In 2010, five magnificent Blackfoot shirts, now owned by the University of Oxford’s Pitt Rivers Museum, were brought to Alberta to be exhibited at the Glenbow Museum, in Calgary, and the Galt Museum, in Lethbridge. The shirts had not returned to Blackfoot territory since 1841, when officers of the Hudson’s Bay Company acquired them. The shirts were later transported to England, where they h…
Sarah Carter reveals the pioneering efforts of the government, legal, and religious authorities to impose the “one man, one woman” model of marriage upon Mormons and Aboriginal people in Western Canada. This lucidly written, richly researched book revises what we know about marriage and the gendered politics of late 19th century reform, shifts our understanding of Aboriginal history during …
In 1990, Gerald Conaty was hired as senior curator of ethnology at the Glenbow Museum, with the particular mandate of improving the museum’s relationship with Aboriginal communities. That same year, the Glenbow had taken its first tentative steps toward repatriation by returning sacred objects to First Nations’ peoples. These efforts drew harsh criticism from members of the provincial gover…
In 2010, five magnificent Blackfoot shirts, now owned by the University of Oxford’s Pitt Rivers Museum, were brought to Alberta to be exhibited at the Glenbow Museum, in Calgary, and the Galt Museum, in Lethbridge. The shirts had not returned to Blackfoot territory since 1841, when officers of the Hudson’s Bay Company acquired them. The shirts were later transported to England, where they h…
The stunning portrayals of the Canadian landscape in the documentaries produced by the National Film Board of Canada not only influenced cinematic language, but shaped our perception of the environment. In the early days of the organization, nature films produced by the NFB supported the Canadian government’s nation-building project and show the state as an active participant in the cultural …
Some essays focus on individuals—a trader, a performer, a non-human woman. Other essays examine cohorts of women—wives, midwives, seamstresses, nuns. Authors look beyond the documentary record and standard representations of women, drawing on records generated by the women themselves, including their beadwork, other material culture, and oral histories. Exploring the constraints and boundar…
The stunning portrayals of the Canadian landscape in the documentaries produced by the National Film Board of Canada not only influenced cinematic language, but shaped our perception of the environment. In the early days of the organization, nature films produced by the NFB supported the Canadian government’s nation-building project and show the state as an active participant in the cultural …
In the pages of this beautifully illustrated volume is the story of an effort to build a bridge between museums and source communities, in hopes of establishing stronger, more sustaining relationships between the two and spurring change in prevailing museum policies. Negotiating the tension between a museum’s institutional protocol and Blackfoot cultural protocol was challenging, but the expe…
Some essays focus on individuals—a trader, a performer, a non-human woman. Other essays examine cohorts of women—wives, midwives, seamstresses, nuns. Authors look beyond the documentary record and standard representations of women, drawing on records generated by the women themselves, including their beadwork, other material culture, and oral histories. Exploring the constraints and boundar…
Sarah Carter reveals the pioneering efforts of the government, legal, and religious authorities to impose the “one man, one woman” model of marriage upon Mormons and Aboriginal people in Western Canada. This lucidly written, richly researched book revises what we know about marriage and the gendered politics of late 19th century reform, shifts our understanding of Aboriginal history during …