Jack Shadbot was inspired in his formative years by hi contact with Emily Carr and with her brooding works portraying the remnants of Indian villages against the overwhelming wilderness. He made sketches of Indian artifacts and the Cowichan Reserve in the 1930s, but it was only after World War II that elements of Indian art began tooshow up in his style. Marjoria Halpin finds in the changes in the way Indian forms occur in Shadbolt’s paintings an appropriate expression of the changing attitudes of British Columbians to native society and the political will the native people now manifest. As she demonstrates, the place of Indian motifs in Shadbolt’s painting can be broadly correlated with the cultural quickening of Indian society in recent years. From the late 1940s until his 1969 retrospective, Shadbolt chiefly used details form Indian sculptures as elements in highly designed watercolours. Subsequently, they became part of more generalized primitives, combining with elements of tribal art of the Southwestern United States and Melanesia. But in the 1980s, the coastal artifacts have become wholly integrated yet autonomous forms in the paintings. Though Jack Shadbolt has never been an ideological artist, he recognizes that his recent works make direct political statements. But he believes his expression of his feelings must continue to be in poetic rather than literal terms. Shadbolt’s paintings reveal his emotional sympathy with Kwagiutl, Haida, and Tlingig forms and his deep response to the Indians’ spiritual and historic preseence in the British Columbia environment. Marjorie Halpin adds an informative and intriguing commentary to the growing body of critical literature on Jack Shadbolt and the varous movements of which he has been a part. Significantly too, she stresse sthe commonality between Canadian native and non-native artists in addressing universal artistic concerns.
According to eminent French anthropologist Levi-Strauss, Reid "brought Northwest Coast art to the world scene, into dialogue with the whole of mankind." In this artistic biography, Karen Duffek gives an account of Bill Reid's life and work and of his role as artist, innovator, and ambassador of Haida art. After describing the processes by which Reid came to reconstruct the formal rules of a complex artistic tradition, Duffek focuses on his mastery of new techniques, particularly in making jewellery, techniques which others now emulate. In the key chapter "Beyond the Essential Form," she uses Reid's own categories of his work as "copies, adaptations and explorations," to give a candid appraisal of his artistic achievements -- from massive poles to gold boxes, from intricate bracelets to the great bronze Killerwhale statue.
Describes Ninstints, the ruins of a Kunghit Haida village located in southern Queen Charlotte Islands, B.C. which was declared a UNESCO World Heritage Site in 1981. Also includes brief history of Kunghit Haida Indians and discussion of preservation of village. Aimed at senior students, but useful to grades 4 and up.
Eight of the world's most practised religions are discussed: Islam, Christianity, Judaism, Buddhism, Bahai religion, Chinese popular practice, Hinduism, and North American Native spiritual belief. The purpose is to see where the religions positively support the UNCRC and where they criticize or disagree with the ideas of the Convention. Each religion has very clear notions as to the functioning of the child in the context of the family.
Totaling approximately 40,000 objects, the University Museum's ethnographic holdings represent native peoples from ten North American culture areas—the Arctic, Subarctic, Northwest Coast, California, Plateau, Great Basin, Southwest, Great Plains, Northeast, and the Southeast. This guide highlights the strength of the collections and demonstrates how objects are tied to history and people living within different cultural and social contexts. It also underscores that objects have different multiple meanings. Some objects illustrate intertribal relations; others best reflect collecting attitudes at the turn of the century when much of the Museum's collections was acquired. Visitors and off-site readers will learn about such related archival resources as documentation and photographs, past and present Museum exhibitions, current research, repatriation, and contemporary collections development.
Museum practice regarding handling and preservation of objects has been largely taken as a given, and it can be difficult to see how these activities are politicized. Author Miriam Clavir argues that museum practices are historically grounded and represent values that are not necessarily held by the originators of the objects. She first focuses on conservation and explains the principles and methods conservators practise. She then discusses First Nations people's perspectives on preservation, quoting extensively from interviews done throughout British Columbia, and comparing the British Columbia situation with that in New Zealand.
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