a r t has c h a n g e d
specifically
d o e s h e r l e a t h e r work
the sewing
In t h e same
" I make them by hand; Mom
by
hand."
Maxine g e t s more meaning
without
t h e h e l p o f a machine and e v e n t h o u g h more t i m e i s
involved,
learned
moving
and
i t , b u t f o r t h e most
other
to student
problems.
individually,
they concentrate
teaching
enjoyable
those
beadwork
She
i n t h e same
p a r t , she f i n d s
t o h e l p them
Maxine would
bead a t t h e same t i m e .
working
as
to teach students
from s t u d e n t
or w i t h
i t by hand
she a p p r e c i a t e s h e r work more.
Maxine t r i e s
she
out of d o i n g
made them
way
finds
like
herself
thread a
t o be a b l e t o s i t
t h a t once s t u d e n t s a r e
beading.
Of h e r
experience
bead work t o s t u d e n t s , she comments: " I t was
little
needle
t h e y become " v e r y r e l a x e d and q u i e t "
on t h e i r
working with
way
them,
really
t o s e e them w o r k i n g away on
beads."
M a x l n e ' s a p p r o a c h i n t e a c h i n g bead work t o s t u d e n t s i s
first
that
o f a l l t o show them some o f h e r own
students
become v e r y e x c i t e d
work.
She
and e n t h u s i a s t i c
finds
when
they
34
see
s a m p l e s o£ what t h e y t h e m s e l v e s
Maxine t h e n
beading
illustrates
or b e a d i n g
Students
are asked
they wish
to
the
objects like
t o p o f my
and
thought
goes
into
head" or
When making d e c i s i o n s ,
colours
i n terms of s y m b o l i c
such
as
I never
and
which
books o f
I use
i t because
She
meaning
flower appeals
Maxine spends time
now
says
l e a r n i n g more a b o u t
Maxine t h i n k s t h a t
the classroom
the
Indian
the
the
are
that
who
But
I wasn't
i t comes t o
when I'm
l o o k s of
I just
the Cree
They say I t
organized.
father,
person
"look
t h i n k of
that.
f o r me
t o me,
w i t h her
"from
says:
Dad
I like
is
Indian designs
c o l o u r s t h e way
have any
to get
a c c o r d i n g t o what may
I t h i n k t h e y s h o u l d be
really
particular
in
does,
familiar
personally.
that.
I j u s t do
eighties,
students
t h i n k of t h e meaning of c o l o u r s .
t h e way
never
bead c o l o u r s
Maxine d o e s n o t
d o e s have meaning; e v e n my
taught
necklace.
meanings; a l t h o u g h
f l o w e r s and
t o her
she
l o o k i n g "through
Colours are s e l e c t e d
meaningful
f o r loom
combinations
choosing
Maxine e n c o u r a g e s
nice."
patterns,
as
the c o l o u r
f o r p a t t e r n s i n t h e same way
designs."
such
e a r r i n g s or a
to t h i n k about
formulating designs.
ideas
technique,
t o make.
bead.
Much t i m e
and
the
are going
who
i t .
me
Colours
doing i t .
If a
pick that
i s close
out.
to h i s
culture.
i s teaching Native a r t
s h o u l d have a b a c k g r o u n d knowledge
of
35
Aboriginal
cultures,
she does n o t want t o a p p e a r p r e j u d i c e d
by s a y i n g t h e t e a c h e r
should
that
be f a m i l i a r
he o r s h e s h o u l d
Indigenous
talk
with
To
cultures.
the people
ensure
suggests
be N a t i v e , b u t i s v e r y
with
t h e l i t e r a t u r e on
More i m p o r t a n t l y , t h e p e r s o n
and e v e n v i s i t
Native
people
should
some r e s e r v e s .
t h e p a s s i n g on o f c o r r e c t
inviting
clear
into
the classroom
" t h e meaning o f c e r t a i n
items
were made, how t h e y were made, how t h e y were u s e d , and
saw
F o r e x a m p l e , Maxine r e c a l l s
her b r o t h e r s s i t t i n g
helped
o f a r t work
to talk
about
who made them."
types
i n f o r m a t i o n , Maxine
on t h e t r a p l i n e ,
and d o i n g
and t h e y
l a n d ] why
t h a t she never
a n y bead work.
The boys
l e a r n e d how t o make
such
t h i n g s a s snowshoes and f i s h n e t s .
Maxine a s k s
gender
that teachers
influences,
be aware o f and s e n s i t i v e t o
and n o t f o r c e N a t i v e
s o m e t h i n g w h i c h may be t r a d i t i o n a l l y
Maxine would
allowed
like
students
students
t o do
women's o r men's work.
t o have t h e o p t i o n , and be
t o make t h a t d e c i s i o n
f o r themselves.
Maxine p r e f e r s t o work w i t h g i r l s
Indeed,
when t e a c h i n g bead
work
b e c a u s e t h e y seem t o be " a l w a y s s o e n t h u s i a s t i c . "
As
also
a Cree
speaker,
as a teacher
specifically
of Cree,
when t e a c h i n g b e a d i n g .
t h e " t h " d i a l e c t , and
Maxine s p e a k s C r e e
They become f a m i l i a r
" m e k i s " f o r bead, and " m e k i s a k " f o r b e a d s .
reinforces
the language
f o r Native
students.
to students
w i t h words
Speaking
Hearing
like
Cree
Cree
36
gives
non-Native
beading
t o o k , and
believes,
Native
s t u d e n t s a sense
c a n be
studies
still
takes place.
integrated
and
social
into
be
o f p a s t and
so.
Modern a r t f o r m s ,
part
from
part
o f our
the changes
has
not
like
had."
art
o f bead and
should
we
be
passed
culture
i n her
especially,
on
this
and
and
part
of
today too."
that
should also
c h a n g e d . . . . And
work, and
will
that
understands
culture,
t h e a r t has
Maxine knows she
be
"because
Maxine
"Native
continue to
culture.
i n s c h o o l programs
life
leather
like
integral art
will
as h e r s o n c r e a t e s ,
of N a t i v e a r t c o n t e n t
that's
other s u b j e c t areas
culture,
h e l p pass
such
Bead work, Maxine
a beautiful
p r e s e n t Cree
S c h o o l s can
i n which
studies.
Maxine c o n s i d e r s b e a d i n g
form
of the c o n t e x t
changed.
"never
It's
lose"
the
t h e a r t c a n be
and
on t o t h e n e x t g e n e r a t i o n .
SHIRLEY
Shirley
leather
work and
daughters.
how
i s Metis.
her
Shirley,
Shirley also
t o bead, do
during
Cree
involvement
Cree
mother t a u g h t
In t u r n ,
h e r bead
taught the a r t to
showed s m a l l g r o u p s
loom work, and
S h i r l e y speaks
at
Her
o f young
make m o c c a s i n s
i n a community
fluently,
and
and
and
her
girls
belts
club.
she
works as a
t h e s c h o o l i n t h e M e t i s community where she
lives.
tutor
37
She
thinks schools
sometimes."
believes
"seem t o push c u l t u r e a b i t t o o much
Shirley
c o n s i d e r s a r t , a p a r t o f c u l t u r e and
"culture should
However, s h e a g r e e s
school
be t a u g h t
In g e n e r a l w i t h
p r o g r a m s , and b e l i e v e s s t u d e n t s
studying
I n d i a n , M e t i s , and I n u i t
students,
Shirley
Maybe i t ' l l
to
a white c h i l d
Indians
a r e people
just
can b e n e f i t from
art.
For non-Native
l e a r n about N a t i v e
Indians.'
maybe t h e r e
b e l i e v e s t h a t even b e f o r e
For
a r t In
child
w o u l d n ' t be s o much o f
stuff.
non-Native students
a r t , they
can begin
have t o "know t h e p e o p l e ,
b a c k g r o u n d , and know t h e i r
I n d i a n and M e t i s
If a
of Indians
l e a r n s , a t an e a r l y age t h a t
y o u know, p r e j u d i c e
know t h e i r
Native
g i v e them a g r e a t e r u n d e r s t a n d i n g
learns,
this,
having
thinks:
-- n o t t o s a y : ' T h e y ' r e
She
a t home."
students
history."
i n Saskatchewan,
thinks
that studying Native
pride,
and s h e b e l i e v e s t h a t a s a N a t i v e
person
pride"
just
She b e l i e v e s t h a t
as a N a t i v e
conquered
a r t i n school w i l l
t o f u n c t i o n i n our s o c i e t y .
person
"you c a n ' t
by t h e white
go on f e e l i n g
culture.
Shirley
that
them
"you need
you're
people."
S h i r l e y draws a t t e n t i o n t o t h e f a c t
peoples
give
Shirley
"have a b a c k g r o u n d .
that Aboriginal
We have a h i s t o r y .
We have o u r own l a n g u a g e .
We have a
We have a r t . "
wishes a l l A b o r i g i n a l c h i l d r e n
could
learn
Ideally,
these
38
things
i n the
Shirley
sister
and
home, r a t h e r t h a n
recalls
brothers
were g r o w i n g up,
was
a
"feeling
together"
t o the
whose a r t she
Shirley
their
things
l e a r n by
as
s u c h as
younger
work
on.
along
and
calls
the
Cree
Sapp,
an
ancestry
the
her
sister
home l i k e
helped
fishing,
helped
cooking,
n e t s , and
that
brothers
in trapping,
her
and
their
i t , "women's work" —
the
the
work
repairing
making t h i n g s
work t h e r e
of a game t h a t she
The
younger
an
ordinary stick.
her
relates
o£
There
"always
p a i n t i n g s of A l l e n
involved
She
with
My
as
f a m i l y was
Basically,
snowshoes and
And
then
they'd
used
to carve
Just carve
we'd
like
younger b r o t h e r
play.
with
Shirley
her
snowsnake.
snowsnakes.
the
t h r o w them
come out
was
often played
game i s c a l l e d
brother
snowbank and
Just
the
Shirley
brother.
spirals.
the
" c u l t u r e i s w i t h i n you"
helping."
so
they
"family feeling."
Shirley
i n the
As
quilts.
course,
fondly t e l l s
Cree c u l t u r e .
her
enjoys."
in maintaining
m o c c a s i n s and
Of
imagery
t h a t the
wood and
involved
playing.
"really
says
mother w i t h ,
a strong
environment.
i n which she,
known S a s k a t c h e w a n a r t i s t
father with
cutting
was
of c l o s e n e s s , " and
internationally
just
there
school
home e n v i r o n m e n t
came t o know t h e
w o r k i n g and
experience
"you
the
i n the
bark
—
It's
just
sometimes
[snowsnakes] i n a
somewhere.
l e a r n e d about
snowsnakes,
39
S h i r l e y and t h e o t h e r c h i l d r e n
grandparents,
parents,
blankets, birch
l e a r n e d from
u n c l e s , and a u n t s
forms and o b j e c t s s u c h
fur
also
about v a r i o u s a r t
as hide s t r e t c h e r s ,
bark
baskets,
snowshoes, woven
and b i r c h
bark
where p a t t e r n s a r e c r e a t e d by g e n t l y b i t i n g
birch
classroom
situation,
a r t i s being
Shirley
would s a y an o l d e r N a t i v e
Shirley
knows t h a t from
of o l d e r people
a week."
culture;
admits
says
person"
her l o c a l
t h a t would go i n t o
Older
people
taught
"a N a t i v e
should
p i e c e s of
i n the
person,
and I
be t e a c h i n g .
community
"there's a l o t
t h e s c h o o l s , e v e n f o r one
are "qualified"
t h e y have t h e s k i l l s
learn
i n t h e a r t and
and k n o w l e d g e .
e v e r y t h i n g from
Even
Shirley
[her] mother, l i k e
quill
work
how t o web s n o w s h o e s . "
Furthermore,
able
Shirley
t h i n k s the older people
t o d u p l i c a t e the l e a r n i n g
environment.
sitting
Shirley
around
remembers
sewing, t a l k i n g ,
t e a " a s she and h e r s i s t e r
biting
is
folded
t h a t s h e has " f o r g o t t e n s o m e t h i n g s , " and t h a t she
"didn't
and
bitings,
bark.
When I n d i a n and M e t i s
day
their
birch
bark."
"a v e r y c o l o u r f u l
could
be l e a r n i n g
culture,
context
o f t h e home
" i n [her] day, l a d i e s
telling
stories,
were " p l a y i n g w i t h
The women spoke C r e e
language,
learning
and h a v i n g
beads o r
which S h i r l e y
very d e s c r i p t i v e . "
t h e l a n g u a g e and t h e v a l u e s
along with
a r e more
the a r t , while
says
Students
of the
listening to
40
stories
and
legends
the
o l d people
mother o f t e n beaded and
Shirley
young age"
told
began l e a r n i n g
by
"watching
doing
bead work."
older
her
Mother as
"definitely
beader.
beading:
" I t ' s very soothing.
s i t and
that
you
Shirley's
"in
own
daughters
t h e same way"
practising
the a r t .
learned
beading,
allowed
to decide
learn.
She
If
she
learn
d i d , and
she
just
grew
is a
of
son
and
home."
l e a t h e r work
as a d u l t s t h e y
nor
t h i n k s male s t u d e n t s
f o r themselves
hour
i t ' s something
i t i n the
Shirley's
the
get comfortable
l e a r n e d bead and
Neither
and
experience
Bead work —
You
she
time.
"very
as she
i m p r o v e d , " and
You
sew
grow i n t o .
at a
s a t t h e r e by
S h i r l e y d e s c r i b e s the
t h i n k and
just
she
Shirley's
a t t h e same
began t o b e a d , and
skillful
just
legends
the a r t of beading
Shirley
bead work
Cree
could t e l l .
continue
brothers
should
whether t h e y would
be
like
to
comments:
they're
couldn't
interested,
Imagine my
would have t o be
by
fine,
son
but
doing
not
t o f o r c e them.
I
bead work.... I t h i n k i t
c h o i c e b e c a u s e bead work
i s women's
work.
Along
Shirley
why
with a s e n s i t i v e
thinks students
bead and
considers
Indigenous
a p p r o a c h t o t e a c h i n g bead
need t o d e v e l o p
l e a t h e r work was,
and
still
an
understanding
i s , done.
i t i n t e r m s of a means of s u r v i v a l ,
peoples
i n the
p a s t t h a t was
work,
of
Shirley
a survival
v e r y dependent
on
for
41
nature.
Shirley explains:
T h e y had
leather
t o make t h e i r
[and]
come from
nature.
necessity.
you
do
i t had
You
t o come from
I t was
had
did,
a p u r p o s e and
i t had
-- w e l l ,
a
don't
not
from
of l i f e .
as
people
t o have
I t had
I t was
a
to survive
n o t waste a p i e c e
use.
[and]
of
whatever
f o r d e c o r a t i o n on
beauty
to
in their
they
their
lives.
survival.
"are v e r y p r a c t i c a l
I f you're
not
and i t ' s
practical,
you
survive."
She
b e l i e v e s t h a t bead and
reflects
this
consistent
wasting
with a respect f o r nature
and
beads nor
approached
designs
and
other
leather.
i n the
Beading
same way,
colours should
be
aware t h a t f o r many women t h e
The
and
and
is
still
materials.
Shirley
and
done
she
decided
t h i n k s bead
by
although,
purpose
in schools
students
students
for their
Shirley's
f o r the
mother was
bead and
work
on
practical,
and
partly
the
need t o
bead
l e a t h e r work made
not
should
work goes beyond d e c o r a t i o n .
purpose
still
women a r e v e r y c o n s c i e n t i o u s of
of d e c o r a t i v e purposes;
leather
l e a t h e r work done t o d a y
same means of s u r v i v a l ,
knows t h a t she
basis
animals.
animal
done f o r
c h o i c e , but
They had
t o have a
little
M o s t l y e v e r y t h i n g was
believes Native
an
do
has
Everything
probably
a way
to k i l l
leather....
Shirley
footwear.
n o t waste f o o d ; you
moccasins
be
own
by
economic.
and
be
42
Shirley
remembers:
M o t h e r u s e d t o make a l o t o£ beaded
them
t o my Dad, b u t s h e s o l d
well,
that
S h i r l e y knows t h a t
headers, s e l l i n g
story
You e i t h e r
"not f o r
but so they can s e l l . "
F o r many
necessary
income o r
Income.
to s e l l .
who s o l d
give
barefooted.
t h e i r work p r o v i d e s
When S h i r l e y ' s
belts
She'd
And m o c c a s i n s ,
s h e and o t h e r women bead
u s e anymore,
additional
a few.
was f o o t w e a r when I was y o u n g .
wore m o c c a s i n s o r y o u went
practical
jackets.
them
children
The b e l t s
were y o u n g e r , s h e made beaded
were made f o r a l o c a l
to tourists.
Shirley tells
about the shopkeeper's a c t i o n s
an
storekeeper
Interesting
in hisselling
of her
work.
I u s e d t o make g e o m e t r i c
figures,
He t o l d t h e t o u r i s t s t h a t
T h e y had no meaning
blue
whatsoever.
They l o o k e d
on r e d and y e l l o w . . . . The c o l o u r s
He s o l d
b e c a u s e he t o l d t h e t o u r i s t s
k l n d a meant good
bull....
luck
I t wasn't
moose tomorrow
o r i t ' s gonna
Shirley's
idea
f i n i s h e d work
were n i c e .
I t had s p e c i a l
something that
—
The
belts
meaning,
That's a l o t of
I'm g o i n g
bring
nice
a l o t o f my
t o the Indians.
know where t h e y g e t t h a t
whatever....
t h e y had a l o t o f m e a n i n g .
d e s i g n s were e a s y t o b e a d .
Today,
diamonds,
me l u c k .
to k i l l
a
I don't
from.
i s usually
p a s s e d on t o one
of h e r
daughters
Shirley
who
sells i t .
t h i n k s the
styles
and
forms o f bead and
work t a u g h t
i n the s c h o o l program s h o u l d
done
local
i n the
meaningful
that
and
community,
" t o t e a c h us
completely
Every
different
community
different
from
got a l o t of
south
we
know.
the
way,"
For
than
economics.
in
her
Is
La
Ronge's
figures....
ways and
cultures.
r e c e n t l y came from
"to teach
our
the
Native
nothing
You
children
t o do
with
what
It's strange."
traditional
rather
says
a r t Is
bead work.
completely
more
came i n t o
their
have g e o m e t r i c
who
are
example, she
bead work
different
tried
i t ' s just
S h i r l e y admits
change.
own
teacher
s c h o o l and
I n d i a n a r t , and
We
that
thinks:
Our
everyone e l s e ' s
of a M e t i s
to the
She
is different.
know t h e y have t h e i r
tells
a r t because
ours."
flowers.
For
i f a Dene p e r s o n
their
from
those
making t h e c o n t e n t
relevant for students.
i t would n o t make s e n s e
community
She
thus
be
leather
t h a t her
but
she
"way
is s t i l l
understands
instance, commercially
home t a n n e d
She
maintains,
school classroom
Shirley's
hides
be
suggestions
and
learning
bead and
her
experiences
and
o l d way,
somethings
tanned
f o r reasons
similar
and
to t h a t
the
may
h i d e s may
be
used
of a v a i l a b i l i t y
t h o u g h , t h a t t h e way
or
of t e a c h i n g
In t h e
home.
considerations for teaching
l e a t h e r work
her
the
In t h e c l a s s r o o m
community g i v e
insight
into
based
the
on
way
44
and
the
why
art
and
of t h e
says:
it's
the
o£
Native
way
"If a child
easy."
The
cultures.
i n w h i c h she
wants t o do
Native
non-Native c h i l d
understands
a r t and
Indian
and
may
feel
Metis
i s proud
i t .
Shirley
of
her
proudly
bead work, i t ' s b e a u t i f u l ;
child
may
learned
She
feel
t h a t he
t h a t same p r i d e ,
or she
p e o p l e and
and
better
their
art.
MARY
Mary i s A s s i n i b o i n e - C r e e ,
identity
i s given
b e a d s , as
she
b e a d i n g , and
l a u g h i n g l y s a y s her
"alphabetically."
says:
Mary d e s c r i b e s
and
as
"basically
a l s o C r e e and
Mary does bead work
f o r our
"a t r a d i t i o n a l
own
family."
Native
Native
and
f a m i l y , " which
She
has
s t u d i e s , i n the
taught
school
situation.
Mary t a u g h t
basic
t h i n g s , " and
patience
For
i f you
says
classes
work and
wasn't
the
Natives
an
after
Cree,
important
Mary t h i n k s
gotta
k i d s and
school.
enough t o be
" i t ' s a good
all
really
She
beginners."
kind
of
school
part
strange
The
comments: "I h a t e
When I was
idea" that
teaching
programming.
of t h e
"very
of
beading c l a s s e s . "
program.
a l l after
t o bead
have l o t s
they're
bead work was
school
i t was
"you
came t o t h e
were h e l d a f t e r
i t as
that
have t e n
Mary, " t e a c h i n g
[ b e c a u s e ] no
see
a group of non-Native s t u d e n t s
to
bead
It
curriculum."
Indian,
Metis,
and
45
Inuit
She
a r t i s taught
as
p a r t o£
the
regular school
program.
says:
It
should
Native
Metis
art,
be
p a r t o£
artists
themselves
teaching Metis
and
so
their
honoured
It
a r t and
to today's
She
pattern.
And
watched.
by w a t c h i n g ,
today
say:
those
"would be
compares h e r
more t h a n
a
Inuit
willing"
"would
who
taught
to
be
Mary t h e a r t
g r a n d m o t h e r ' s way
patterns —
we
do
she
till
and
then
you
like
and
do
us
and
of
how
her
i t .
right.'
beading
that.
sisters
were
not
how
you
You
sorta
know, you
from
do
you.
tend
she
a
learned
They
it.'
Not
to s c o l d
criticize.
t o make y o u r
them.
or
taught.
own.
Then t h e y t o l d
learn
flower
y e a r s ago,
t o do
were a l l o w e d
you
But
d i d i t on y o u r
I know I , you
then
draw t h e
bead work w i t h o u t
'That's
finished.
you
we
were t h e d a y s where you
you
you:
'This i s not
mistakes,
she
those
where t h e y ,
days,
just
But
didn't t e l l
like
bead work on
taught
Mary d e s c r i b e s t h e way
waited
be
asked."
t o s i t t h e r e and
sorta
teaching
knowledge w i t h s t u d e n t s , and
use
w h a t e v e r , and
We
Inuit
the
way.
Nowadays, we
used
an
Mary's c r e e g r a n d m o t h e r
o f bead work.
be
teaching.... I t should
a r t , and
artists
i f t h e y were
was
i t should
forth.
Mary b e l i e v e s N a t i v e
share
c u r r i c u l u m , and
They
like
and
But
own
They t o l d
you
46
after.
as
you
From h e r
I t s o r t a meant f o r you
got
o l d e r , you
our
" I n my
it's a floral
taught
the
same as
different
white,
area,
design.
In
Some of t h e
and
A l l the
Where I grew up
all
had
for
When t h e
again.
and
Mary's
a l s o taught
their
own
different
there's
designs
those
couldn't
them
four
things
...
to
use
different
i n the
the
for
red,
blue,
different
c o l o u r s mean s o m e t h i n g .
we
tribes;
they
were s o r t a t a u g h t ,
out
our
4
colours; I like
use
design
Mary e l a b o r a t e s :
black
I think, to stay with
like
own
grandmother
four d i f f e r e n t
and
colour.
Mary "how
there's
c o u l d use
some use
So
mistakes.
have t h e i r
c o l o u r s mean d i f f e r e n t
...
knew we
She
c e r e m o n i e s . . . . We
respect
crees
four d i r e c t i o n s . "
or y e l l o w ,
I really
the
"Indian society,
the
ceremonies.
of
d i d n ' t make any
or g e o m e t r i c , "
floral
colours."
colours,
i t over
g r a n d m o t h e r , Mary l e a r n e d a b o u t d e s i g n and
Mary s a y s :
...
t o do
till
own.
I'd
say:
that design,'
you
ask
0h,
but
we
permission
that.
traditional
bead work done l o c a l l y
s c h o o l s , Mary b e l i e v e s : "Out
be
asked."
to
share
and
Again,
she
Mary f o l l o w s " d i f f e r e n t
bead work.
She
g r a n d m o t h e r , she
has
of r e s p e c t , t h e
thinks Native
explain their
taught
i s studied in
designs
people
and
beads a l l t h e
traditions"
daughters
regalia
would be
willing
colours.
c u s t o m s and
her
family should
beading.
for
her
i n doing
As
a
47
grandchildren's
name-giving
on s o r t
this
i n i t i a t i o n s , s u c h as
ceremonies.
[and] she
say:
*Oh,
She's t h e one
takes great
comments: " I t ' s s o r t
and
I t i s "the grandmother
o f t h e show, I g u e s s .
child
i n dance
... she
bringing
out
joy i n doing t h i s . "
of e x p e c t e d of you.
y o u ' r e g o i n g t o do t h i s
You
don't
puts
Mary
have t o
or y o u ' r e g o i n g t o do
that
Mary t a l k s
family
"keeps
makes me
it."
feel
She
everybody
there,
about
up."
She
good
—
have
proud t h a t
i s supposed
and
that
"we
t o be d o i n g t h i s ,
from t h e d i f f e r e n t
traditional
can't always
work d e s i g n s on t h e r e g a l i a
Nowadays, i t ' s a l l muddled
Mary b e l i e v e s
...
on t h e r e
—
i t ' s not r i g h t . "
work may
people,
be
just
proud, i t
maintaining
assume
that
b u t when you
It's lost
dress,
tell,
go
out
alot."
"from the
that
You
their
bead
from....
up."
more, d e s i g n and
silly
t o bead
things,
Mary c o n c e d e s
that
for s e l l i n g , especially
b u t she s a y s :
regalia.
t h e y d r e s s , and
though,
she r e f e r s
real
their
where p e o p l e a r e
t h a t more and
" r e a l l y mean n o t h i n g . "
"skldoos
the
a r e a s , " those t r i b e s
know where t h e y a r e f r o m by t h e way
She
just
that
" t o a g a t h e r i n g w i t h N a t i v e p e o p l e , " she
" k e p t up t h e i r
colours."
feel
we're s t i l l
you know i t ' s n o t h a p p e n i n g .
can t e l l
traditions
s a y s : " I t makes me
o b s e r v e s , though,
When Mary goes
"still
o t h e r customs
colour
work t h a t
even
the
use
has
mountles
the purpose
of such
to non-Native
48
I w o u l d n ' t buy
anything
s o m e t h i n g , you
t r y and
--
that
you
colours
or
can
by
like
buy
identify
the
that.
something t h a t
with,
p a r t i c u l a r i n t e n t behind
necklaces
for fundraising
that
influenced
by
the
s e q u i n s and
use
really
of
get
new
like
have t o
buy
r e l a t e s to
e i t h e r by
us
the
design.
With t h a t
Mary r e c o g n i z e s
I f you
or
j u s t to give
the
materials
bead work, Mary has
a r t of
and
looms.
c a r r i e d away w i t h
to a f r i e n d . "
b e a d i n g has
techniques,
been
she
"Sometimes the
lots
"made
refers
younger
o f s e q u i n s now."
to
kids
Mary
says:
T h a t wasn't p a r t
faster
t o do,
it....
The
and
the
of
and
our
c u l t u r e . . . . But
less expensive.
more s h i n i e r you
kids
like
has
and
beading with a
worked w i t h t h e
[It]
...
loom, and
i f you
are
But
a
like
own
traditional
anybody u s i n g
by
l o t of
a
I thought
more you
about
stand
t o beads r e p l a c i n g
out,
t h a n by
porcupine
hand.
our
She
says:
there
are
patterns
that
g o i n g t o make s o m e t h i n g
square.
our
the
loom, r a t h e r
i s much f a s t e r , and
follow
After
that.
Mary makes s i m i l a r c o m p a r i s o n s
quills,
are,
i t ' s a lot
patterns
aren't
patterns.
loom t o make a b e l t .
large
like
I don't
you
can
and
that,
remember
I t was
done
bead
bead.
Mary a c c e p t s ,
t o a c e r t a i n degree, the
use
of
new
materials
49
and
techniques
f o r bead
Mary p o i n t s
out
bead work.... A
now,
brothers
d i d not
do
i t on
do
of t h e i r
boys d o i n g
that
their
jacket
that
traditional
or m o c a s s i n s . "
Students could
"would be
"They use
how
care
She
jokes:
of y o u r
"actually
are
go
everything;
the
tan"
traditional
making
their
that
"well,
the
her
to
school.
the
As
why
for
not?"
schools,
hides,
Mary
then
i n t o making a
got
six
f o r the
hides,
year."
w h i c h Mary
because s t u d e n t s
no
doing
i n the
" I f you
hunting,"
there's
are
attributes
Mary s a y s :
classroom
A b o r i g i n a l peoples
Mary e x p l a i n s
using
men
Mary r e c a l l s
much work goes
a good e x p e r i e n c e "
experience
who
bead work
"actually
"know how
would t a k e
men
own."
in schools,
suggests that students
to
Indian
bead work, w h i c h she
bead work
get
"most of t h e
attendance at a r e s i d e n t i a l
When t e a c h i n g
students
today,
l o t o f our
regalias
effects
work.
thinks
could
respectfully
use
nature.
waste."
way
that
i s followed
when
nature.
You
have t o do
part
of,
I g u e s s what we
nature's.
you
learned,
We're a l l h e r e ,
harmony, and
But
some o f f e r i n g s [ b e c a u s e ] you
why
go
have t o do
kill
an
taking
one
of
mother
here t o g e t h e r ,
to
live
something
offering,
was
are
in
f o r your b e n e f i t .
saying
..
what i t ' s
for.
Offerings
are
done when u s i n g
any
materials
from
nature,
50
such
as
red willow
making o f o t h e r
or b i r c h
art
balanced"
work; some may
believes
Native
t h a t may
study
for students.
want t o do
that studying
of N a t i v e
"Some may
art."
i n the
the
a r t "should
want t o do
art is especially
she
be
bead
firmly
important
for
students.
the
curriculum
"should
[because] a l o t of
never g i v e n the
artistic
talents
o f our
ways.
he's
lot
life..'..
of
t o be
hide
doing
math I n s t e a d
know, t h a t
being
recognition
call
They are
younger
She
t a l k s about
artistic
people
and
the
they
it....
just
take
being
it's a
in different
you
i n the
of a r t i s t - t y p e
because
part
and
because
come o u t ;
i t because they
just
you
can
watch.
haven't
supposed
i t for granted,
and
kids doodling
—
i t means s o m e t h i n g t o
A
They
to
work.... I t h i n k
recognized
be
too,
I quess
nothing
be
see
been
school.
More e m p h a s i s s h o u l d
o f young N a t i v e
doodling,
really
work b e c a u s e t h e y ' r e
i t ' s not
done a b o u t
l o n g ago
i t for granted
for It, especially
l o t of p a r e n t s ,
you
take
a good a r t i s t ,
a l o t of t h e i r
a r t as
children.
them s o r t a h i d e
given credit
of N a t i v e
are very a r t i s t i c ,
benefit."
just
A l o t of our
going
have happened
of N a t i v e
A l o t of p a r e n t s
part
study
Indian students
they are
a
used
Furthermore,
I n d e e d , Mary t h i n k s t h a t t h e
of
be
forms.
Mary b e l i e v e s t h a t t h e
well
bark
on
what
you
them....
is
51
It's
always the beginning
favorite
you
o£ an I n d i a n p i c t u r e . . . . a
one, i s t h e e a g l e . . . . L i k e t h e y
don't.
A l o t of teachers
t e a c h e r s , maybe t h e y d o n ' t
haven't
learned.
significance
o f what
child
i s doing.
only
of h i m s e l f .
their
be
At
student,
shouldn't
believes
art
i s d o o d l i n g , he
They s a y : 'They're o n l y
i t should also
you know l i k e
wasting
they
should
lose.
hey, t h i s
k i d i s doing
that the teacher
encouraging
talent
be " e n c o u r a g e d
not over
their
talents
real
praise,
"can s h a r e . "
can lead
of the
... and i t
fantastic."
but q u i e t l y
" I t ' s between t h a t t e a c h e r
E v e n t u a l l y , the student
and t h a t
Mary
to a career i n
f o r students.
Mary would
like
non-Native
there are Indian a r t i s t s ,
do
When t h a t c h i l d
as r e c o g n i z i n g the a r t i s t i c
encourage the student.
student."
what t h a t
artists.
be l i k e ,
Mary s u g g e s t s
—
non-Native
more a c a d e m i c , and s o a l o t o f o u r k i d s
t h e same t i m e
Native
know t h e
B u t t h a t ' s what t h e
drawing p i c t u r e s , '
T h e y ' r e good
they
He's t h i n k i n g o£ h i s own p e o p l e , n o t
h i s Nation....
time
don't
because
i t means t o t h a t c h i l d
t e a c h e r s m i s s o u t on.
sees
-- n o n - N a t i v e a r t
understand
They r e a l l y
see something
students
that
and r e s p e c t them f o r i t b e c a u s e
have a l o t o f n a t u r a l I n d i a n a r t i s t s
l e a r n i n g about a r t i s t s
"to recognize
out t h e r e . "
o f N a t i v e a n c e s t r y from
other
we
Before
parts
52
of
our
Canada, S a s k a t c h e w a n s t u d e n t s
own
province
Sapp and
whose work t h e y
Lonechild.
for Native
develop
a r t i n s c h o o l s , and
content
and
when you
don't
adequate
want s o m e t h i n g
funding
available
thing
a p p r o a c h , she
have money.
We
as
art will
suggestions
i s somewhat s k e p t i c a l
don't
f o r the
for study
of
towards
"because
t h a t done, t h e y a l w a y s s a y :
have money.'"
and
study
Mary b e l i e v e s
m a t e r i a l s must
of N a t i v e
'We
be
a r t t o be
a
"good
in schools."
particularly
context.
share
w i t h , " such
gives reasons
provides
like
Mary g i v e s d i r e c t i o n
Native
"from
"a b e t t e r p e r s p e c t i v e , " and
and
for resources
In o r d e r
identify
artists
peoples.
E v e n t h o u g h Mary s u p p o r t s
Native
can
study
Mary t h i n k s s t u d y i n g N a t i v e
help non-Native students
respect
should
f o r the
study
of the a r t ,
t h e a r t of bead work w i t h i n a
She
reveals that art t r u l y
peoples,
and
that a r t with
Native
students,
Native
art
traditional
i s p a r t of t h e
t h a t they,
the
a r t i s t s , are
students.
The
artistic
Mary b e l i e v e s , d e s e r v e
as
the
talents
lives
ones
of
to
of
much a t t e n t i o n as
itself.
GRACE
G r a c e has
is
lived
P l a i n s Cree.
She
on
the
same r e s e r v e a l l her
considers herself
a self
life.
taught
She
artist,
53
and
refers
and
amount o f h e r a r t i s t i c
Her
t o a l l h e r a r t work a s " I n d i a n a r t . "
a r t work
painting,
craft
the years
i n c l u d e s bead, q u i l l
drawing,
dimensional
work o v e r
fabric
pieces.
i s amazing.
and l e a t h e r work,
work, and an a r r a y o f t h r e e
G r a c e has e x h i b i t e d h e r work a t a r t and
shows i n P r i n c e A l b e r t and d i s t r i c t .
Grace b e l i e v e s t h a t s t u d y i n g N a t i v e
good
The v a r i e t y
idea.
isa
She e x p l a i n s :
I think
i twill
Students
things,
the
a r t i n schools
be good b e c a u s e
are very
and t h e y
interested
should
I think
i t i s dying....
i n my t e a c h i n g
l e a r n more a b o u t
these
I n d i a n a r t and
beliefs.
G r a c e goes
work w i t h
into
t h e band
students.
operated
She f i n d s
school
on h e r r e s e r v e t o
that students
"really
want t o
l e a r n , " and grow i n p r i d e a s t h e y a r e l e a r n i n g .
Other
artistic
adults,
r e s e r v e communities
talent
a guest
teachers
The
collection
feel
like
About
talks
about
i n Prince Albert to
She t r e a t s
session talking
about
collection.
i s so l a r g e t h a t s t o r a g e
to c o n t a i n a l l of I t .
Grace's
sessions f o r
and s t u d e n t s .
a t h e r home t o a d e l i g h t f u l
l o o k i n g a t h e r a r t work
recognize
Grace p r o u d l y
a t one o f t h e s c h o o l s
her a r t with
visitors
and
her t o conduct
as w e l l as f o r c h i l d r e n .
once b e i n g
discuss
and i n v i t e
In t h e a r e a
boxes a r e needed
t h e many p i e c e s , G r a c e s a y s : " I
g e t t i n g r i d of these
t h i n g s sometimes, but then
54
again,
p e o p l e come and
they
want t o s e e
the
t h i n g s and
I
w o u l d n ' t have a n y t h i n g
t o show them."
Admidst
her
work, p a i n t i n g s by
of her
proudly
displayed
the
walls
o f her
V i e w i n g her
her
a r t work.
used
two
collection
In making her
r e v e a l s two
materials
a r t , and
most o f t e n , c o n s t i t u t e t h e
Grace c o n s t a n t l y
She
r e g u l a r l y goes
gathering
"I
just
of m a t e r i a l s
things
as:
roots,
small
birch
...
She
willow
and
coils
into
grasses,
small
pieces
of s p r u c e
of c o m m e r c i a l l y
and
Grace
it."
twigs,
god's eye
w h i c h she
basket
and
may
About
be,
and
and
her
laughingly
Grace g a t h e r s
says:
such
reeds,
pieces
of
fur,
nature's
with
bark
from
i n t o mats, and
shapes.
sews t o g e t h e r
containers.
birch
them t o g e t h e r
w e l l as
nature,
the
anywhere she
G r a c e weaves r e e d s
baskets
into
As
from
mosses, f u n g i , s e e d s ,
red willow
mostly
a number o f o b j e c t s made e n t i r e l y
roots,
stitches
help
in
spruce.
materials.
red
on
matter.
from n a t u r e ,
I can't
stones,
creates
natural
things
are
images f r o m
bush t o g a t h e r . "
bones, s h e l l s ,
b a r k and
secondly,
for materials
up
the
common p a t t e r n s
from n a t u r e
subject
looks
picks
"into
have t o
art
home.
Firstly,
environment.
sons are
own
She
She
with
twists
spruce
shapes
into miniature
weaves
larger
canoes
and
roots.
m a t e r i a l s , Grace gathers
available materials.
Friends
and
a l l sorts
neighbours
55
"save t h i n g s " f o r Grace t o o .
leather
scraps,
papers,
fabrics,
"anything
small animal
such t h i n g s a s :
figurines,
Grace saves,
and v a r i o u s
as she comments:
I c a n make use o f . "
materials
to create
instance,
she c o v e r s
commercial
pieces
wood
based
pieces
s a n d , moss, f u n g u s , s t o n e s ,
her
and b i r d
and y a r n s .
G r a c e combines t h e s e
animal
she c o l l e c t s
or b i r d
figurines
brightly
coloured
flora
and f a u n a ,
such as d r i f t w o o d
twigs,
and p l a c e s
and g l u e s
into
these
For
with
the s m a l l
Another type of
themes a r e e v i d e n t
yarns
natural
on themes f r o m n a t u r e .
w i t h i n the scene.
a r t work where n a t u r e
coils
materials with
i s when she
shapes of a n i m a l s ,
shapes onto
birds,
wooden
backgrounds.
Although
nature
s t r o n g l y i n f l u e n c e s Grace's a r t i n terms
of
m a t e r i a l s and images, o t h e r
is
reserve
life.
the
reserve
and
stitches
realistic
looks
pieces
similar
women.
patchwork a p p l i q u e
of d i f f e r e n t l y
filled
with
See B r e t t ,
items
display
patterned
work.
on
She
cuts
materials
into
h o u s e s and p e o p l e .
( T h i s work
1986.)
especially
of f a m i l y , a r e i n t e r t w i n e d
G r a c e ' s d e s c r i p t i o n s and s t o r i e s
makes
theme
t o t h e p a t c h w o r k p i c t u r e s made by C h i l e a n
Names o f p e o p l e ,
in
One
Grace d e p i c t s scenes of everyday l i f e
in colourful
scenes
themes do a p p e a r .
about
f o r f a m i l y members t o be u s e d
in their
own homes.
Grace g i v e s
h e r a r t work.
by them, o r f o r
"a l o t o f t h i n g s
She
56
away."
Even
a piece,
I
by some p e o p l e , t h e c o s t
never s e l l
anything.
t h e y always
ask me
know.
laughs.]
Grace
[She
know how
"feels
also
good"
"feels
accounts
that
to purchase
Grace s a y s :
don't
and
when a s k e d
how
I f t h e y want t o buy
much I want f o r i t . I d o n ' t
I always
to charge
when she
good"
s a y you
c a n have
it.
I
for anything.
gives
h e r a r t work t o
when she makes a r t .
f o r t h e amount o f h e r a r t i s t i c
"I c a n ' t s i t q u i e t ,
something,
I have t o do
Grace
others,
further
p r o d u c t i o n by
something
saying
a l l the
time."
Certain
She
talks
artist
her
p e o p l e have
particularly
who
He
t e c h n i q u e s and
Mom
encouraged
to explore
taught Grace
made m o c c a s i n s
the
about
learned
Grace
living
to learn
"just
and
Grace's a b i l i t y
t o do
bead
and
s a y s : "I t a u g h t m y s e l f .
I didn't
Grace's
In
on
was
mother
quills
patterns
pictures.
self
taught.
have anyone t o t e a c h
me."
Grace's
father
encouraged
on
particular,
stltchery
patchwork
work, t h o u g h ,
an
use.
w i t h dyed
from her mother, the unique
and
different
for decoration.
vests,
father,
talent.
and w o r k i n g
the sewing."
sewn w i t h h o r s e h a i r
s e e n on G r a c e ' s q u i l t s ,
She
her mother, her
various material
vamps o f t h e m o c c a s i n s
Grace
Grace's a r t i s t i c
s p e n t t i m e some y e a r s ago
reserve.
Her
influenced
her t o d e v e l o p her
artistic
57
talent.
of her
"used
Grace
remembers t h a t
time drawing
to r e a l l y
would p u t
and
like
my
painting.
drawings
them on t h e w a l l . "
draws b e c a u s e
she
was
as her
influenced
artistic
and
father,
and
Grace
says
no
little
using
ones"
sewing
work and
any
Although,
seldom
her, Grace
i n the
sort
wear s u c h
says
he
longer paints
or
or her
nice."
the
that
ties,
i t "hard
the
safely.
students
to teach
a r e not s k i l l f u l
Grace
work w i t h o l d e r
does
quills
the
in
bead
students.
In t h e c l a s s r o o m ,
bone c h o k e r s , and
p a t t e r n s f o r beaded
With
she
are very sharp
and
of which s t u d e n t s
items t h e y
beaded
Grace
prefers
a d a p t a t i o n s of the patchwork
"really
the younger c h i l d r e n
like
enjoy
doing."
can
jewelry.
j e w e l r y a r e d e c i d e d by
young c h i l d r e n ,
both
designs.
fosters
prime
a l l s t u d e n t s e n j o y making
p a i n t i n g s and
cut
works
artist
similarly
finds
work b e c a u s e
yarn
activity
portrait
handling.
as h a i r
C o l o u r s and
She
needles
of n e e d l e
quill
careful
Grace
age.
even w i t h o l d e r
father
classroom.
young c h i l d r e n
or b e a d i n g
teaches
require
looks
because
her
much
exhibition.
of s t u d e n t s
is their
that
spent
[and]
When t e a c h i n g a r t t o s t u d e n t s , G r a c e ' s
consideration
she
paintings
h e r m o t h e r , and
encouraged
talent
She
u p s e t when two
were n o t r e t u r n e d from an
Just
as a young g i r l
t o do
"what
the
pictures,
Another
Is making l a r g e
paper
58
A very
folded
This
l a r g e p i e c e of paper,
e v e n l y about
small
Designs
folded
a r e then
"In t h e middle,
out
animals
designs
for
square
cut into
are repeated
bark
t o make a s m a l l e r
i s then a g a i n
the folded
I c u t out arrows,
and t r e e s . "
creating
birch
four times
a b o u t one meter s q u a r e , i s
folded
paper.
and t h e n
When t h e paper
in a circular
t h e paper c u t s
from
square.
Grace asks
designs
and p a t t e r n s a s s t u d e n t s
with
their
bark
Is u n f o l d e d ,
students
to think
back upper and l o w e r
The t e c h n i q u e
Students
i s evenly
i n their
bite
teeth.
folded
minds o f
the small
folded
bark
When t h e d e l i c a t e
G r a c e has worked w i t h some s t u d e n t s
at biting
designs
of insects
not o n l y the f a m i l i a r
forms
m o c c a s i n vamps and j e w e l r y p i e c e s , b u t a l s o
who
and b i r d s .
like
with
beading
experience
own b e a d s .
From t h e l e a t h e r s c r a p s G r a c e c o l l e c t s ,
smeared
a t most
who have t h e o p p o r t u n i t y t o do bead work
Grace e x p e r i e n c e
making t h e i r
bark,
t h e marks formed by t h e t e e t h c r e a t e a
pattern.
were v e r y a d e p t
pieces
these
t o the technique f o r
The p i e c e
twice.
leather
there, I cut
biting.
ten centimeters
repeated
afan.
i s unfolded,
Grace uses s m a l l s q u a r i s h p i e c e s of b i r c h
about
like
Grace e x p l a i n s :
pattern.
i s similar
square.
beads.
make
Square and diamond s h a p e s a r e c u t from
of l e a t h e r .
lightly
students
The s q u a r e
with glue
o r diamond s h a p e d
on one s i d e ,
and r o l l e d
small
pieces are
into
tube
59
forms w h i c h a r e a b o u t t h r e e c e n t i m e t e r s
forms become l e a t h e r b e a d s and
necklace
be
or b r a c e l e t .
fashioned
Another
red
willow
short
the
they're
red
willow
create
t h a t she
until
easy
you
beads c a n
be
can
birch
students
The
you
a needle
carved
beads
can
make i s from
the
from
the a r t i s t
of n a t u r e ' s
who
had
materials.
them.
look
ideas
situation,
and
she
finds
with c r e a t i n g
their
own
them.
has
Grace,
b e a d s , and
She
bark
peeled
of the
of
her
into
the
so as
own
to explore
the
become
the
taken
classroom
enthralled
a l s o d i s c o v e r e d ways t o make b e a d s
from
as
paper c l i p s
in using a l l sorts
a picture
of
i s i n n o v a t i v e , f u n , and
nature.
Grace b e l i e v e s t h a t N a t i v e
a r t , and
she
and
mac
tac
of m a t e r i a l s .
"Indian a r t " teaching
that
t h a t has
students
knows t h a t b o t h
to
beads.
with
learning
about N a t i v e
The
soft
designing jewelry
delights
Grace p r e s e n t s
soak
They g e t
N e v e r t h e l e s s , G r a c e has
that students
commercial m a t e r i a l s , such
papers.
Grace
f o r making one's
encouraged
i n n o v a t i v e a p p r o a c h t o bead work
into
p i e c e s , you
through."
i n the
i s cut
long.
or c o m p l e t e l y
l e a r n e d some o f t h e s e
t o make a
bark
willow
cut the
work w i t h
variations
tube
bark.
gathers.
"After
t o put
interesting
Grace
this
p i e c e s of b i r c h
process:
i n water
beads
same way,
of bead G r a c e has
twigs
and
use
type
The
are strung together
p i e c e s , a g a i n , about t h r e e c e n t i m e t e r s
describes
them
from
In the
long.
and
close ties
need t o know
Native
and
to
60
non-Native students
o£
giving
artistic
enjoy
to o t h e r s , the
knowledge,
l e a r n i n g about
s h a r i n g of her
i s p e r h a p s most
o f s h a r i n g amongst N a t i v e
the
art.
Her
a r t work and
sense
her
I n d i c a t i v e of the
value
peoples.
GERRY
Gerry
was
has
a
"passion" f o r drawing.
e v i d e n t as a c h i l d
cars.
He
black
and
cartoons,
but
primarily
of b i r d
moose.
in his fascination
describes h i s present
white,"
He
as
"kinda
more and
says:
and
"My
His a r t i s t i c
with
drawing
a r t work, done
"mostly
like
cartoon
more G e r r y
wildlife
eyes are
talent
art."
He
draws " N a t i v e
such
just
as
d o e s draw
pictures,"
loons, eagles,
starting
in
t o be
and
open
to
Native a r t . "
Gerry
and
i s Cree.
comments: "I d o n ' t
because
I lived
Nevertheless,
still
in
He
alive."
northern
Gerry
i n the
Gerry
was
born
really
and
raised
in Prince Albert,
know much a b o u t my
city....
My
c u l t u r e was
believes that his Native
Sometimes d u r i n g t h e
Saskatchewan
fishing,
the
city."
Identity " i s
summers, he
and
culture
visiting
spends
time
relatives.
says:
When I go
home, t h i s
And
up
north
i t makes me
is natural.
when I draw a n i m a l s ,
It just
feel
good b e c a u s e t h i s
feels
i t ' s t h a t way
t h a t way
too.
to
is
me.
When I
look
61
at
the
eagle,
s t r e n g t h and
drawing
t o me
It kinda
achievement.
i t ; i t makes me
represents
That's
power
what I g e t
p r o u d t o draw i t . . . .
and
out
of
It's
beauty.
That
feeling
situation.
Albert
of p r i d e i s a l s o e v i d e n t
Gerry
works as a t e a c h e r
elementary
include
i n Gerry's
associate in a
s c h o o l where p a r t of h i s
teaching after
work
s c h o o l programs.
Prince
responsibilities
H i s program
Is
on
Native a r t .
Gerry
Metis,
and
support
the
be
a r t i n the
i f Native
still
accurate
will
history
"there's
not
only
Indian,
His
white
too.... Natives
are
sitting
not
a r t "should"
studies.
He
"records
history
first.
You
are
part
had
a certain
way
classrooms,
taught.
of Canada.
He
past,"
life.
explains:
want t o r e c o r d
the N a t i v e s
came
And
and
and
s t u d i e s because, w e l l ,
white people
of
I t should
a r t of
l e a r n a more b a l a n c e d
have t o p u t
the
in
b r i n g s back t h e
know, i f you
of Canada, you
be
b e l i e v e s the
[and]
help students
existed before
Natives
studying
Natives
a r e a p a r t of s o c i a l
were h e r e
[who]
that
students
v i e w of t h e
Natives
students
r e g u l a r s c h o o l program.
fact
thinks Native
p a r t of s o c i a l
study
with
system."
Indigenous peoples
its
agrees
in school, there's
school
Even
Gerry
Inuit
stems f r o m t h e
students
of
"definitely"
we
the
i n there
over.
a r t preserves
--
62
t o me,
I'm
history.
can
Gerry
of
see
starting
I t ' s not
the
art
Native
"really
art."
understanding
the
Gerry's
working
Gerry
about
like
"interested
i t and
of p a r t i c i p a t i n g
o f h i s own
really
i t , but
Natives
and
they
enjoyed
able
something
and
the
interested
I knew.
c u l t u r e s from
tied
his
i n with
experiences
importance
too,
but
of
they
They were k i n d a
passive
it."
confidence."
confidence,
students
are
"really
art in school
Gerry
and
l o t o f them a r e a r t i s t s ,
t o do
an
of A b o r i g i n a l a n c e s t r y .
l e a r n i n g about t h e i r
g i v e s them s e l f
because a
t o be
got
show i t , b u t
a l o t of s e l f
[It]
It's
"they
to
program.
students,
into
the
t o draw
came c l o s e r
their
school experiences
a r t for students
that
and
i n the
of N a t i v e
insight
able
students
b e l i e v e s t h a t many N a t i v e
artistic,"
context
i n l e a r n i n g " about
of A b o r i g i n a l p e o p l e s
Native
Gerry
You
knows t h a t
wanted t o be
b e l i e v e s the
observations
observes
didn't
are
in schools, give
studying
our
book.
a r t w i t h i n the
s c h o o l program, G e r r y
Gerry
experience
discussion
i t ' s a visual
studying Native
non-Native students
and
i t preserves
class.
From h i s a f t e r
art,
a book, but
that
past.
a l s o supports
the
to r e a l i z e
elaborates:
fulfillment
and
too
it's fulfilling
s o m e t h i n g t h a t makes you
t h a t ' s a p a r t of you,
"gives
and
feel
plus
good.
i t shows
63
the
other
k i d s t h a t you
that's a g i f t ,
look
you
on you
with
s c h o o l , he
talent
was
you
was
not
was
was
something
made him
Art
and
he
art."
those
should
who
his g i f t
teachers
a
little
liked
Even today,
he
Native
g o t my
art.
I was
Native
get
be
I
always daydreaming.
But
I c o u l d escape t o , t h a t
drawing
and
wants t o
who
arts."
techniques,
and
be
school."
Gerry,
level
of
ability
Gerry
as
for
"work more w i t h
have t a l e n t
styles,
talent
about
a higher
his a r t i s t i c
o p p o r t u n i t y to explore
Gerry
artistic
homework done and
t o have t a k e n
some N a t i v e
students
have t h e
student
I would
b i t more p o s i t i v e
calls
talent"
do
that
pride.
of
would
encouraged Gerry's
"would have
[and]
see
themes as a
c l a s s e s i n s c h o o l were " k i n d o f s i m p l e "
materials,
style
can
will
I excelled in at school.
"feel
"underdeveloped
drawing
The
always something t h a t
T h e r e were t e a c h e r s
and
you
people
a b i t of s e l f
good a c a d e m i c a l l y . . . .
good b e c a u s e
art
Other
o£
then.
t h a t I never
. wasn't d o i n g
inside
because they
important
trouble at school.
complaining
i t .
drawing Native
d e s c r i b e s how
t o him
share
I t g i v e s you
I d i d n ' t r e a l l y do
into
can
respect too,
have a g i f t .
Even t h o u g h G e r r y
in
and
have s o m e t h i n g
suggests
challenged.
the
that
They
various art
w e l l as
the
Native
notes:
students
are
interested
in their
past
and
their
64
culture,
art.
also
Gerry
and t h e k i d s k i n d a
And t h e y a r e c u r i o u s a b o u t
interested
refers
students
see i t r i s i n g
But t h e y a r e
t o c a r t o o n c h a r a c t e r s t h a t he draws f o r t h e
which
"the k i d s are j u s t
nuts
You k i n d a
Gerry describes h i s feelings
over,
Like
really
f i t the a r t i n with
now,
in relation
them."
to Native
that
proud
c u t down.
i t .
to feel
proud
good.
drawings
especially
h i s a r t , not only with
"to other
people"
them.
gives
and members o f h i s f a m i l y ,
s c h o o l program, G e r r y
shows t h e k i d s some N a t i v e
o f i t , i s by
s t u d e n t s , but a l s o
h i s mother who e n c o u r a g e s G e r r y ' s
In t h e a f t e r
i t makes
my way o f e x p r e s s i n g , s h o w i n g t h e
t h a t N a t i v e s a r e good and I'm p r o u d
shares
But
o f N a t i v e s and
d r a w i n g and s h o w i n g , s h a r i n g my a r t w i t h
Gerry
felt
o f i t , and my a r t
When I draw p i c t u r e s
That's
people
t h a t ' s me.
and w i s e men, o r e a g l e s , or s o m e t h i n g ,
me f e e l
[pause]
about N a t i v e s , I
I was b e i n g c u t down t o o , b e c a u s e
stuff,
Native.
I d i d n ' t g e t c u t down a s
c u t down o r somebody t a l k i n g
expresses
of being
N a t i v e s , b u t when I d i d s e e o t h e r
now I'm s t a r t i n g
kids
to feel
I was k i n d a ashamed o f b e i n g
of g e t t i n g
much a s o t h e r
get
starting
a l l my l i f e ,
because
and
and so t h a t
and t o t e a c h i n g N a t i v e a r t .
I'm j u s t
his
Native
i n p r e s e n t a r t forms t o o .
draws them t o t h e a r t .
art,
it....
too —
style
says
a r t work.
he " d e m o n s t r a t e s
a r t [and! I share
with
65
the
k i d s some o f my
week, and
grades
one
time
or
free
part
scheduled
"Native
verse
of the
First,
the
we
do
sessions is limited,
d r a w i n g " on
card.
a practice
[markers]
Students
take
or p i c t u r e s
a similar
He
says:
their
"I r e d o
Then we
pencil;
and
front
then
art.
we
we
really
go
drawing
like
was
up
i n my
or s y m b o l s ,
or
eagles.
i n with
from
a r t books
p u b l i s h e d a r t work.
s t u d e n t s ' drawings are
like
" I t was
students
images from
In s c h o o l p r o g r a m s , G e r r y
peoples
i t with
way."
c h o o s e t o draw a n i m a l s
A few
the
Gerry approaches h i s drawing i n
them m y s e l f ,
north."
over
we
nice.
drawings
o f t e n works from
l o o n s and
i t onto
colour
t o h i s d e s c r i p t i o n s of h i s a r t work.
Indigenous
there
w i t h a poem
sketch
then
i t shows up
o b s e r v a t i o n s of the
or b i r d s
designs
the
Gerry d e s c r i b e s the
ideas for t h e i r
of N a t i v e
"most" s t u d e n t s
like
so
s k e t c h , a r o u g h c o p y o f what
lines,
and
manner, and
Gerry's
similar
light
i n k , a l l the
felt
the
activity.
with r e a l l y
black
g r a d e e a c h month;
seven.
want t o draw, w i t h p e n c i l .
card
once a
I t i s making a " p o s t c a r d " t h a t
style
inside
to
f o r the
main a c t i v i t y .
combines a
s e s s i o n s occur
works w i t h a d i f f e r e n t
i n c l u d e four through
The
is
Gerry
Native drawings."
He
bear
notes
and
that
moose,
d e s c r i b i n g what i t
draw p i c t u r e s
t h e West
suggests
also
of
Indian
Coast.
s t u d y i n g the a r t of
a c c o r d i n g t o the v a r i o u s
geographical
66
regions
Plains
of North
regions.
perspective
He
among and
a r t forms.
such
as
t h e West C o a s t
differences
Gerry
T h e y were a l l N a t i v e s , but
to v i s u a l i z e
separate
kinds
and
t h e a r t you
lives.
in their
were a l l N a t i v e s and
different
Gerry
strong
and
shelter.
art
forms,
Gerry
were
lived
their
environment,
can
see
They were d i f f e r e n t ,
f i t together,
or n a t u r e
like
and
the
He
m a t e r i a l s from
adds:
old style
says:
t h e way
"But
and
was,
peoples.
the
but
a puzzle
In t h e
nature
"That's
they
with
still
is, a
past,
provided
the
the
creativity."
b e l i e v e t h a t you
o l d way
of the a r t
teaching Native a r t should
knowledge.
I t may
food
various
be
should
'cause
they d i d i t ; t h a t ' s p a r t of h i s t o r y
t h i n k s those
"nature
modern m a t e r i a l s " t o
I also
the
and
in producing
t h i n k s " i t ' s good" h a v i n g
preserve
white
art.
t o which G e r r y
and
they
show t h a t . . . . You
M a t e r i a l s were u s e d
art."
ability"
[cultures]
They f i t t e d
among N a t i v e
world,"
show our
Gerry
that
pieces.
connector
their
that's
can
b e l i e v e s environment
was
and
says:
separate.
differences
broad
between c u l t u r e s and
get
of
a
the
r i c h n e s s o f t h e whole c u l t u r e ,
[Students]
with
and
t h i n k s s t u d y i n g t h e a r t from
r e v e a l s the
similarities
their
America,
"have
too."
the
"anybody, even
the
people."
Gerry
says
t o a r t t e a c h e r s who
use
Native
art in their
67
programs:
Just
be s e n s i t i v e
recreate
i t , and
sensitive
probably
talked
about
teach
i t , n o t t o change
i t t h e way
t o what t h e a r t r e a l l y
i s more t h a t s h o u l d
about
I haven't
i t was
i t like
T r y and
before
—
t o be
meant.... T h e r e
be s a i d
i t , but I don't r e a l l y
lived
i t .
about
i t , and
know anymore
some p e o p l e h a v e . . . .
more
because
I'm
learning.
He d o e s
add:
reference
Gerry
" J u s t a c a u t i o n on t h e s p i r i t u a l i t y . "
t o the s p i r i t u a l
of
i t might
i t because
conflicts
though
"learning
students'
beliefs.
traditional
He
who
is learning his
b e l i e v e s a r t i s " p a r t of c u l t u r e , "
significant
and
manner by
Native
teacher
shows t h a t t h e l e a r n i n g and
students,
i t is a
f o r him.
As a l e a r n e r and
thoughtful
t h e r e may
"wants t o keep an open mind," and
r e v e a l s how
learner.
and
not f o l l o w
c o n s i d e r s h i m s e l f as one
culture.
benefits
i s p e r s o n a l , and
values
h i m s e l f does
process"
Gerry
Native
with
he
e v e n be w i s e t o l e a v e s p i r i t u a l i t y o u t
spirituality
Gerry
spirituality,
Gerry
i s a p a r t of N a t i v e a r t ,
says:
I think
Even
that
In
needs
a r t c a n be
of N a t i v e
and
f o r the
a r t , Gerry
t e a c h i n g o f t h e a r t In s c h o o l s
t o be a p p r o a c h e d
teachers.
In a
be
68
DAVID
David
are
p a i n t s and
of w i l d l i f e ,
David
developed
leatherwork
David
before
in
pencil
prairie
He
his talent.
as
He
In t h e
acrylics,
and
talent,
c h a r c o a l ; " he
f a r as
I can
a l w a y s been w i t h
The
to sketch
more and
"works w i t h
talent
Is p r o u d
and
me.
The
he
of h i s
saddles.
sketching
He
likes
"paints
working
a l o t of d e t a i l "
the
sells
able
t o draw
ability
in
In h i s
anything
t o p a i n t and
i s something
I've
to
be
learned
years.
h i s a r t work, and
a l s o does
work.
For
" q u i t e a few
y e a r s " now,
schools
t o work w i t h
students,
a lot; I like
David
schools are
that
a l w a y s been d r a w i n g a l l
of b e i n g
p r o p e r l y now
more o v e r
exhibits
commission
themes.
r e s e a r c h i n g and
[and]
works
fortunate to
making o f w e s t e r n
remember, I've
has
students
and
His
comments:
time....
enjoy
Indian
i s a l s o proud
water c o l o u r s
the
David
with
considers himself
with" a r t i s t i c
skills,
David
able
scenes
style.
e v e n works on a p a i n t i n g or d r a w i n g .
and
As
in a realistic
"spends a l o t o f t i m e "
he
oils,
art.
and
i s P l a i n s Cree.
have been " b o r n
has
draws
and
working with
works w i t h a r e
band o p e r a t e d
he
has
says:
kids."
been
invited
into
" I t ' s something I
Most o f
the
o f A b o r i g i n a l a n c e s t r y , as
schools
or s c h o o l s
i n Metis
the
69
communities,
eagles"
t h a t David
David
of
the
Native
should
content
Indian a r t i s a l i t t l e
agrees
schools.
Art
it
" i n one
David
to
be
be
look
be
careful
has
colours,
a
I've
a r t , as
David
notes:
where t h e r e ' s
i n the
consider
believes students
various art styles,
a r t i s one
knowledge.
a l l areas
I guess
...
I say
I look a t
art in
part
art
of
t h a t because I
c o l o u r s , with
to a r t
flowing
lines.
of a r t as
have t h e
o f many ways t o
t h a t t o o many
opportunity
techniques.
increase
to
Study
students'
f o r non-Native
help
Indian
Morrisseau.
I see
m a t e r i a l s and
Additionally,
and
I n d i a n a r t as
schools,
should
I feel
Indian a r t
" t h a t type
t h i n k s : " I n some ways i t may
I n d i a n more
definition
in art.
work o f Chee Chee and
type."
artistic
studying Native
strong
want t o p a i n t t h a t
of N a t i v e
the
Indian
f o r everybody."
abstract
t o the
explore
David
and
"When I go
David
planning
to teach
[pause];
always r e f e r r e d
l o t of t h e
t h i n k s most p e o p l e
art,"
when
i n s c h o o l more s e r i o u s l y ,
Indian a r t .
different....
kids
cover
at a r t d i f f e r e n t ,
that
o£
says:
taught
should
with
"paintings
do.
of a r t [and]
different
way,"
i n school should
should
the
commissioned
I guess because a l o t of people
He
He
was
thinks educators
"to s t r e s s
art,
i n some s c h o o l s , t h e r e a r e m u r a l
them t o
students,
understand
i t would h e l p them t o u n d e r s t a n d
the
70
other
Native
David
kids
i n the c l a s s
views the a r t of
area
popular
p e r c e p t i o n of N a t i v e
artists
of A b o r i g i n a l
art,
matter
how
When s t u d e n t s
little bit."
Indigenous
diverse
no
of s t u d y
a
that should
peoples
not
art.
a n c e s t r y who
be
He
as a r i c h
limited
to
t h i n k s i t Is
should
be
and
the
the
teaching
their
they define i t .
are
studying t r a d i t i o n a l
a r t forms,
he
says:
Someone t h a t r e a l l y
background,
them once
like
i n a while
certain
just
a picture
know why
he
a good knowledge o f t h e
the c u l t u r e ,
there's
do
has
—
c o u l d come i n and
talk
g e t them t o u n d e r s t a n d
ways o f d r e s s i n g
o f an
i s wearing
...
so
to
why
that they
Indian with a headdress
i t .
Native
don't
and
not
I guess t h a t ' s p a r t of
researching a r t .
At
times,
and
talk
i t would be
t o the
David
with
In
idea to
t h i n k s t h a t the
study
I n d i a n and
of N a t i v e
Metis
Saskatchewan s c h o o l s , s t u d e n t s
artist,
really
David
"have e l d e r s come i n
kids."
t h e a r t work o f
Cree
one
a good
Allen
Sapp who
people
should
" p a i n t s a day
i s c a p t u r i n g t h a t time
a r t should
of t h e
done
study
and
begin
locally.
t h e work
age
Indian's
where
of
no
life."
says:
Usually
they
i f t h e r e ' s s o m e t h i n g t o be
[students] are
learning
taught
about N a t i v e s
about
from
Natives,
71
someplace e l s e ,
eastern
like
t h e ones
p a r t o f Canada.
Indians that
are l i v i n g
they started
from
understand
could
i n t h e U . S . o r B.C. o r t h e
But t h e y n e v e r
right
next
t e a c h about t h e
door
t o them.
If
t h e r e , i t would p r o b a b l y h e l p them
the Natives b e t t e r .
Then,
s l o w l y move on t o o t h e r a r e a s
from
there
they
i n Canada or N o r t h
Amer i c a .
David
believes:
different
able
has
tribes
a c o n n e c t i o n amongst a l l t h e
of North
America....
t o communicate w i t h e a c h
played a b i g role
understanding
David
Native
you
"There's
nature, r e a l l y
comments t h a t
teaches
wanted
and t a l k s
o t h e r , " and " n a t u r e
with the Natives
or I n d i a n c u l t u r e
really
and
school l e v e l s .
draws f o r them.
meant
nature."
" t h e r e a r e s o many t h i n g s i n t h e
that
to get into
about
does, or
... s u r v i v a l
understanding
c a n be t a u g h t
it."
i n the school i f
In the s c h o o l s ,
David
"just a r t . "
He has worked w i t h s t u d e n t s
high
Indians a r e always
He v i s i t s
David
from
the k i n d e r g a r t e n t o
w i t h the younger
students,
says:
What t h e y
like
[ i s ] cartoon c h a r a c t e r s . . . . For the older
students,
then
I start
art.
t o t e a c h them s o m e t h i n g
I t r y and t e a c h them t o be a b l e t o s e e t h e
shadows, t o s e e what t h e s u n a c t u a l l y d o e s ,
t e a c h them t o draw w i t h s h a d i n g , w i t h o u t
1lnes.
about
and t h e n
having
t o use
72
At
the s t a r t
kids"
the
on a d r a w i n g ,
same
The
those
drawing
First,
on t h e i r
charcoal
i n Native
students
paper
schools, they
lightly
in pencil.
because
like
"a l o t o f
l o t s of
s k e t c h an o u t l i n e
Then D a v i d
of the
has s t u d e n t s u s e
b e c a u s e he b e l i e v e s :
[Charcoal]
i s something d i f f e r e n t
f o r them t o work
t h a t when t h e y do g e t i n t o d r a w i n g w i t h
they're
trying
David
with the
t o them and t e a c h i n g them a t
i s o f t e n of a bald eagle
kids, like
so
"talking
"works t o g e t h e r
time."
eagles."
eagle
of a s e s s i o n , David
not o u t l i n i n g
t o shade
and t h e y ' r e
area
background
i s going
i t ' s not as dark
-- s o t h a t
t h e w h i t e o f t h e head s t i c k s
background.
Instead
you're shading
it's
just
around
a different
of having
drawing
o f one o f t h e s t u d e n t s '
picture."
David
on t h e
down, t h e
i t fades
o f f , so
out i n t h e dark
t o draw t h e head o u t ,
David
sometimes does a
faces.
model h i s d r a w i n g , t h e y
observes
i n the
shade.
o f a d r a w i n g o f an e a g l e ,
students
first,
i t , and when I g e t t o t h e beak,
Instead
After
of the e a g l e .
t o be ... and t h e n ,
p a r t o f t h e page a b o u t h a l f - w a y s
background,
that
working harder a t
f o r the drawing
them t o make a d a r k
where t h e head
lower
again,
i n the areas.
e x p l a i n s the shading
I teach
pencil
with,
"do t h e i r
d i f f e r e n c e s between what
own
Native
73
and
non-Native
students decide
When I go t o a c l a s s
non-Native
their
kids.
He s a y s :
.. a l w a y s t h e r e a r e a few
There
i s such
a big difference in
i d e a s i n what t h e y want t o draw.
Native
stuff
kids,
like
because
that.
It's just
different
... u s u a l l y a n y t y p e
Indian,
yard,
i n them I g u e s s ,
t h e y a r e N a t i v e . . . . The o t h e r
barnyards,
stuff
i n mind t h a t
of s c e n e r y .
like
kids,
that.
planes
usually
I've a c t u a l l y
or s t u f f
never
of even
like
had an
their
that.
They
t o draw t h e e a g l e .
David
comments: " I d o n ' t
book.
That's
In t h e c l a s s r o o m . "
to sketch.
"on
they
I ' d s a y some do
.. a N a t i v e k i d , do a d r a w i n g
or s a y drawing
y o u know,
t h e y want t o draw
Some s t u d e n t s u s e books t o h e l p w i t h t h e i r
the
Most o f t h e
t h e y ' r e s o much i n t o e a g l e s , t e e p e e s , and
have s o m e t h i n g
like
t o draw.
a l l t h e y have
David
When he goes
wildlife"
discourage
f o r students
them from
taking students
classrooms,
"that
l o o k i n g In
f o r r e f e r e n c e when t h e y a r e
suggests
into
drawing.
David
outdoors
b r i n g s books
t h e y c a n use f o r
reference."
David
makes a n o t h e r
N a t i v e and n o n - N a t i v e
I find
ability
o b s e r v a t i o n about
t h e a r t work o f
students.
the Native kids,
a t a young a g e , have more
t o draw s o m e t h i n g
.. a t a young a g e .
I find
I don't
than
the non-Natives,
know i f i t sounds p r o p e r t o
74
s a y t h a t , b u t I am a b l e t o s e e t h a t a l o t .
When D a v i d
notices that a student
has a r t i s t i c
talent,
David
encourages the student.
At
the s t a r t
they're
to
the other
kids,
u s u a l l y shy....
but because
that
has t h e a b i l i t y
that
class,
t o have some t a l e n t
doing.
And t e l l
different
I've t o l d
And
him a few l i t t l e
the r e s t
a little
different,
there
I ' l l sometimes s t o p and I ' l l go t o t h a t
more
feels
fair
i n a r t , during
t o e n c o u r a g e him a l i t t l e
he
of the c l a s s
more s p e c i a l
or h e r , because
I t r y t o encourage
i n what he's
things
so t h a t , a t l e a s t
-- t h a t I f o u n d
of t h e i r
than
abilities
him
in art.
them a s much as I c a n . . . .
I've
a l w a y s wanted t o go back t o t h e s c h o o l s and work
with
[those] kids
going
... so when t h e y do l e a v e s c h o o l , t h e y a r e
to continue
with i t .
He o r she c o u l d p u r s u e a c a r e e r
just
a s an I n d i a n
David's
from
I see a s t u d e n t
student
what
not
I t may n o t be
work
i n a r t a s "an a r t i s t ,
and
i s purposely directed
away
artist."
i n the s c h o o l s
what he t h i n k s i s commonly p e r c e i v e d as I n d i a n a r t .
directs
students
techniques
Native
away from
of shading
content
says:
w i t h c h a r c o a l and p e n c i l .
or i m a g e r y comes t h r o u g h
work, and i n d e e d ,
David
c o l o u r and s t r o n g l i n e
i n David's
into
Still,
i n the students' a r t
a r t work.
"When I do t h e t e e p e e s ,
He
Indians
on
horses
75
...
my
you
can
call
Indian a r t
the
i t I n d i a n a r t or N a t i v e
[ i s ] considered
mainstream a r t f i e l d .
study
of N a t i v e
definition,
as w e s t e r n a r t " by
David
r e v e a l s an
a r t t h a t does n o t
nor
students
a r t I guess,
t o one
limit
style,
nor
those
approach
Native
in
to
a r t to
artist
[but]
to
one
Native
artist.
CHARLES
Charles
throughout
and
i s Woodland C r e e .
the
province
s c u l p t u r e , but
discussion
historically-based
Charles,
his
Charles
Rather,
the
known as
He
with
about the
more
peoples.
Still,
is essentially
may
call
the
become
for
same between
I n d i a n a r t , what i s
Indian a r t . "
from t h e
the
talks
Indian
"what we
art for
" b e c a u s e h i s a r t has
talks
understanding
i s often invited
ranging
s e t s a s i d e h i s own
he
a r t of
p e r s o n a l a r t and
i s b e c o m i n g known
f o r h i s a r t work, p r i m a r i l y p a i n t i n g
i n t e r m s of s c h o o l s
personalized."
He
explains
elementary
Woodland s t y l e
about the
the
t o do
to a d u l t
when t a l k i n g
understanding
processes
a r t workshops w i t h
and
behind
level
and
works
to students.
the
students
a r t , and
mostly
Charles
he
materials involved in creating
this art.
Charles agrees
with
having
Native
a r t content
in school
76
programs,
doesn't
"art
" i f i t i s done p r o p e r l y . "
n e c e s s a r i l y have t o be
is life.
He
learning
and
art, in part,
in
lives.
their
"people that
very
open
He
As
are
but
the
believes
t o use
These
as
Something
a high
that
that
can
appreciate
s t u d e n t s who
that
art
level
help
like
of
students
a r t , that
sees
are
of
the
l e a r n about Native
c u l t u r e s and
hold
or
teachings
once
of
Nowadays, I see
t o c o n v e y t h e s e messages
Charles
thinks
that
over
philosophy,
that
Although
throughout
the
the
a r t object
centuries,
in
or
the
of
conveying
"but
a r t has
i t i s b e c o m i n g more
Aboriginal
forces
Charles
i f language
[pause];
Imagery b e c a u s e many N a t i v e
behind
time.
instrumental
the
strongly
p h i l o s o p h i c a l concepts
constant
l a n g u a g e was
there....
the
art
peoples,
Charles
i s a process with pushing
forces,
thinking
philosophy
same.
with.
Charles,
come t o know a r t , C h a r l e s
appreciation
the
messages or
place."
the
that
i t .
Aboriginal
going
a tool
For
a r t goes beyond mere a p p r e c i a t i o n .
emphasizes
not
live
though, " i t
minded."
enhance t h e i r
is
learners
cultured,
may
the
as
says,
art."
regards a r t education
acknowledges t h a t
behind
Indian
I t ' s s o m e t h i n g you
breathing."
He
c h i l d r e n are
language
is
not
taken
that
important
not
getting
thinking.
visual
process
expression
of
may
i t s creation
vary
is
the
77
We're t a l k i n g
about
I n d i a n a r t as a p r o c e s s . . . . I t was
v e r y smooth f l o w o f a r t i n a l i f e s t y l e
anything d i f f e r e n t
living....
things
Based
today
on t h e a p p r o a c h
situation,
which
H i s main p u r p o s e
practical
i n the c l a s s r o o m
" t h e hands-on
method
illustrates
is bringing
in actual
h e a d d r e s s and
region.
s a y s : "Kids can r e l a t e
a drum f r o m t h e
I make them t o u c h . "
wear t h e h e a d d r e s s and
art,
product.
feel
the
t h e c o n c e p t s and
o f t h e drum f r o m raw
F o r example,
from, which
about a l l
He
the
objects,
Plains
they
Students are i n v i t e d
to
"wooden a s p e c t " o f t h e drum.
processes involved
materials
talks
to
he a s k s where d o e s
leads to a d i s c u s s i o n
the a n i m a l l i v e s .
Many
to something
C h a r l e s shows s t u d e n t s h i s drum and
creation
becomes
so as t o g e t s t u d e n t s t h i n k i n g
s u c h as a D a k o t a
To e x p l a i n
the concept behind
In making t h e a r t .
hands-on
can t o u c h .
method."
i s questioning.
s t r a t e g y which d i r e c t l y
Charles
teach those
i n h i s approach which
from t h e d e s c r i p t i o n s
Another
through
of a r t , C h a r l e s
i s to t r y t o convey
t h e a r t , and a s t r a t e g y
i s involved
view
he u s e s
he d e s c r i b e s as
q u e s t i o n s a r e posed
You
see
manner.
elaborates
that
of i n n a t e .
on h i s h i g h l y c o n c e p t u a l i z e d
obvious
I don't
... t h r o u g h s e e i n g ,
I t comes s o r t
i n that
and
a
about
the
finished
t h e h i d e come
o f t h e a n i m a l and
t h e n a s k s how
i n Indian
where
a r e you g o i n g t o go
78
about
getting
this
a n i m a l , which
leads t o t a l k i n g
about
hunting.
Those
animals
going
to allow
a certain
respect
... t h a t ' s
their
you t o j u s t
way y o u have t o t a k e t h a t
that's
involved
there.
becomes a n o t h e r a r t .
p r o c e s s . . . . Make them t h i n k
C h a r l e s draws a t t e n t i o n
e x p l a i n s about
explains
singing
this
does
he compares
P o p u l a r music
o f t h e drum.
and I n d i a n s o n g s .
need
Charles
I n d i a n songs
c a n be l i s t e n e d
cannot even
also
thought
ceremonies?
So a l l t h i s
forces
just
[drum], t h a t ' s
Similarly,
Charles
t h e Dakota
for this
the kind
talks
of students.
For
on t h e r a d i o .
Indian
songs.
So how a r e y o u g o i n g t o know
place
talk
i f you don't a t t e n d
those
a b o u t what's on t h e s i d e ,
one l i t t l e
of t h i n g
about
headdress.
t o songs
in it."
t o and used by anyone, b u t
t a p e them.
i n the f i r s t
behind
He
t h i n g s maybe t h a t a r e
some s p i r i t u a l
these songs
the
about a
t h e whole p r o c e s s .
the the purpose
i s not the case with s p e c i f i c
You
-- t h e h i d e ?
talking
C h a r l e s makes c o n n e c t i o n s t o t h e l i v e s
this
the
y o u have t h e
shape
You're
There i s
t o u n d e r s t a n d i n g a r t , and a l o t o f I n d i a n a r t does
c o n t a i n some —
example,
are not j u s t
animal —
So once
about
"some o f t h o s e s p i r i t u a l
important
They
come and t a k e them.
a n i m a l , how do y o u g e t i t i n t o
So t h a t
world.
specific
thing
I go t h r o u g h .
t h e p r o c e s s and meaning
79
One
specific
address
it
reason
stereotyping.
f o r showing the headdress
Students
i s and comment t h a t
ago
when h e a d d r e s s e s
explains:
not
"Something
are quick to i d e n t i f y
" I n d i a n s wear t h o s e . "
makes s t u d e n t s t h i n k a b o u t
that
Charles
common.
then
Charles
was n o t an ornament;
i t was
ornamental."
He e l a b o r a t e s on how c h i l d r e n
developmental
certain
went t h r o u g h a
p r o c e s s , an i n i t i a t i o n ,
and were
t h i n g s such as t o r e s p e c t e l d e r s .
instance,
the
what
I n d i a n s o c i e t y hundreds of years
where e s p e c i a l l y
like
i sto
were t a u g h t
t o hunt
and b r i n g
Young b o y s , f o r
meat back t o f e e d
o l d p e o p l e who were no l o n g e r p h y s i c a l l y
h u n t i n g and p r e p a r i n g f o o d .
g i v e n an e a g l e
taught
strong f o r
Boys who l e a r n e d t h i s
f e a t h e r a s "a s i g n
were
of g r a d u a t i o n . "
So a s a
Dakota boy:
...
i f y o u d i d a l l t h o s e good t h i n g s a l l y o u r
comes a p o i n t
you
i n time
have a l l t h e s e
when y o u ' r e
say s i x t y
life,
years o l d ,
f e a t h e r s showing you a l l these g r e a t
t h i n g s you d i d f o r your
people, not j u s t
Then y o u go make a b o n n e t
like
this
for yourself.
and y o u c a n wear
that.
Dakota g i r l s
feathers
To
Charles
who a c c o m p l i s h e d
t o w a r d s making
certain
teachings also
earned
headdresses.
help students understand
compares them t o r e p o r t
the concept
cards.
of the f e a t h e r s ,
He may a l s o
bring
80
t h e message o f t h e h e a d d r e s s
talking
people
about
Nations
l e a d e r s who work
for their
today.
Charles
objects
for
First
t o a p r e s e n t - d a y c o n t e x t by
calls
headdresses
have a f u n c t i o n a l
and drums " m o b i l e a r t . "
or p r a c t i c a l
use.
These
A headdress,
example:
... needs t o be i n m o t i o n .
series
of t h i n g s connected
appreciation.
Everything
at
i s part
Charles'
forces
with
about
i t to get the f u l l
song
and d a n c e ,
of the package.
i t a s one s p e c i f i c
other
motion
We t a l k
I t needs t o have a whole
thing.
You c a n ' t
drama.
just
look
I t needs t o be so many
involved.
image o f t h e powwow d a n c e r
suggests that mobile
with h i s featherwork i n
a r t combines t h e v i s u a l
with
motion.
Like
the feathers
many o f t h e m a t e r i a l s
Indigenous
strong
past
is
interplay
he u s e s
child-like
like
used
nature.
of e c o l o g i c a l
because
a r t of
C h a r l e s emphasizes
influences
I n an a c t i v i t y
t h e bear
and t h e h i d e o f a drum,
i n the t r a d i t i o n a l
p e o p l e s come f r o m
and p r e s e n t .
style,
of a headdress
based
the
on N a t i v e a r t ,
on t h e Woodland
image, an image t h a t
"how t h e y draw a b e a r
some may
doesn't
a b e a r ; " however, young s t u d e n t s i d e n t i f y
think
look
with the
style.
Following
the s t y l e
format a l l o w s C h a r l e s t o get i n t o
81
ecology,
realize
and
"what
only Native
entity
into
legends.
i s the importance
culture,
In t h e
but a l s o
tells
legends,
visual
the c l a s s
about the bear
and t h e s e
The
story
bear
fish.
this.
This
way,
items,
i s what
we're
if
time
are
know
... t h e b e a r
say t h i s
going
eats
Is our
L e t ' s keep our mind
t o show w i t h o u t
i s presented
on
using
i s also
h i s making
Charles
invites
of a
t h e use o f
t o r e c o r d workshop s e s s i o n s .
art style
i n workshops,
i s o n l y one c e r t a i n
i s most
visually.
the p r o c e s s , C h a r l e s
are able t o observe
that this
familiar
allows Charles w i l l
He has worked
own
recorded.
hibernates
a t t h e same t i m e .
he
of
their
e v e r y t h i n g they
of the bear
When u s i n g t h e Woodland
Is t h e s t y l e
Charles
u s i n g any k i n d of w r i t i n g .
p h o t o and v i d e o cameras
makes c l e a r
legends,
of c r e a t i n g
down and we
work t h r o u g h
w o r k i n g so s t u d e n t s
legend
as an
w h i c h become t h e b a s i s f o r
i s our s t o r y .
the concept
As s t u d e n t s
visual
brainstorm
It's a l llisted
This
with
the process
of the bear,
words, w i t h o u t
In t h i s
i n terms of not
d i s c u s s i n g the concept
has f u r ; t h e b e a r
legend.
students
i n terms of w i l d l i f e
After
begins
Students
class's
of the bear
of the bear
a legend.
legend.
the
t o make
world."
When u s i n g t h e image
firstly
He t r i e s
w i t h a r t from
talk
with
about
the P l a i n s
style
Charles
of a r t .
for instruction,
other
types
It
but
of a r t .
area, t y p i c a l
of
82
southern
Saskatchewan.
for a teacher
environment
t o be
of the
As
Charles
guided
by and
students,
and
e x p l a i n s , i t makes s e n s e
work w i t h
their
the
relevant
experiences.
He
states:
I c o u l d go
i n t o a s c h o o l down s o u t h
e v e n have any
but
they
talking
That's
t r e e s and
[students] can't
about
why
art
content
i n school
Charles
p o i n t s out
environment
and
styles.
art
forms and
the
a r t o r i g i n a t e d and
Still,
suggests
environment.
start
i n h a b i t e d the
area.
[guidelines].
in determining
have r e s u l t e d
Native
d i f f e r e n c e s among
i n many t y p e s
a strong connector
i s nature.
Charles
t h a t ' s where
to
among t h e
says:
—
of
diverse
"That's
i t actuated
teaching Native
... a
feel
to g a l l e r i e s .
a r t in shools
someone t h a t has
where
i n terms
should
of study.
be
a feel
interrelated,
Charles
says:
their
making a r t d u r i n g
He
should
f o r what k i n d o f message
Art content
areas
explore
l o o k i n g a t and
f o r e s t s as w e l l as
person
other
that students
T h e y c o u l d be
environmentalist,
with
poles
land."
Charles
out."
totem
I can
that environmental
art
forms
they
don't
programs.
geographical areas
styles
about
to that.
Is i n s t r u m e n t a l
various
the
relate
I f o l l o w these
local
visits
talking
b u f f a l o because
The
of the
start
where t h e y
thinks that
be
f o r other
i s t o be
"an
life
given
or i n t e g r a t e d ,
83
If. we're g o i n g
about, then
with
As
you can t i e a r t w i t h
ecology.
subsequent
t o f o l l o w the process
T i e i t with
I was
talking
say, h i s t o r y .
Tie
i t
o t h e r a r e a s , and i t ' s a
k i n d of ongoing
thing.
C h a r l e s r e v e a l s , a r t I s n o t bound by s u b j e c t or t i m e , n o r
language.
Art
i s important
w h i c h goes
first
The
i s very
important.
One o f t h e
i n f o r a workshop
i s t o l o o k a t t h e w a l l s t o s e e how much, and what
o f a r t i s b e i n g done.
being
see,
the classroom
He b e l i e v e s t h a t t h e a r t
t h i n g s C h a r l e s does when he w a l k s
session
kind
into
to Charles.
fed."
f o r what s t u d e n t s " a r e
C h a r l e s b e l i e v e s our minds h o l d e v e r y t h i n g we
and h e a r .
term
He l o o k s
He c a l l s
this
"our p e r i p h e r y o f v i s i o n . "
provides a thought-provoking
discussion
of a r t , i n p a r t i c u l a r ,
ending
for his
the a r t of
Indigenous
peoples.
On a f i n a l
If
Charles
we a r e n o t g o i n g
then
adds:
to c o n s c i o u s l y develop
ourselves,
s u b c o n s c i o u s l y , t h e a r t we v i e w , t h e s o n g s , t h e
legends,
and i m a g e r y w i l l
therefore,
be
note,
important
do I t f o r u s .
that these
It
is,
things, especially art,
f e d t o t h e minds o f t h e young ones s o t h a t
guides
will
exist
for their
future
journey.
innate
84
ALAN
Alan
is a self
work p r o m o t i n g
recognized
say
the a r t s
over
the
I e s t a b l i s h e d my
here."
Alan
it's
not
English
He
years
even o u r s .
word
the
edge of t h e
bit
of both"
same."
" i m a g e r y " and
Alan's
"the
a label.
peoples
a race
like
plains,"
of the
a young t e e n a g e r ,
'Cree,'
Is
e n t e r i n g drawing competitions.
an
Alan
is "right
i s probably
however,
on
"a
Alan
categories
their art.
educators
and
a l l Indians
the
been a p p l i e d t o
p r e f e r s t o use
terms
like
culture."
"really
such
city.
Indians."
and
a p p r o a c h has
Most o f t e n A l a n
talent
word,
of
can
they're
of E n g l i s h names and
and
always
of t h e
'Cree'
have a l w a y s c l a s s i f i e d
artistic
has
H i s home r e s e r v e
the
overuse
"imaging
Despite
"I g u e s s maybe you
P l a i n s Cree;
thinks a similar
"Indian a r t . "
was
and
b e l i e v e s : "People,
He
that
really,
Woodland and
anthropologists,
peoples
i n P r i n c e A l b e r t , and
"y" d i a l e c t .
to describe Native
are
comments:
It's just
c a u t i o n s a g a i n s t the
of N a t i v e
to r e l o c a t e , Alan
p o i n t s out
forests
his
on a r e s e r v e n o r t h
identifying,
the
He
He
born
but
crafts
H i s a r t work, and
internationally.
roots
was
i s Cree,
speaks Cree,
he
and
i n Saskatchewan.
still
artist.
n a t i o n a l l y and
opportunities
lived
taught
came o u t "
t h a t he
He
was
i n s c h o o l when
boycotted
developed
skills
from
and
85
knowledge
I've
i n many a r t forms and
done a
work; I've
to r e c a l l
looked
l o t of c o m m e r c i a l
[all!
a t and
i n Canada.
He
who
he
some
a l l the
time
I've
Indian a r t
the
different
art
with
p a r t s of t h e w o r l d
considers
"are
of A b o r i g i n a l a n c e s t r y
the
when he
hears
i n s c h o o l programs.
He
u l t i m a t e purpose to
population
on
the
questions
"how
about the
study
"to p a c i f y "
the
Indigenous
Maori
about Native
questions:
it?"
of
forefront,
in education
New
and
as
well.
art
"For
what?
He
hopes t h a t
the
a growing
I n d i a n and
Metis
i n S a s k a t c h e w a n , nor
p a r t of n o n - A b o r i g i n a l
s e r i o u s " governmental
of N a t i v e
as
coming t o t h e
is skeptical
not
work of
such
Alan
feelings"
t o ease
"any
society.
education
a r t i n t e r m s of
guilt
He
agencies
f u n d i n g and
are
long
planning.
Alan's
who,
major a r t i s t s "
i n e c o n o m i c s and
i n t e n t i o n s are
term
,,.
i n a r t , " but
student
art
non-traditional,
just
i s the
fine
basically,
with
of t h i n g
is also familiar
Zealand
What
But
quite familiar
t h a t type
a l l the
i n other
appearing
says:
exist.
peoples
not
a r t work and
done.
know, t r a d i t i o n a l ,
forms t h a t
"met
what I've
I'm
contemporary,
has
Alan
done a l o t o f t h i n g s . . . . I t t a k e s
f o r m s , you
Alan
mediums.
s k e p t i c i s m comes from
because
As
o f h i s work and
Indians
" b e i n g an
Indian
person"
experiences, believes:
we're f o r e v e r a l l o w i n g t h e
institutions,
the
86
government
the
institutions
and o t h e r s
always c o n t r o l l e d
by money.
Still,
Alan
school
p r o g r a m s a r e commendable.
wrong,
it'll
"along
with
thinks efforts
Alan
He
It
the Indian
people."
societies
of the study
waiting to explode.
forms o f e x p r e s s i o n .
thing.
North
point
to realize
—
really,
needs
impact."
i s forAboriginal
t h e i m p o r t a n c e and
America,
and t h e t h i n g i s t h a t
really
qualifies
place."
i n a l l areas of
i t ' s not being
be t r e a t e d , t h a t
to learn
treated
i s , i t i s such
from.
" d o n ' t have a c l u e what
He a l s o b e l i e v e s t h a t
a r t by i t s e l f ,
thinks Native
i t I n d i a n a r t or any
h i s premise.
He b e l i e v e s t h a t we
the f i r s t
that's
w a i t i n g t o explode i n
the Indian c u l t u r e ,
way i t s h o u l d
something
A r t , i t ' s one o f t h e r i c h e s t
I won't c a l l
l a r g e and v a s t r e s o u r c e
separate
have a f u l l
The whole c u l t u r e i s j u s t
existence,
Alan
question
states:
still
a
The c e n t r a l
o f I n d i g e n o u s c u l t u r e s and t h e i r
i s one o f t h e r i c h e s t
the
"Don't g e t me
h e l p t o some d e g r e e , " b u t i t needs t o be done
non-Aboriginal
art.
a r t content i n
He s a y s :
b e l i e v e s that the s t a r t i n g
potential
in
t o have N a t i v e
be "what c a n we do t h a t w i l l
and
and s e t
p a r a m e t e r s o f what we a r e and what we s h o u l d be.
It's
to
to dictate
with
Indian
and n o n - N a t i v e p e o p l e
[the a r t ] i s
"you c a n ' t
or a n y c u l t u r e . "
h o l d many
Alan
misconceptions
87
a b o u t t h e a r t o£ i n d i g e n o u s p e o p l e s .
is
"distorted."
Sure t h e r e
to
He
that
i s today
perceived
a r t was a form o f c o m m u n i c a t i o n
symbolism
had r e a l l y
was t o do w i t h
history,
a r t , b u t what
nothing
t o do w i t h a r t .
identification,
t e r r i t o r i a l ism,
authority,
symbolism
explains:
was I n d i a n
be I n d i a n
F o r example,
But a l o t o f i t
recording
o f i t s own way,
so on and s o f o r t h
identifying authority,
identification.
on
a teepee there
to
i d e n t i f y maybe a m e d i c i n e man and nobody e l s e .
bear
identified
was s y m b o l i s m
—
with
that
f o r , maybe a b e a r ,
m e d i c i n e man.
s o m e t h i n g t o do w i t h h i m s e l f
something, part
used
That
[ I t ] had
personally,
of h i s a u t h o r i t y ,
Like
h i s h i s t o r y or
or p a r t
of h i s
k n o w l e d g e , and so on and s o f o r t h .
Similarly,
Alan
He b e l i e v e s
thing
instead
thinks
spiritualism isdistorting.
the a r t i s overemphasized
of a happiness
thing,
a s "a s p i r i t u a l
a colourful thing."
He
says:
Too
much o f o u r l i f e s t y l e
spiritualized.
out
of that
to claw
and our c u l t u r e
I t ' s j u s t t o o much.
and t h a t ' s
beautiful;
my c u l t u r e
I t ' s g o t t o come
one p r o b l e m t o d a y .
i t ' s way o u t o f t h a t . . . .
has been t o o
It's trying
Hey, my c u l t u r e i s
i s c o l o u r f u l ; i t ' s happy.
He a d d s :
I hate
i t when p e o p l e
t a l k about
Indian
c u l t u r e and
88
Indian
oh,
tradition
this
Indians
fun.
was
had
treated,
are
meant f o r f u n ;
even t o t h i s
alive,
but
arts
to
and
"People
jump t h e
purposes."
and
Alan
r e s e a r c h , and
the
can
archeologists."
with
t o o much t h o u g h t
men
i t should
or w h a t e v e r .
being
put
p o i n t s out
the
latch
on and
history.
A l a n does not
Aboriginal
have r e a l l y
people
postitive
hang on
But
i n the
consider
c u l t u r e s as
over i n f l u e n c e d and
Especially
to things
Plains,
the
should
initiate
and
effects
indigenous.
of
Columbia.
evidence
t o have e v i d e n c e
in their
I t ' s been
imaging
still
historic
of B r i t i s h
been a b l e
peoples
for
historians
in areas
of
He
there
is crucial.
T h e y have been l u c k y enough t o have h i s t o r i c a l
where t h e y
out
culture
and
and
different.
Saskatchewan
views
i t as
sporadic.
influential
We
be.
make a d i f f e r e n c e a r e
more w i t h
r e s e a r c h t h a t have o c c u r r e d
and
c u l t u r e s of A b o r i g i n a l
believes that Native
He
l o t of
meant f o r c o l o u r ; i t
i n p u t t i n g down s o m e t h i n g
"participate
Hey,
1
a whole
believes research
who
gun
way
quiet.
...
c u l t u r e i s being
a l l medicine
t h a t c o l o u r the
says:
i t was
Our
is spiritual
had
t h a t a l i v e n e s s i s not
"understudied,"
quick
day,
We're n o t
t h i n k s the
He
g o t t a be
f o r showing o f f .
reverence.
Alan
gosh, t h i s
c e r e m o n i e s where t h e y
I t was
within
'Oh
i s Indian c u l t u r e ,
meant
are
like:
i n S a s k a t c h e w a n was
the
late
89
Sarain
the
Stump, who
seventies.
You
still
visited
Alan
see
b e c a u s e he
a b o u t him
But
South American
central
and
believes
a
art
Indian
it
as
isn't."
This
i s the
little
way
Indian
little
spurts.
s o c i e t y t o s e t the
Alan
says:
likes
and
Indians
the
adapted
i t into
the
central
i n the
and
work
of
and " i t ' s
been e v o l v i n g
do,
which
has
keep g o i n g
s i t down and
what do
i t and
work of
we
say:
want us
say
what
in
little
in
little
been l i t t l e
spurts....
been c a u g h t
in
the
p a r a m e t e r s of t h e
we'll
—
Tony Hunt s p u r t s ,
c y c l e s . . . . We're a l l o w i n g
do
to
province
It's just
tiny
ourselves
related
Stump s p u r t s ,
in l i t t l e
wee
ourselves,
Indlanness
a r t from S a s k a t c h e w a n ,
Sarain
a r t , i n w h a t e v e r we
as
He
an
are
i s evident
a r t has
Our
we
had
s t a t e s , and
from the
Indian
spurts,
Daphne O d j i g
next s t e p ,
he
artists
comments:
spurts,
Morrisseau
But
forms.
Stump's s t y l e
traditional
Alan
during
forms.
many c o n t e m p o r a r y a r t i s t s
perceived
province
i n Saskatchewan
impact.
southern united
that
i n the
l o t of h i s d e s i g n s
Indian
South American
Alan
influence
s u c h an
too.
worked
says:
that
had
and
non-Indian
next
process,
through the
'Hey,
t o be,
little
wait
and
i t i s to
Saskatchewan a r t i s t ,
cycles
the
until
a minute.
let's
We
we
be.'
A l l e n Sapp,
and
90
Allen
Sapp's p a i n t i n g s have meaning t o me
because
I lived
have t h e
don't
e x a c t l y those
same meaning
live
building,
t h a t way
and
people....
for kids
i t will
It's actually
an
i m a g e s . . . . But
[today]
anymore.... where
where
as
they
because
don't
they
i t [ i m a g e r y ] needs
grow from, t h a t ' s
got
Indian
to s t a r t
from
from
our
the
community.
Alan
wishes
Aboriginal
and
use
for a stronger
community t o d i s c o v e r ,
their
Alan
defines
He
Imagery i s
It's
on
the
the
today.
and
imagery:
"Indian
elaborates
the
on
create,
Imagery i s l i f e .
what
t e e p e e was
t e e p e e , but
the
made
i t exists.
hardly
in a teepee
i s , as
well
teepee
not
just
itself
has
become an
--
like
perceives
the
a war
or
shield
i t here.
willows
just
mythical
on
become an
as
those
image
today,
even
for a backrest....
the
design
F u r n i t u r e t h a t was
mythical
design
a horse s h i r t
simplistic
the
image
Tanning a b u f f a l o hide,
see
Imagery i s n ' t
a very
imagery
It's
...
P i c k i n g b l u e b e r r i e s has
t h o u g h you
it's
l e a r n , develop,
the
not.
way
today
Indian
desire within
imagery.
everything."
what
collective
Imagery as
carved
onto something m a t e r i a l .
me,
everybody
t h a t went on
a drum
or w h a t e v e r . . . I
appreciation
Indian
that
To
i f you
look
images t h a t were p a i n t e d
Indian
used
Imagery
or
think
at
or
today
91
has
become a l l p a r t s o f I n d i a n
legends,
put
the s t o r y t e l l i n g
on p a p e r
whatever.
through
life
i n the past
i s now I n d i a n
either
oil,
To me, when y o u t a l k
then
sometimes
telling,
Alan
i t ' s reperformed
acting —
modern-day
imagery. I t ' s
or c a r v i n g , or
about
Indian
I n d i a n a r t o r w h a t e v e r y o u want t o c a l l
a name t o i t , i t ' s t h e i m a g i n g
imagery or
i t , I don't put
of our past
c u l t u r e and
i n dancing,
story
interpretations.
t h i n k s t h a t t h e I m p o r t a n c e and p o t e n t i a l
i m a g e r y c a n be e x p l o r e d
-- t h e
and implemented
of t h i s
i n the school
situation.
He v i e w s
cultural
area
i t as a r e d i r e c t i o n
and n e c e s s i t a t e s " t r y i n g
something d i f f e r e n t . "
cultures
study
of education
something
I t r e q u i r e s t h a t non-North
and i n d i g e n o u s
of Native
bold,
American
c u l t u r e s "get s e r i o u s " about the
a r t i n terms of support
and e f f o r t .
A l a n e n v i s i o n s a s c h o o l , and d e s c r i b e s
s c h o o l w i t h meaning, n o t j u s t
but
into the
i t a s "an a r t
t o put out a r t i s t s
per s e , "
t o p u t o u t A b o r i g i n a l i m a g e r y and make i t " v i s i b l e
dally
basis."
investigative
ceramics,
The s c h o o l would use Imagery i n an
and i n n o v a t i v e way, s u c h
j e w e l r y making, or f i l m
things.
creativeness....
as through
production.
We c a n g e t e x p e r t i s e from a l l o v e r
technical
on a
industrial
Alan
the world
says:
t o t e a c h us
A l l we have t o do i s p u t i n t h e
L e t ' s use i t i n s u c h
a way where i t
92
will
not
b e n e f i t us
be
afraid
so a f r a i d
today
of t h e
socially
of g e t t i n g our
our
The
impact
the
commercial
benefit
and
process"
factor
He
socially,
image a c r o s s
are
using
to
to
i t s colour.
"impose
our
Imagery i n
u l t i m a t e p u r p o s e would be
the
opinion that Natives
yet,
in schools
is potentially
well being
the
i f i t happens."
and
performing
arts
"piecemeal"
of our
-- you
He
"area
"the
to
people
name
"good
these
of v i s u a l
...
and
dominating
economically,
i t . "
" i s a b i g dream, but
i s "the
Native
are
actual teaching
largest
b e l i e v e s i t can
focus
with
"the
strengthen
school concept
out
going
the
e n c o u r a g e nor
culturally
says
Indians
u s i n g modern-day t e c h n o l o g y
b e l i e v e s t h a t the
arts"
i n the
Alan
with
does n o t
performing
and
Let's
peoples.
creative;"
attributes.
...
s c h o o l would be
field,"
Alan agrees
artists
c u l t u r e and
it....
c u l t u r e i n i t s excitement,
of t h e
Native
economically.
economic p a r t of
modern-day t e c h n o l o g y
present
and
way
happen.
t o go,"
art into
A
look
visual
rather
present
school
o n l y have a b o u t two
things
than
programs and s t r u c t u r e s .
Alan
in
says:
relation
forms
...
t o our
and
underdeveloped
distorting
"We
our
and
Native
Indians
culture.
That's
language."
That
using
a r t and
our
i m a g e r y , our
left
art
imagery, a t p r e s e n t ,
i t i n s c h o o l programs may
is
be
cultures for a l l students.
Alan
93
presents a bold
paramount.
Alan
picture
reveals
where A b o r i g i n a l
i m a g e r y Is
imagery's v i t a l i t y ,
richness,
b e a u t y , and p o t e n t i a l power t o be " f o r e f r o n t " i n our
society,
ways.
and t o b e n e f i t
N a t i v e s t u d e n t s and p e o p l e s
i n many
94
V.
DISCUSSION AND
ANALYSIS
ANALYSIS
In c o n s t r u c t i n g
the
artists'
responses
biographical
and
and
by
patterns
g e n d e r and
and
painting
or
by
the
of
and
areas
inquiry:
2)
viewpoint
3)
the
in
1)
on
having
desirable
curriculum.
narratives,
By
after
particular individual,
possible.
r e s p o n s e s were
biographical
male a r t i s t s
and
and
produced
bead and
leather
i t is also
notable
female group are
Aboriginal
and
interpreted
cultural
the
d r a w i n g ; whereas, the
drawing p u r s u i t s
by
of
in school
f o r m of N a t i v e c u l t u r e s .
the
of a r t produced
s o o n emerged
w i t h the
artists'
four
painting
art
patterns
p r o g r a m s , and
themes i n t h e
i s apparent,
eldest
three
studying
p r i m a r i l y produced
traditional
division
became
The
forms of
artists
in school
e a c h been v e r i f i e d
backgrounds.
art
the
d a t a and
a deeper a n a l y s i s
The
to
approach to Native a r t
r e v i e w i n g a l l the
t h e y had
narratives,
c u l t u r a l background,
Native a r t content
content
the
more modern
five
work, a
Even though
that
the
the
youngest
have been a c t i v e
which suggests t h a t
peoples
female
i s not
the
exclusive
in
type
to
gender.
The
reasons given
production
did
not
by
follow
the
artists
for t h e i r art
c l o s e l y a l o n g gender
lines.
There
95
was
a balance
learning,
between g e n d e r g r o u p s
and
economic purposes.
s h a r i n g appeared
i n t e r m s of
Overall,
the
more p r o n o u n c e d among t h e
enjoyment,
element
females,
e c o n o m i c g a i n seemed more p r e d o m i n a n t w i t h i n t h e
group.
Basically,
taught
their
and
born
learning
bead and
mother or g r a n d m o t h e r
directly
comment on
the e l d e s t
header;
female
y e t , she
moccasin
vamps.
produced
found
similarities
he
One
desirable
male a r t i s t
observed
her mother d o i n g
to those
found
c o n t e n t and
group
with Wisconsin
exhaustive
s t u d y by
on
their
not
skills,
a self
quill
the
artists
work
on
and
indicate
art
some
Native a r t i s t s
Stuhr
findings
from
the
in elaborating
the
to Native a r t i n
curriculum.
VIEWPOINTS ON
art
HAVING NATIVE ART
IN SCHOOL PROGRAMS
In g e n e r a l , a l l n i n e a r t i s t s
agreed
content
Agreement r a n g e d
i n s c h o o l programs.
in
(1987),
N a t i v e a r t i n s c h o o l p r o g r a m s , and
approaches
and
taught
between a r t i s t
particular
sections build
on h a v i n g
did
self
described
observing
considered herself
within this
as
females
acquired his a r t i s t i c
group of Saskatchewan A b o r i g i n a l
viewpoints
work by
These r e l a t i o n s h i p s
following
the
artist
a more e x t e n s i v e and
The
leather
bead.
how
talent;
and
male
the males d e s c r i b e d themselves
with a r t i s t i c
of
with having
Native
from
96
reluctance
artists
The
of
to strong support,
were more s u p p o r t i v e t h a n
y o u n g e s t male a r t i s t ,
the
art
nine
study
strong
artists,
feelings
younger
to
Additionally,
taught
America.
artistic
activity
the
having
The
he,
five
artists.
a l s o the
agreement
from t h e i r
with
Age,
and
and
expressed
art
some o f
a r t content
female a r t i s t s
changing,
in school
referred
up,
being
concern
f o r i t s c o n t i n u i t y and
a r t form w i t h i n t h e
the
and
of
the
account
artists
for
programs.
a r t of beading
dying.
a preference
context
indigenous
difference in
g i v e n by
to the
lost,
the
g e n d e r , seem t o
reasons
Native
opinion that Native a r t
more s o ,
a s s o c i a t e d with
youngest
for
female group
the
female
because A b o r i g i n a l c u l t u r e s are
muddled
this
was
along
expressed
v a r y i n g support
Native
the
o f p r i d e stemming
North
for
and
the
f o u r male
t h o u g h , who
He
female a r t i s t s
be
the
voiced definite
in schools.
production.
should
overall,
They
as
indicated
for passing
f a m i l y and
home.
on
The
g r o u p seemed t o b e l i e v e , t h o u g h , t h a t a l l A b o r i g i n a l
children
outside
art
on
were n o t
the
guaranteed
school.
forms o f N a t i v e
the
a r t and
Aside
in v o i c i n g
for Native
a way
of
the
passing
students.
y o u n g e s t male a r t i s t ' s
explicit
learn i t
viewed t e a c h i n g
c u l t u r e s i n s c h o o l s as
were l e s s
support
opportunity to
female a r t i s t s
c u l t u r e to Native
from the
male a r t i s t s
The
the
and
clear
p e r h a p s more
a r t content
support,
the
begrudging
in schools.
Yet
97
they a l l d i d so,
were more
as
the
although,
the a r t r e f l e c t s
One
t o some d e g r e e .
artist
skepticism
the
one
art" itself
artist
clearly
elaborated
the
peoples
art,
more a b o u t
and
the
materials.
Aboriginal
society
and
perceived
confidence
and
artistic
peoples.
of
believed
definition
students
i n order
The
female
art styles,
t o be
to strengthen
and
them
able
as
to
to
artists
stressed
l e a r n more a b o u t
together
talents,
learning
motivates
Native
techniques,
v i e w e d as a n e c e s s a r y
school experience,
for Native
other
to develop
was
base
only to
l e a r n about
Motivation
positive
artists
p r i d e , and
cultures.
not
P r i d e was
some
institutions
of p r i d e ; t h e male a r t i s t s
young p e o p l e
today,
how
art in schools.
t h e a r t and
aspect
a l s o to
on
i n terms
i n v o l v e d i n the
it instills
motivational aspect,
but
A l l the
foresaw b e n e f i t s f o r Native
a r t because
emphasized
the
need t o be
p r e s e n t a t i o n of t h e i r
learn
of e d u c a t i o n a l
a r t in school curriculum
that
Native
as
gender groups e x p r e s s e d
seriousness
long term p l a n n i n g .
Everyone
They v i e w e d
"Native
f u n d i n g and
and
a r t world.
world,
Aboriginal philosophy.
implement N a t i v e
Native
artists
term
f r o m e a c h of t h e
about
These
aware o f t h e m a i n s t r e a m a r t
contemporary Native
c o n c e p t u a l i z a t i o n of
problematic;
to
least
i n v o l v e d i n and
w e l l as
the
at
strength for
f u n c t i o n In
strong
students'
Nations.
self
t o e n c o u r a g e a more
t o l e a d t o w a r d s an
economic
98
For
non-Native
emphasized
Native
students
importance
and c u l t u r e s .
field
As
art
of a r t .
this
could learn
to ecology,
The y o u n g e s t
within
i n s c h o o l programs,
support,
a
artists'
finding
reasons,
agreed
and b e n e f i t s were
i s c o n s i s t e n t with
f o r Native
the l i t e r a t u r e
Native
learning
This
thinking parallels
expressed
provided
implicit
their
by K i r k n e s s
insight
students,
reviewed.
learning
about N a t i v e a r t .
voice f o r "education
(1986, p. 1 ) .
i n t o N a t i v e a r t , and gave
p e r s p e c t i v e s ; these
into
A l l the
explicit
conditions f o r i t s presentation i n schools
particular
discussed
the Native
though,
What i s most a p p a r e n t i s
from
a r t , r a t h e r than
Native
articulated.
i n t h i n k i n g towards
and
also
having
that viewpoint,
e m p h a s i s on t h e a d v a n t a g e s
which
with
c o n s i s t e n t i s the s h i f t
artists
and t o t h e
artist
Also
culture"
studying
history,
female
T h e r e was some e v i d e n t s k e p t i c i s m .
the
from
view.
a group, the nine a r t i s t s
varying
and r e s p e c t
The m a l e s s t r e s s e d t h e
o f what a l l s t u d e n t s
the a r t i n i t s r e l a t i o n s h i p
expressed
the a r t , the females
t h a t i t h e l p s them t o u n d e r s t a n d
peoples
broader
learning
from
conditions are
i n the f o l l o w i n g s e c t i o n .
DESIRABLE CONTENT AND APPROACHES TO NATIVE ART IN CURRICULUM
The
artists
revealed that a r t i s not a s i n g l e
autonomous
99
entity
in Aboriginal cultures.
dynamically
peoples,
in
the
i n t e r t w i n e d i n the
and
embedded
artists'
people
around
language,
on
teaching,
and
The
A r t and
in their
personal
them.
par
lives
The
with
expression
between a r t and
m a t e r i a l s from n a t u r e ,
the
art.
and
a number of them d e m o n s t r a t e d
The
group, mainly
A l l the
of the
artists
the
and
pointed
out,
Collectively,
Peoples"
art.
Native
evident
of
those
as
of
the
to nature
art.
a r t due
evident
in
respect,
towards i t .
perception
or
and
similarity
Almost a l l the
in large part
identified
individually,
to
cultural
g r o u p s and
by
t o be
designated
as
Metis
or C r e e - A s s i n i b o i n e .
e v i d e n t when t h e
I t seems t h a t when t a l k i n g
themselves
as
d e f i n e d themselves
was
was
images
environments.
the a r t i s t s
and
their
are
with
a reverence
this
The
though, t h a t there are d i f f e r e n c e s
in their
members of p a r t i c u l a r
territorialism
is
in recording,
i t s teachings,
males, viewed
geographical
names, s u c h
viewed a r t
e n v i r o n m e n t as a common l i n k
among c u l t u r e s and
preference
stories
environment.
referred
among A b o r i g i n a l c u l t u r e s and
"Native
T h i s was
their
importance
and
differing
and
male a r t i s t s
r e v e a l e d the
interrelationship
artists
p s y c h e s of
and
creating culture.
artists
treatment
and
histories.
stories,
oral
c u l t u r e was,
their
Nations.
artists
about
Their
n a t i o n a l or
An
as
tribal
attitude
of
t a l k e d about
the a r t of
Native
100
peoples,
attention
spoke t h e i r
and
to terminology
Native
language
even d e c e p t i v e
culture
requires
used
f o r Native
thoughtful
they
a t times
often
or both
The
their
artists
artfirst
meaningful
experiences
with a r t i s t s
suggestions
and
similar
views
addressed
their
that the
context
students,
and n o n - N a t i v e
or
non-Native
students.
comments were
believed that students
Most
directed
s t u d e n t s , as t h e a r t i s t s
i n terms of N a t i v e
because
the d e s i r a b l e
v i e w s a s t o whether
obviously
students.
should
learn the
i t would be most r e l e v a n t and
R e l a t i n g the a r t to the students'
was a l s o
seen
as r e l e v a n t .
were made t o v i d e o t a p e
Working
s e s s i o n s between
a s a way t o r e c o r d t h e t e a c h i n g .
t o t h e use o f modern t e c h n o l o g y
project
Those a r t i s t s
expressed
suggesting
lives
closely
i n t h e community was e m p h a s i z e d , and
students
school
Native
t o them.
a r t and
a r t i n c u r r i c u l u m , i t was
towards N a t i v e
towards N a t i v e
emphasized
and
specifically
i t seemed t h a t t h e a r t i s t s '
primarily
local
further
difficult
attention.
to separate
were d i r e c t e d
students,
i t was
a r t i n the school
and a p p r o a c h t o N a t i v e
difficult
that
Those who
t o e x p l a i n and d e s c r i b e t h e i r
When t h e a r t i s t s
content
indicated
i n the E n g l i s h language,
terminology
i s needed.
described
feelings
of being
T h i s was
i n the Minnesota
i n the l i t e r a t u r e
i n t h e g r o u p who had gone
artists
reviewed.
into
the schools
h o n o u r e d and w i l l i n g
t o be
101
involved.
Once s t u d e n t s
produced, the
a r t of o t h e r
r e g i o n s c o u l d be
The
should
teaching
m a l e s , who
teachers
as
reserves.
art
and
an
The
Native
of t h e
the
the
geographical
Those a r t i s t s ,
mainly
the
talk
between N a t i v e
non-Native
an
i n a r t techniques,
t h a t he
with
as
and
who
or she
spoke of t h e
should
sensitive
as
same or d i f f e r e n t
teacher
be
i n a p p r o a c h , and
A b o r i g i n a l people
responses
styles,
t o who
i f the
and
that
visit
teaches
Native
researcher
was
i s unknown.
students
artists
talents
who
One
of s t u d e n t s
arts,
artists
students
and
but
one
need t o
young p e o p l e
asked
that teachers
A b o r i g i n a l students
male a r t i s t
c o u l d be
a l s o i n the
female a r t i s t
developed
i n , not
performing
arts.
Many o f
artistic
only
Two
the
male
strongly believed that
l e a r n modern-day t e c h n o l o g y
of a r t and
culture.
those
gifted
b e l i e v e d t h a t the
t o r e c o r d , t e a c h , and
interpretations
encourage
demonstrate a r t i s t i c t a l e n t .
considered
artistically.
visual
art
people
artists
a r t and
A number of a r t i s t s
Native
local
Native
expert
few
Whether t h e
would be
the
thought
d e s i r e d person
non-Native suggested
should
especially,
distinquish
m a t e r i a l use.
or she
with
c o m m u n i t i e s and
art.
d e s c r i b e d the
knowledgeable
he
the
d i d not
environmentalist,
and
familiar
studied.
female a r t i s t s ,
be
are
i n order
create
their
The
artists
Native
for
perceived
102
that
such
Native
learning could
people
The
f o r the
them t h o u g h t
they
learned
students
Such an
would
usually
The
not
children
ability
used
approach
i n the
observing
d e s c r i p t i o n s of
in schools
the
case.
t i m e and
t o the
i s not
situations.
study
i n which
Essentially,
the
header.
or
three
experiences
of
these
the
skill,
needles
and
quills.
for t r u l y
the
the
the
age
is
of
Including
the
I t seems
becoming
a l l that a p p l i c a b l e to
and
Most
two
to consider
Nevertheless,
in schools
way
modelling
t o do
attention required
header
for
and
l e a t h e r work.
r e v e a l t h a t such a context
and
to s a f e l y handle
direction
classroom.
and
the
T h e y had
to appreciate
skillful
its
be
considerable
of bead and
that a similar
l e a r n by
women t e a c h i n g
school
e c o n o m i c base
approach n e c e s s i t a t e s working with
students.
the
provided
teaching
should
a strong
future.
female a r t i s t s
guidelines
of
i n the
provide
a
present-day
female a r t i s t s
knowledge g a i n e d
that
from
viewed
i t as
worthwhile.
The
colours
floral
their
for
revealed
may
have meaning.
and
or may
by
and
colours
f a m i l y and
explained
regional
not
geometric designs,
designs
use
artist
female a r t i s t s
designs
t h a t bead work d e s i g n s
and
T h i s group
most a r t i s t s
were d e c o r a t i v e .
f r i e n d s , and
the
symbolic
and
c o l o u r s as
for sale.
beaded
said
These
One
and
that
items
were
female
meanings of community
and
indicating distinctiveness
103
and
a way o f i d e n t i f i c a t i o n .
She, a s a g r a n d m o t h e r ,
the
ceremonial
dress
The
traditional
all
communities,
should
be
artists
i f those
particular
students
purpose,
there are other
purposes
should
preferable
Working with
t o working with
that students
i n order
pair
of moccasins,
not
nature
hide i s
hide.
One
i n g e t t i n g and
to realize
how much
f o r example, a
Aboriginal
peoples'
In the p a s t , nature
was a
t h e m a t e r i a l s f o r bead and
E v e r y o n e s t r e s s e d t h a t beads and l e a t h e r a r e
t o be w a s t e d .
traditional
wisely.
and p r o v i d e d
tanned
o f making,
and t o e x p e r i e n c e
of u s i n g nature
work.
home t a n n e d
participate
i s involved i n the process
leather
be made aware t h a t
and c o l o u r s , and o t h e r
commercially
work
means o f s u r v i v a l
by a
i n v i e w s on m a t e r i a l s and how
tanning the hide themselves
tradition
directed
bead work a s w e l l .
be u s e d .
suggested
meanings and
Unless
should
i n designs
More a g r e e m e n t e x i s t e d
they should
between t h e
p r o b a b l y work t o w a r d s a
but students
purposes
f o r doing
them.
people
and c o l o u r s may
of c o n f l i c t
who knew o r were aware o f s y m b o l i c
decorative
artist
designs
T h e r e was some e v i d e n c e
person,
being taught i n
b u t where t h e y a r e , o u t o f r e s p e c t ,
who d i d n o t o r d i s m i s s e d
Native
f o r her g r a n d c h i l d r e n .
meanings were n o t , she s a i d ,
be a s k e d
studied.
those
and i n i t i a t i o n
beaded
One a r t i s t
way, o f f e r i n g s
i s taken.
explained that
i n the
a r e made when a n y t h i n g
In the case
o f t a k i n g an a n i m a l ,
from
104
everything
learn
but
i s used.
beading
accepted
sequins
out
and
The
i n the
used
looms.
The
a variety
that
the
eldest
suggested
participate
was
no
birch
the
but
be
consider
reflect
some men
that
f o r female
Native
commented
Aboriginal
women had
and
female
some
artist
thought
own
to
there
and
regalias.
students
In
should
bead,
i s s u e o f what c h o i c e s
would
students.
be
they wish
be
to
bead and
artists
a r t of bead and
or
whether
i t may
how
revealed
to p a r t i c i p a t e
bead t h e i r
the
artists
f o r c e male s t u d e n t s
One
not
She
Rather
than
p r e f e r a b l e to consider
l e a t h e r work
can
interest.
Most o f t h e
traditional
not
f o r themselves
raises
beads
ways i n
bead work, and
i t seems t h a t male N a t i v e
interests
created
as
l e a t h e r work.
female
activities.
s t u d e n t s ' gender,
students'
artist
hand,
such
f o r jewelry items.
do
that teachers
a direction
available
techniques
bead and
sons d i d not
that today
to decide
such
than
f o r male s t u d e n t s
classroom,
allowed
bark
students
i s , sewn by
of m a t e r i a l s i n I n n o v a t i v e
i n beading
reason
mentioned
that
female
i n t e r v i e w s , many of t h e
b r o t h e r s and
artists
way,
u s i n g newer m a t e r i a l s and
t e a c h i n g a r t forms o t h e r
In
preferred that
traditional
o f r e d w i l l o w and
also
artists
indicated
peoples
spoke
l e a t h e r work, but
t h a t the
should
in reference to
also
the
many o f
c o n t e m p o r a r y a r t work
be
s o n s or male r e l a t i v e s
studied.
who
them
of
A number o f
were a r t i s t s .
The
the
male
105
artists
said
be b e c a u s e
little
about
the r e s e a r c h e r
manner o f q u e s t i o n i n g .
desirable
programs
bead
and
work.
That
i s f e m a l e or m e r e l y b e c a u s e
The
male a r t i s t s
c o n t e n t and a p p r o a c h
i n terms
leather
may
of the
p r i m a r i l y addressed
to Native a r t i n school
o f t h e modern forms
of p a i n t i n g
and
drawing.
The
t h r e e male a r t i s t s
schools
used
followed
or
using
shading
other
the
had worked w i t h s t u d e n t s i n
from n a t u r e .
the a r t i s t ' s
painting
style
images
who
discussion
image.
One
the youngest
of w i l d l i f e
their
own
drawings
books
on N a t i v e a r t or w i l d l i f e
male and
the a r t i s t ' s
the
after
Sometimes, s t u d e n t s used
for reference.
f e m a l e , s u g g e s t e d and
approaches,
The
showed h i s
In e a c h c a s e ,
their
In t h e a r t work p r o d u c e d
male a r t i s t s '
modelled
work, s t u d e n t s c r e a t e d
or p a i n t i n g s .
s t u d e n t s be a l l o w e d t o e x p l o r e
f o r drawing
f o r an e a g l e image.
to students.
or s e e i n g
and
m o d e l l e d t h e Woodland a r t
o f t h e male g r o u p ,
modelling
classroom.
instruction
t h e image o f a b e a r ; a n o t h e r a r t i s t
artist,
artists,
and
artist
techniques with charcoal
drawings
Students observed
images
A number o f
preferred
environment
that
outside
the
by t h e s t u d e n t s from
from n a t u r e
predominated.
The
and
of
male a r t i s t s '
painting
how
descriptions
are s i m i l a r
they learned
of i n s t r u c t i o n
to the female a r t i s t s '
b e a d i n g and
of how
i n drawing
descriptions
t h e y would
prefer
106
beading
do"
t o be
approach
classroom
leather
taught.
However, i t seems t h a t
t o making a r t i s more c o m p a t i b l e
to drawing
work.
One
and
painting
male a r t i s t ' s
based
on h i s d e f i n i t i o n
broad
definition
discussion,
approach,
As m e n t i o n e d
the d e f i n i t i o n
c o n t r o v e r s y over
certain
of
spiritual
use
i n t h e c l a s s r o o m was
male a r t i s t
thought
that
appropriate
because
i t may
conflict
artist
important
artist
c o n s i d e r e d the s p i r i t u a l
regarded
be
another
artist
mentioned
having elders
no
clear
direction
classroom.
has
considered
I t may
One
the view
particular
group
Yet
that
that
to a p p r o p r i a t e l y determine
own
another
and
the a r t
thing.
Still
any
also
briefly
spiritual
things.
o f male a r t i s t s
offered
about
He
for addressing s p i r i t u a l
suggest
not
spiritual
to bring
themselves.
in to talk
was
overemphasized
allowing artists
i n f o r m a t i o n forward
this
also
t o N a t i v e a r t and
more as a happy, c o l o u r f u l
suggested
was
with students'
t o be
expressed
spiritual
Overall,
There
to u n d e r s t a n d i n g the a r t .
should
a
p e r c e i v e d as
an a r e a o f c o n t e n t i o n .
things
N a t i v e a r t ; he
on
r e f e r e n c e to the s p i r i t u a l
another
distorted
not
i n the
" N a t i v e a r t " was
content often a t t r i b u t e d
beliefs;
was
based
earlier
and
a s p e c t s of the a r t .
The
religious
though,
o f N a t i v e a r t , b u t was
of a r t .
then
i n the
t h a n t o making bead
p r o b l e m a t i c by most o f the male a r t i s t s .
its
a "watch
content
p r e s e n t l y the s c h o o l
i t s inclusion,
i n the
itself
approach,
and
107
emphasis
to
the
local
be
on
the
nature
spiritual
of t h e
community.
attributes
student
of N a t i v e
p o p u l a t i o n , and
i n p u t from
Nevertheless, a l l students
made aware of t h i s
aspect
of t h e a r t o f
art according
probably
the
should
Indigenous
peoples.
The
symbolic
contention
visual
designs
stories.
and
c o l o u r s , one
found
symbolic
content
distorted.
symbolic
and
From a b r o a d
essential
indeed
control
of
i t .
v i e w e d as a way
more a c c u r a t e
artists
that
c o u l d be
g i v e n and
He
Within
study
suggested
by
work
painted
which
believed that
a r t Is
artist
misperceived
from c o n s i d e r i n g
viewed
artists
research
ensuring Native
context,
a truer
of t h e
art.
Indian headdress
investigated
female
t h a t the males
classroom
to give students
t o an
about
of N a t i v e a r t .
t h e a r t and
the
of
most of them s t r o n g l y s u p p o r t e d ,
interpretation
referred
was
p e r s p e c t i v e , one
to d e f i n i n g
one
or h i d e as c o m m u n i c a t i o n
content
a r e s e a r c h approach to the
talked
d e s c r i b e d the
i n contemporary Native
and
area
meanings of bead
What became most a p p a r e n t
were i n d i c a t i n g ,
an
artists
or t e r r i t o r i a l i s m .
spiritual
not
to the
symbolic
male a r t i s t
on a t e e p e e
identification
The
Similar
d e s c r i p t i o n s of t h e
symbolism
and
i n N a t i v e a r t was
among t h e male a r t i s t s .
r e c o r d s and
artist's
showed
content
by s t u d e n t s .
the a r t i s t s
as
peoples'
research
was
understanding
and
As
as an
an
example,
two
art object
Specific
strategies
for investigation
were:
108
questioning
students'
initial
touching the headdress,
whole p r o c e s s
Involved
knowledgeable people
purpose,
and r e l a t i n g
experiences.
learning
clearly
the
i n to talk
from
those
viewed
the study
a more a c c u r a t e
teaching ecology,
direction
artists
suggested
subject areas
integration,
establish
with
o f N a t i v e a r t as
towards
Aboriginal
of Native a r t
for school curriculum.
s t r e s s e d or i n d i c a t e d
account
that
was i m p o r t a n t .
of the content
learning
The
of t h e a r t as
of the h i s t o r y
The male a r t i s t s
integrating
of s o c i a l
the i n t e n t
an e x c i t i n g
I n some o f
to stereotypes,
the study
peoples
address
o f Canada,
and a s i n t r o d u c i n g a r t from a
non-Western p e r s p e c t i v e .
the
students.
attitudes
the a r t of Indigenous
female
He v i e w e d an
A research approach to the study
teaching
the feathers
H e r e , h i s v i e w was
referred
and r a c i s m , and v i e w e d
t h e male a r t i s t s
artists
as
peoples.
towards non-Native
t o be a p r o m i s i n g
All
own l i v e s and
related
of g r a d u a t i o n .
of A b o r i g i n a l
a way t o h e l p combat
appears
i t s meaning and
that to the students'
i n t e r v i e w s , the a r t i s t s
peoples.
about
having
a p p r o a c h a s a way t o s p e c i f i c a l l y
directed
prejudice,
a b o u t t h e m a t e r i a l s and t h e
F o r example, one a r t i s t
investigative
headdress,
i n making t h e h e a d d r e s s ,
to r e p o r t cards as a s i g n
stereotyping
knowledge o f t h e
Native
and some o f t h e
a r t content
s t u d i e s and s c i e n c e .
of l e a r n i n g
and new d i r e c t i o n
from
into
Such
the a r t , could
f o r Native
a r t and
109
curriculum.
As a g r o u p , t h e n i n e
gave
direction
content
specific
be summarized
perspectives
provide
conflict
and
only serve
described
a r t i n school
expressed
and
Their
of
the
i n some o f t h e i r
to i l l u m i n a t e that Native
i t , "alive."
curriculum.
a t the p r e s e n t a t i o n
the Canadian c o n t e x t ,
controversy
artists
i n the f o l l o w i n g c h a p t e r .
a c l o s e r look
a r t from w i t h i n
Aboriginal
g u i d e l i n e s f o r the d e s i r a b l e
and a p p r o a c h e s t o N a t i v e
These w i l l
Native
and
Saskatchewan
a r t i s , as one
views
artist
110
VI.
The
purpose
curriculum
education
of t h i s
development
study
on t h e s t u d y
female a r t i s t s
of Native
of A b o r i g i n a l a n c e s t r y ,
were p r e s e n t e d
by t h e a r t i s t s .
were
the a r t i s t s
in
s c h o o l programs.
to
pass
The p r e c e d i n g
agreed
i t a s a way t o l e a r n
articulation
presented
Native
viewed
i t a s a way
also
primarily
evident
believed that Native
art's
The
and b e n e f i t s f o r h a v i n g
T h e r e was some
and a l l t h e a r t i s t s
be i n v o l v e d i n t h e i r
a r t content
from t h e a r t and c u l t u r e .
a r t i n s c h o o l c u r r i c u l u m was d i r e c t e d
skepticism,
definition
people
and
presentation.
The
a
perspectives.
and t h e male a r t i s t s
of the reasons
towards A b o r i g i n a l s t u d e n t s .
should
interviewed.
chapter
on h a v i n g
The f e m a l e a r t i s t s
on t h e a r t and c u l t u r e ,
artists'
Native
five
c o n c l u s i o n s c a n be drawn from t h e a n a l y s i s .
Overall,
viewed
programs.
i n n a r r a t i v e f o r m and were
d i s c u s s i o n and a n a l y s i s o f t h e a r t i s t s '
Several
artists'
a r t i n school
and f o u r male a r t i s t s ,
Interviews
verified
was t o make a c o n t r i b u t i o n t o
i n S a s k a t c h e w a n and t o C a n a d i a n a r t
Saskatchewan a r t i s t s
These
CONCLUSIONS
g e n e r a l l y by p r e s e n t i n g N a t i v e
perspectives
Nine
SUMMARY AND
artists
provided
insight
The
i n t e r p l a y among a r t , c u l t u r e ,
is,
dynamically
intertwined with
into Native
art itself.
and e n v i r o n m e n t
the people.
was, and
Environment
Ill
s i m u l t a n e o u s l y b i n d s and s e p a r a t e s
Indigenous
and
complex a r e a
studied
used,
first.
produce
of study,
and t h e l o c a l a r t s h o u l d be
The c o n t e n t
o f t h e a r t , and t h e m a t e r i a l s
t o the nature
o f N a t i v e a r t and t h e p e o p l e
It, attention
to the terminology
the classroom
preferably,
or she s h o u l d
in
traditional
preferably,
The
the
traditional
explore
way o f b e a d i n g ,
hide
by hand.
n o t be w a s t e d .
ancestry.
t e c h n i q u e s , and
and i t s u s e .
that
Students
Students
i s , s e w i n g beads and
should also
should
f o r doing
learn
directed
be a b l e t o
Materials
that the
bead work v a r y , and
and c o l o u r s may o r may n o t have
Unless
o f bead
o b s e r v i n g and m o d e l l i n g
m a t e r i a l s and methods.
of Native a r t i s t s
designs
should
t o t e a c h i n g t h e a r t form
involves students
newer b e a d i n g
purposes
for discussion
be o f A b o r i g i n a l
a knowledge o f modern t e c h n o l o g y
l e a t h e r work
who
have a good knowledge o f a r t and e x p e r t i s e
d e s i r a b l e approach
home t a n n e d
used
The t e a c h e r
and c o n t e m p o r a r y a r t i s t i c
and
should
i s desirable.
but not n e c e s s a r i l y ,
He
that
Native a r t i s a r i c h , vast, diverse,
may o r may n o t be t r a d i t i o n a l .
Due
in
peoples.
t h e a r t and c u l t u r e s o f
traditional
symbolic
meaning.
by a N a t i v e
person,
students
s h o u l d work t o w a r d s a d e c o r a t i v e p u r p o s e .
Some
c o n s i d e r a t i o n may be g i v e n a s t o whether male s t u d e n t s a r e
required
or not r e q u i r e d t o p a r t i c i p a t e
i n beading
112
activities,
students'
but
interests
A similar
used
I t may
be
more I m p o r t a n t
r a t h e r than
approach of o b s e r v i n g
i n t e a c h i n g d r a w i n g and
investigative
such
as
and
the
definition
controversy
spiritual,
of
approach can
students
"Native
As
over
and
w e l l as
and
students.
This
included history,
from a n o n - W e s t e r n p e r s p e c t i v e .
a t t i t u d e s of
non-Native
cultures.
The
aspect
subject areas
of
local
a r t , the
artists
important
for a l l
ecology,
The
the
research
d i s c u s s e d a t the
l e a r n i n g from t h e a r t as
even
Furthermore, a
spiritual
emphasized
and
of t h e a r t ,
m e a n i n g s , and
l e a r n i n g about N a t i v e
other
or
the
of r e s e a r c h i n g the
into
a research
advantages because of
symbolic
be
be
complex a s p e c t s
peoples
a r t , though, should
can
the
stereotypical
towards N a t i v e
integrated
modelling
a r t m i g h t be
art" itself.
deal with
appropriateness
Native
and
p a i n t i n g , and
I t has
consider
gender.
approach to studying Native
most d e s i r a b l e a p p r o a c h .
conflict
their
to
and
about a r t
a r t content
such
as
level.
can
social
be
studies
science.
Together,
the
ancestry provided
Native
a r t and
revealed
person
the
can
inquiry,
nine
Saskatchewan a r t i s t s
direction
and
specific
school curriculum.
variety
have.
of
a t t e n t i o n was
given
guidelines for
Individually,
i n f l u e n c e s and
Throughout the
of A b o r i g i n a l
experiences
conduct
to the
each
of t h i s
Native
voice
any
one
research
and
113
viewpoint,
and a d d i t i o n a l l y
to the intended
audience
i n t h e d i s c u s s i o n and a n a l y s i s ,
—
a r t educators
and o t h e r
educators.
The
Investigator's understanding
artists'
p e r s p e c t i v e s may have been
gender, e t h n i c i t y ,
over
has worked w i t h
fifteen
Native
I f so, these
a t times
peoples
y e a r s , and has d e t e r m i n e d
between h e r own S l a v i c
of the
i n f l u e n c e d by h e r
and work e x p e r i e n c e s .
I n f l u e n c e s may have been c o n d u c i v e
researcher
and r e l a y i n g
and s t u d e n t s f o r
some
c u l t u r e and N a t i v e
because the
similarities
culture.
E v e n s o , I t i s w o r t h w o n d e r i n g whether a N a t i v e
researcher
conducting
a similar
study
would a r r i v e
same c o n c l u s i o n s .
F o r example, t h e t h r e e a r t i s t s
not
i n the study
to participate
researcher
had been N a t i v e .
participating
are respected;
p e r s o n a l and p r a c t i c a l
that
may have p a r t i c i p a t e d
t h e y were e x p r e s s e d
This
hand,
study
was s i m p l y
Along
probing
r e s e a r c h e r , t o go.
i t was a l s o c o n s i d e r e d
with
i f the
i n both
i n areas
may n o t w i s h a r e s e a r c h e r ,
a non-Aboriginal
other
chose
Investigator considered
t h e r e was a m i s t r u s t o f i n t e l l e c t u a l
particularly
who
T h e i r reasons, f o r not
terms.
where some A b o r i g i n a l p e o p l e
a t the
On t h e
that p a r t i c i p a t i o n
i n the
inconvenient.
the study
focus, Native
about t h e i n f l u e n c e of gender
a r t , much was
learned
on r e s e a r c h , and a b o u t t h e
academic e x e r c i s e of r e s e a r c h with
Native
peoples
conducted
114
by
a
non-Native
artists
who
conduct
of t h i s
participated,
sensitivity,
differed
There
and
education
of N a t i v e
investigator's
Aboriginal
their
art
document
researchers.
and
i s new
continue
the
developed
curriculum.
help
create
this
that
c o n t r o l of
of p u b l i c
That
From
research
and
i s the
research inquiry.
Implications
from t h e
Aboriginal
Aborignal
In e d u c a t i o n a l
art.
any
a successful
to r e c l a i m t h e i r
following concluding
list
I t can
It is essential
a t t e n t i o n to Native
of t h i s
with
territory.
resurgence
her
dichotomy.
developing
documentation
p o i n t of view,
of
the
These
d e p e n d i n g upon h i s or
Native/non-Natlve
i n Canada
peoples
Institutional
The
art
communication.
background, which r e f u t e s
for designing
in l i g h t
Intention
cultural
for action in dialogue
The
those
inquiry included: protocol,
non-Aborlglnal
system.
example, w i t h
some c o n s i d e r a t i o n s d u r i n g
cultural
Is a p l a c e
and
For
to a r t i s t
of a s t r i c t
opportunity
form
and
from a r t i s t
assumption
an
research
trust,
biographical
peoples
Investigator.
artists'
s e c t i o n s of t h i s
f o r p r a c t i c e and
a n a l y s i s of t h e
perspectives
on
nine
research
research
Saskatchewan
Native
art
and
115
IMPLICATIONS FOR
1)
PRACTICE
A b o r i g i n a l p e o p l e s must be
definition
and
presentation
involved
of t h e i r
art
in
the
In t h e
school
curriculum.
2)
Art curriculum
"watch t h e n do"
Native
Aboriginal
traditional
a p p r o a c h t o making a r t , and
approach to studying
3)
c o u l d d e v e l o p the
Native
research
art.
art curriculum
p e o p l e s may
the
or
or may
could
not
show t h a t t h e
reflect
art
of
traditional
content.
4)
the
Native
local
art curriculum
level,
of communicating
disseminates
5)
school
well
as
6)
the
but
not
in isolation.
curriculum
information
Native
as
School
curriculum
E n g l i s h terminology
Indigenous peoples.
languages
resources
could
a basis
l e a r n i n g about the
An
occur
effective
be
needs t o be
integrated
into
f o r l e a r n i n g from t h e
at
means
development t h a t c o l l e c t s
and
a r t content
curriculum
development should
In
and
place.
the
art,
as
art.
could
give
careful
u s e d when r e f e r r i n g
It could
f o r d e s c r i b i n g the
also
art.
a t t e n t i o n to
t o the
art
i n c l u d e t e r m s from
of
Native
116
IMPLICATIONS FOR FURTHER
1)
area
and
A similar
conducted
by a N a t i v e
geographical areas
3)
Native
5)
t o compare
by male a n d / o r
perceptions
female, and,
researchers.
of gender as a s s o c i a t e d
I n v e s t i g a t i o n of the e c o l o g i c a l
with
a r t with
l e a r n i n g s from t h e
peoples.
Case s t u d i e s o f N a t i v e
both
Native
Investigations with
s c o p e and s e q u e n c e
art.
geographical
production.
of Indigenous
4)
researcher
conducted
Closer examination
artistic
i n t h e same
S i m i l a r i n v e s t i g a t i o n s i n other
and/or non-Native
2)
art
investigation
understandings.
Native
RESEARCH
and n o n - N a t i v e t e a c h e r s o f
and n o n - N a t i v e
students.
the purpose of d e v e l o p i n g
a
f o r t h e t e a c h i n g and l e a r n i n g o f N a t i v e
117
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APPENDIX A
SASKATCHEWAN
Source:
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(1989,
October).
I n d i a n Reserves of Saskatchewan.
123
APPENDIX B
ARTISTS' BACKGROUND
(and I n t e r v i e w O r d e r )
Male
Female
_ age .
range
NAME:
CULTURAL GROUP
RESIDENCE
ART
NAME:
CULTURAL GROUP
RESIDENCE
ART
Gerry:
(7)
Cree
urban
drawing
David:
(9)
P l a i n s Cree
reserve
painting/drawing,
leatherwork
Charles:
(3)
Woodland C r e e
reserve
painting/sculpture
20
25
Bonnie:
(1)
Maxine:
(4)
Metis
rural
b e a d / l e a t h e r work,
painting
35
Woodland C r e e
urban
b e a d / l e a t h e r work
Alan:
(6)
Cree
rural
drawing/painting,
& many o t h e r a r t forms
45
Shirley:
(2)
Metis
rural
bead/leather
work
55
Mary:
(8)
Assiniboine-Cree
urban
b e a d / l e a t h e r work
65
Grace:
(5)
P l a i n s Cree
reserve
b e a d / l e a t h e r work,
s t i t c h e r y , & 3-d
work
124
APPENDIX C
INTERVIEW GUIDE
A)
BIOGRAPHICAL AND CULTURAL BACKGROUND:
I'd l i k e t o know a b o u t t h e a r t t h a t y o u make,
( d e s c r i p t i o n , p u r p o s e , meaning, and a u d i e n c e )
How d i d y o u come t o be an a r t i s t ?
(age, r e s i d e n c e ,
c u l t u r a l group, i n f l u e n c e s [people, p l a c e s , e v e n t s ] ,
'resource
experience )
1
B)
VIEWPOINT ON HAVING NATIVE ART CONTENT
PROGRAMS:
IN SCHOOL
I n d i a n , M e t i s , and m u l t a r t c o n t e n t i s g o i n g t o be p a r t
of s c h o o l p r o g r a m s .
I am i n t e r e s t e d i n y o u r v i e w p o i n t on
this.
C)
like
DESIRABLE CONTENT AND APPROACH TO NATIVE ART IN SCHOOL
CURRICULA:
In r e g a r d s t o t h e c o n t e n t
students to learn?
of Native
a r t , what would y o u
I am i n t e r e s t e d i n how y o u p e r c e i v e o f N a t i v e a r t b e i n g
taught w i t h i n the classroom.
( t e a c h e r , methods, a c t i v i t i e s ,
projects, materials)