The Canadian public largely understands reconciliation as the harmonization of Indigenous–settler relations for the benefit of the nation. But is this really happening? Reconciliation politics can work counter to retributive justice. The Theatre of Regret asks whether – within the contexts of settler colonialism – the approach to reconciliation will ultimately favour the state over the needs and requirements of Indigenous peoples.
Ancestors: Indigenous Peoples of Western Canada in Historic Photographs by Dr. Sarah Carter, awarded the Killam Prize in the Humanitie, and Inez Lightning, Yellow Bird Woman, is Anishinaabe.This exhibition catalogue introduces historic photographs of Indigenous peoples of Western Canada from a collection housed at the University of Alberta’s Bruce Peel Special Collections. The publication focuses on the ancestors represented in the collection and how their images continue to generate stories and meanings in the present.
Unravelling Canada by Sylvia Olsen has developed relationships with Coast Salish knitters and in this book discusses the quintessential garment of Canadian knitting, the bulky and distinctly patterned West Coast cardigan. In the early twentieth century, Indigenous woolworkers on southern Vancouver Island began knitting what are now called Cowichan sweaters, named for the largest of the Coast Salish tribes in the region.
Dylan Robinson is a xwélméxw (Stó:lō) writer, Canada Research Chair in Indigenous Arts, and associate professor at Queen’s University in Kingston, Ontario. Hungry Listening is the first book to consider listening from both Indigenous and settler colonial perspectives, presenting case studies on Indigenous participation in classical music, musicals, and popular music. A critical response to what has been called the “whiteness of sound studies,” Dylan Robinson evaluates how decolonial practices of listening emerge from increasing awareness of our listening positionality.
Moving the Museum: Indigenous and Canadian Art at the AGO edited by Wanda Nanibush and Georgiana Uhlyarik documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO’s Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history.
Haudenosaunee Culture through Art & Design: Book 1, is a colouring book of a beautifully curated collection of works by Mohawk artist Teyotsihstokwáthe Dakota Brant. Inside you'll find 13 pages of designs that include captions with insights into the culture of the Longhouse People, their gardening culture, ancestral stories, connection with the natural world and more.This colouring book also shares some basic knowledge of design development, pages highlighting who the Haudenosaunee people are and provides a perspective to the question "Do I have to be Haudenosaunee to practice Hauden
Haudenosaunee Culture through Art & Design: Book, Teachers Edition is an Ontario curriculum-based teacher’s companion to the Haudenosaunee Culture through Art & Design: Book 1 colouring book and can be used by any teacher, Indigenous and non-Indigenous, anywhere, to help their students learn about the core Elements of Design that make up Visual Art.
Indigenous Filmmakers and Actors by Gary Robinson, of Choctaw Cherokee descent includes the profiles of twelve Indigenous actors and filmmakers. They tell their stories of the hard work and struggle that went into their careers. Overcoming prejudice and stereotypes in the film industry, fighting to make and promote films that demonstrate an honest portrayal of Indigenous life and heritage. Their stories show how there’s more to filmmaking than acting and directing, including writing, producing, editing, designing, and special effects.
Knowing Native Arts by Nancy Marie Mithlo, Chiricahua Apache, discusses the significance of Indigenous arts in national and global milieus. Knowing Native Arts is written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, providing a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts.