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Essay on indigenous in canada beliefs and traditions
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The Royal Alberta Museum holds a sacred object of the First Nations groups of Alberta and Saskatchewan, the Manitou Stone. This sacred object has a vast history to the Aboriginals but also has much controversy that surrounds it. Hundreds of years ago the object was removed from its original spot and was moved back and forth across the Canada, eventually ending up in Edmonton at the Royal Alberta Museum. This sacred object was said to have many powers for the First Nations people and when it was taken it brought great hardship to the First Nations groups that believed in the power of the Manitou Stone. This is only the beginning of the issues that surround this sacred object. Many different Aboriginal groups claim to own the piece but no decision has been made as to where the object should be placed. With the Manitou Stone now in the Royal Alberta Museum issues arise about the proper housing of the item and whether or not it should be retained in a museum or if it should be on First Nations land. Where the Manitou Stone is placed brings many complications and struggles for the Aboriginal people that claim ownership of the sacred object. When researching this object I was initially unaware of the significance that a museum could have to groups of people and the struggles that this could bring to these groups. This paper will explore the significance of the stone, the various viewpoints on why the object was moved originally from Iron Creek, who claims ownership to the object, and whether or not a museum is the proper place for sacred objects like the Manitou Stone to be kept.
Papamihaw Asini or better know to us, as the Manitou Stone was a meteorite that “once sat on a prominent hill about a tributary of the Battle River named Ir...
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...f the Manitoba First Nations Education Resource Centre, 2 (1), 1-24. Available online at: http://www.mfnerc.org/images
Gerson, Jen, “First Nation College Calls for Return of Sacred Meteorite from Alberta Museum,” National Post, August 8, 2012. Accessed Nov 25, 2012. http://news.nationalpost.com/2012/08/08/first-nations-college-calls-for-return-of sacred-meteorite-from-alberta-museum/.
Goyette, Linda, Edmonton in Our Own Words. Winnipeg: University of Alberta Press, 2004.
McCrakcen, Ryan “Blue Quills President Makes Waves with Manitou Stone Quest,” St. Paul Journal, September 25, 2012. Accessed November 29, 2012. http://www.spjournal.com/article/20120925/STP0801/309259955/ 1/stp0801/blue-quills-president-makes-waves-with-manitou-stone-quest.
Peers, Laura L. Brown, Allison K, Museums and Source Communities: A Routledge Reader. London: Routledge, 2003. 9786610142040
One of the most well known figures of the twentieth century pottery world is Maria Martinez. Maria Martinez is a Pueblo Indian part of the San Ildefondo tribe. Pueblo pottery from the American Southwest holds a unique place in ceramic art forms of American art. It is full of age-old tradition and culture handed down form family members and potters of the past. The old Pueblo ways of creating it still hold true today and have not been changed or influenced like so many other styles in modern times.
The two pieces of art that I have chosen to compare reside in Toronto’s ‘Art Gallery of Ontario’. While the two pieces are very different in terms of artistic medium and period, the painting, “The Academy”, by Kent Monkman, makes direct reference to Auguste Rodin’s sculpture “Adam”. The sculpture is a giant bronze cast from 1881 inspired by Michealangelo’s “Creation of Adam” Ceiling Fresco in the Sistine Chapel. “The Academy” by Canadian painter, Kent Monkman was commissioned by the AGO in 2008. The piece was created as a visual commentary on the “injustices and oppression Aboriginal people have suffered” (Filgiano) However different they may appear to be, Kent Monkman ‘borrows’ the theme of Rodin’s “Adam” sculpture to create an analogy between Adam’s banishment from paradise and the Aboriginal’s loss of paradise through colonization.
Thomas King’s “Totem” is a highly symbolic story that utilizes an art museum and a totem pole to discuss society’s lack of tolerance for native people and the presence of their ancient culture today. In the story, the staff at an art museum find a totem pole making noise in the gallery’s basement and do everything within their power to get rid of it. The museum staff’s reaction to the totem pole symbolizes majority groups’ refusal to tolerate native people. Despite their history on the land, which the totem pole’s extension deep into the ground represents, natives are frequently oppressed and mistreated. Walter Hooton, the museum director, says, “‘…this totem pole is not part of the show, and we need to move it someplace else.’” This quotation
Thomas King suggests that the majority groups within a society do not treat the minority groups fairly; that is, the general public are not empathetic towards the first nations. Furthermore, as Walter, the museum director, wants to “move [the totem pole] someplace else”[120], he is suggesting to ignore the problem and hope by “Monday, [they will] have the whole thing straightened out”[120]. This shows the lack of concern that
In Canada, settlement question are always controversial, since European explorers came to Canada, Aboriginal people have been taken over by newcomers. “Totem” is a story that talks about how these newcomers in the art gallery treat totem poles to satirize how the outcome damaged the peaceful life of aboriginal people and how the government chose only to accept the problem but not wanted to actually solve the problem.
The Aztec Calendar stone has become one Mexico’s national symbols. After decades of Latin American Art being degraded, underappreciated, forgotten, and abused, it has become one of Mexico’s most national treasures. After years of research from the Codex Mendoza, the Calendar, and documents by the Spanish conquistadors, it has gradually become clear as to how the Aztecs truly lived and how art played such a huge role in their society. It has not only given researchers insight to the Aztec culture and religion and has also given influence to modern and the mainstream media today such as fashion and graphic design.
In the Great Basin culture area, lived a once great peoples, The Kawaiisu. This tribe lived along the Sierra Nevada, and nearby Piute and Tehachapi mountains, which sometimes causes them to be categorized as Californian, also due to their similarities. As there are no extensive accounts of archeology in the Kawaiisu area, neither excavated nor published, two types of remains can be found of this aboriginal past. Scattered through the region are pictographs and “bedrock mortar holes. A test site was home to 300-500 mortar holes as well as approximately 16 house rings and many artifacts. Numerous settlement sites have been exposed and the examination of the rock art has led to be part of the Kawaiisu mythology. Regarding their history, the earliest mention of the Kawaiisu people was found in the diary of Francisco Garces, then being referred to as “The Cobaji.” He wrote that they were a generous people and were declared as “not stingy like the people of the West.” In the mid 1800’s miners and travelers started flooding the area, which brought forth occasional clashes between the natives and newcomers. The physical penetration of the land was not usually a part of these dispute...
The Cree people have a rich and diverse history. Through methods of written and oral teachings, a greater understanding of the Cree people and their history has become apparent. In the following, I will highlight portions of Cree history to establish an understanding of such a rich culture. As a guide, I will use ideas highlighted in Jim Kanepetew’s (n.d) teachings of “The Ten Treaty Sticks”. Underlying concepts from “The Ten Treaty Sticks” have implications on both past and current practices of the Cree people. Since a large portion of the final exam is a chronological list of happenings, I will examine and extend the teachings of “The Ten Treaty Sticks” and how these align with teachings throughout the course. Using “The Ten Treaty Sticks” as a guide, I
The Indian Act no longer remains an undisputable aspect of the Aboriginal landscape in Canada. For years, this federal legislation (that was both controversial and invasive) governed practically all of the aspects of Aboriginal life, starting with the nature of band governance and land tenure. Most importantly, the Indian act defines qualifications of being a “status Indian,” and has been the source of Aboriginal hatred, due to the government attempting to control Aboriginals’ identities and status. This historical importance of this legislation is now being steadily forgotten. Politically speaking, Aboriginal and non-Aboriginal critics of the Indian act often have insufferable opinions of the limits of the Indian Act’s governance, and often argue to have this administrative device completely exterminated. Simultaneously, recent modern land claim settlements bypass the authority of the Indian Act over specific groups.
LaDuke, Winona. All Our Relations: Native Struggles for Land and Life. Cambridge, MA: South End Press, 1999. Print.
The author chose Tobias Sperlich as a supervisor because of his expertise in material culture studies and cultural heritage management. Since 2015, the author has worked in cultural heritage management in Saskatchewan including a term position as an archaeology technician at the RSM in 2016 and 2017. Sperlich has also been conducting research with curators at the RSM since ??. This opportunity will significantly contribute to the author’s career aspirations, which are to teach full-time at a university or work as a museum curator in Canada, but preferably Saskatchewan.
George Gustav Heye Center - The Smithsonian's National Museum of the American Indian is a fascinating building at the Bowling Green area of Lower Manhattan. It’s close to Battery Park that displays an elegant view of the water. You can see ferries floating by headed towards Staten Island, since South Ferry Terminal is nearby. It allows you to appreciate the hidden gems of the city located in the outskirts Manhattan. One of those very treasures is the museum mentioned previously.
Indigenous people have identified themselves with country; they believe that they and the land are “one”, and that it is lived in and lived with. Indigenous people personify country as if it were a person, as something that connects itself to the land, people and earth, being able to give and receive life (Bird Rose, D. 1996). Country is sacred and interconnected within the indigenous community,
In Thomas King’s “Totem”, he uses all kinds of objects to satirize that the Canadian Government is not treating First Nations fairly and all they do is to push them aside. The story starts with a paradox. The author combines “Prairie Museum” with “Seaviews” show- terms that are totally unrelated- in order to satirize the staffs which symbol the Canadian government not knowing the history. In addition, the totem poles make different sounds which refer to the different languages First Nations speak and which also are causes of misunderstandings between the First Nations and the Canadian government. However, the government never tries to solve the misunderstandings by negotiating with the First Nations just like the staffs never try to understand the sounds that the totem poles make.
Sitting at a desk, here on treaty six land, in the Garneau district, I am compelled to imagine what this space felt like before the university — an emblem of colonialism — existed. While sitting in this space, I read the words of David Garneau (and contemplate the associations between his name and the district in which I sit), who writes about rethinking the Truth and Reconciliation Act (TRC) using a piece of art he created, which functions as a space, a metaphorical space, in which he can convey and represent the thoughts, words, and bodies of people within an Indigenous peoples council gathering. Garneau continues to explain how "colonial attitudes, including its academic branch" seek to "traverse, to know, to own, and to exploit" (29) all spaces as though space, whether it is abstract or territorial, is a product, an article, or