1 50 9 https://d1y502jg6fpugt.cloudfront.net/25945/archive/files/5af50fc91a44dc335456a9272cedad48.pdf?Expires=1779926400&Signature=ReiJJWnngrxOX7BoA3wNfgiVY2gcElVeGTRbQPqgxIvpnnigdl3jplurIy7mxceCS8M0H-Y%7E4Rwb8fZECjIOM0Ot8sEL4bAETFSCUApeIFT3FNNdJzYPw3M6SK0sf6zg7p9jtFjGP1ho7IpP2zjqWy%7EwTr6CUAeaMh4nraqq9l94iz2dpFxRo8o481aiskSgrKfZTlq8gno7LgVhZQX4rGuwYy0zPHjUzW86wEegFNx%7E0l8ZQGqZvnkCKCJ0-Xpbiv%7E%7Ew1MCpqzl-QRm-Xo7iQnH0jaB0wJDegoGlO6T4fks7huKdR3qeXfpC-LC3WnjEZWB9ymDJ%7EDY7QrgBqcB2A__&Key-Pair-Id=K6UGZS9ZTDSZM b7db1bcc39dce140034339347bc37893 PDF Text Text �OCTOBER29 TO 31, 1998 SASKATOON,SASKATCHEWAN The priman 1 goal of the Youth Legislative AssembllJ is to establish an effective forum to provide First Nation students between the ages of 15-24 with the opportunitlj to participate in , and gain an intimate understanding of , the political processes of the FS/N, while at the same time discussing issues of immediate importance to their lives. The FSIN is committed to providing the necessary means to develop and enhance the knowledge youth PO$Sessregarding the political decision making process of First Nation government in Saskatchewan and to encourage youth to discuss and propose · ·. · ; ::···· · · recommendations to issues that they feel strongly about. FOR MORE INFORMATION CONTACT: FSIN Youth Legislative Assembly Coordinator Candace Wasacase FSIN - Office of Treaty Governance Processes Suite 904-606 Spadina Crescent East Saskatoon, Saskatchewan S7K 0C4 Phone (306) 667-1876 Direct (306) 667-1879 Fax (306) 477-5115 �SASKATC -· The tradition of the Sasftakftewa,c Indian magazine was to provide coverage of people, issues and events both ent ertaining and informative throughout First Nation communities. In order to keep with the tradition of the magazine we invite submissions. There is such an overwhelming number of First Nations community events and happenings that we will be unable to cover as much as we would like to. Therefore, we are inviting stories, photographs, artwork and letters from our readers. SaskatchewanIndian will also provide an opportu nity for advertise rs to reach the First Nation consumer. The magazine will be distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions. For more information contact: Sasfcatcftewan Indian Federationof Sasfcatdiewo Indian Nations Suite 200 - 103A PaciftamA,enue Sasfcatoon , Sasfcatcftewan S7N 4K4 Telephone:(306) 665- 1215 Fax: (306) 244-4413 The views and opinions expressed by contributors to Saskatch ewan Indianare their own and do not necessarily reflect those of Saskatchewan Indian or the Federation of Saskatchewan Indian Nations. IN H E WAN ~ - Iii Vol. 28 #3 Powwow Issue 1998 THIS ISSUE Child of Vision .............................................................................. 3 Cultural Content Editor: Solomon Ratt ..................................... 4 Consider Wfsahkeciihk ...................................................................6 The Baffling Nature of Wfsahkeciihk ............................................. 7 Wfhowina....................................... ..................................................8 The Blindfold Dance ................................................................... 9 Nanabush & the Ducks .............................................. ............... 11 Miss Indian World .................. .................................................... 13 Storytelling is an Art Form ................................................. ....... 14 Another Good Powwow ............................................................. 16 Red Bull Keeps Drumbeat Alive ......................................... .... 18 Wfhtikohkiinak......................................................... ......................I 9 ON THE COVER: The Educational Value of Trickster Tales ............................... 19 PAINTING "LET'S DANCE " Saskatchewan Powwow Dancers Showcased ......................... 20 ART IST: IE RRY WHITEH EAD Chichipischewkan (Rolling Head) ............... ................................. .22 Tradition Key to SIFC Powwow 's Success ............................... 26 Artist Jerry Whitehead .....................................................................28 ~TCHEWAN IN'OIAN CULlUHAL Cl:NTRE LIBRARY DEPARrME.NT J20-33rd STREET EAST SASKATOON, SASKATCHEWAN S7K OSZ SaskatchewanIndianis published by the Federation of Saskatchewan Indian Nations . Editor: Lori Bateman Desktop Publisher : Jocelyne Wasacase SaskatchewanIndianAdvertising Sales : Dale Johnson (306) 652-8557 Copyright 1998. All rights reserved . ISSN 0048-9204 Printed in Saskatchewan by PrintWest POWWOW ISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN Di Iii 1 �' Sinfonia Travel offices are conveniently located to serve all of Saskatchewan. Call the Sinfonia office nearest you! Meadow Lake 236-5145 Prince Albert 763-8412 North Battleford 445-7293 Rosetown 882-2641 Saskatoon 652-1272 Regina 584-9220 • Meadow Lake • Prince Albert e North Battleford • Saskatoon • Rosetown Regina• Proudly serving Saskatchewan's travellers for 40 years! j_ ~t'fJ,mJi·11':r11lfo11 '6• ~ 3366FAIRLIGHT DRIVEa,.f If f/0 DAILY REGULAR PROGRAMS *lPM *7PM *10:30PM V1s10 T Effective communication, through state-of-the-art technology or the ancient art of story telling, is the foundation upon which strong, enduring and mutually beneficial partnerships are built. CoME&Go PROGRAMS 12:00-1:00 3:30-7:00 9:30-10:30 SUNDAY MADNESS DOORS Partnership communication is the business of Vision Qwest. Box 371, Duck Lake, Saska tchewan SOK l J0 Tel: 306 467 2073 e-mail : rjmb@sk.sympa tico.ca OPEN AT IO BINGO AT MIDNIGHT For all the daily specials call the HOT LINE at 382-5722 �CHllDOfVl)ION reprinted with permission from IN DEO THE :TORY OF AN INDIAN MUJC L �mes. - C':'.KATC AN llllaU. -cou.ECTIONS Of OUR CU. TURE.. �There are many traditional Indian stories w tten in English, some collected · arious folklore and anthropol gjcal :~)Urnals and some publis eel in ·,llections of Indian tales for "n;;;.,""''~••' .;-JalQublic. I have read · ny .o t · e $: ories with gre t amuseme a d yet often pu t the downwit a of my heaa: aving bee some of tfiese stories iq my m er tong e, I ow from ma11,ywin,. te r ev nings on the trapline t they can Be much more thap t ey appe ar to be in the written form. Much is said about language being the medium by which our cultures are passed on from generation to generation, .and many bewail the fact that most Indian people today do not speak their mother tongue and fear that our cultures will die with the death of our Indian languages . We tend to forget that one of the main tenets of our Indian cul- and our The , hawing road, a much quic e way of getting back the teachings of our cultures would be to start telling our stories in English until the day comes when we can tell them again in the original tongue . ~ Stories lose a lot in translation. Some of the tliings lost in the retelli ng o ou stories in English include the humour, the son , ,.,,..1-1 ~---editorial asides , the gestures and tones of the narrator and the opportunity for the storyteller to expound on some of the key instructional elements contained in the story for a particular audience. Also lost is the opportunity for the audience to ask questions about some of the puzzling aspects of the tale . Perhaps the worst injustice done to the old stories when written down is the simplistic and often awkward sentence structure in an effort to capture the nuance of Indian languages. If traditional stories are to be told in English then it is the storyteller's responsibility to revive all that was lost when the stories were transferred from the spoken word to the written word. We are lucky that many of these stories have been published because for some who do not speak their mother tongue these collections are the only source to the original teachings of our peoples. We can take these printed tales as a starting point in reviving, and thus reclaiming, our traditional oral tales as mediums of instruction for generations to come . POWWOW ISSUE1998 'COLLECTIONSOF OUR CULTURE" SASKATCHEWAN Lll~D.I 5 �Consider Wfsahkecahk. If he was like many people today, folding his arms in exasperation at all the obstacles with which he meets, he wouldn't have survived to partake in all his adventures and we wouldn't have the teachings inherent in the stories . In some of the earliest stories in the Cree Trickster cycle we see Wfsahkecahkfighting and overcoming fearsome foes sent by his father~in~ law to destroy him. In this series of adventures the stories teach how to make bows and arrows (Leonard Bloomfield, Sacred Storiesof the Sweet Grass Cree, 1993, Fifth House Publishing, 16~17, hereafter cited as Bloomfield). The first set of stories dealing with Wfsahkecahk's flight from the dreaded Rolling Head (Bloomfield, 14~ 16) teach about family and spousal responsibility as well as giving a migration narrative on how the Cree came to be where they were. The migration story told through the flight of Wfsahkecahk also contains the Cree philosophy of the circle of life- Wfsahkecahk's journey is circular including all four directions as well as the notions of up and down. At the beginning of his flight his father hides him and his brother under~ ground and tells him that should he ever become lonely to look up at the stars for that is where he will be watching over them. Wfsahkecahk'sfather also pre~ pares him for his flight by giving him four things that will help him survive- incidentally these four things coincide with the four elements essential for life: fire, water, plants (air) and rock (earth). All these aspects of the teachings of our forefathers are evident in the traditional stories which have been collected, translated and published by folklorists and anthropologists. We owe them a great debt which we've yet to acknowledge. While it is true that many of these collected stories leave a lot to be desired in their published form because of their simplicity and frequent bad grammar, they do nevertheless contain the basic teachings about our cultures . The trick is to be able to find these teachings . -:; Chichipischewkwan (Rolling Head) by Reverend E. Ahenakewbeginson page 22. Painting by Ton· Lynn Wanotch , Nutana Collegiate 6 SASKATCHEWAN iliilitl.&liil "COLLECTIONSOF OUR CULTURE " POWWOW ISSUE1998 �Wfsahkeciihk is often a baffling character; he is both reviled and respected in Cree society. He is always curious and full of mischief, tricking others in order to survive but is also tricked in turn so that his pranks often backfire on him . He is often tricked only when he feels cocky- teaching us the value of humility . Although he is a walking contradictionso hard to pin down just what he is supposed to representhe serves to teach us how to live in a world ever chang~ ing. One of his basic characteristics is that he is always hungry- not surprising since the search for food in the old nomadic societies was the predominant pre~ occupation of most pe ople. Most stories of Wfsahkeciihk open with him walking along searching for food. He has to rely on his cunning to procure his meals and the process through which he gets his food is often comical. But, behind the humour is a less on about some aspect of Cree culture . .., ";' DURA STRUCTURES LTD. GENERA L CONTRACTORS, DESIGNBUILDER S, ENGINEERS WORKING IN CONJUNCTION WITH FIRSTNATIONS TO CONSTRUCT: W hen you have a taste for something sweet, try a McFlurry ®. Enjoy spoonfuls of creamy soft serve swirled with your choice of Peppermint Aero tt, Smarties tt, Oreot and Coffee Crisp tt. Stop by today and try McDonald's coolest treat that will sweep you off your feet. SCHOOLS MEDICALCLINICS SKATINGRINKS CONTACT : JOHN KONOFF 555 McDonald Street Regina , Sask. S4N 4Xl Available at participating Saskatoon McDonald's® locations. © 1998 McDonald's Restaurants 01Cana da Limijed. For the exclusive useof McDonald's Restaurants of Canada Limited andits franchisees . t Registered Trade Marksof Nabisco Lid. © 1998All rights reserved . ttT. M. OWNER/PROP . DESMARQ UES : sac1£T£DES PRODU ITS NESTL£S.A. POWWOW ISSUE1998 Bus:1-306-721-6866 Fax: 1·306-721-4700 "COLLECTIONS OF OUR CULTURE" SAS KATCHEWAN I 19 7 �Wlhowina by Darren Okemaysim Dnrre11 Oke111aysi111 is from Beardy's & Okemnsis First Nations. He leachesCree for both 1111iversities i11Snskntcf1ewn11 . He is presently the Chairman of Sasfwtche1i-,m Cree La11guage RetentionInc. Reprinted with per111issio11 from Ahkaminehiyawetan acimowasinahikanis . Kayas mana ayamihewiyiniwak ekwa osoniyawikimawak ki--mosci--meskotastamawewak owihowiniwa nehiyawa, ki--a.s6--miyewak moniyawi--wihowina 6hi nehiyawa. Mitwand ewako ohci etikwe moya mistahi ka--nehiyawiyihkasocik ekwa anohc. Kisak poko ekonik 6ki ka--meskotasta-mawacik 6ki nehiyawa owihowiniwawa, mitwand 6ki e--ki--iteyihtahkik ta--meskoci--moniyawi--ayami-hayit, ta--mosci--yikatewepinamiyit nehiyawihtwawin. Mihcetwaw kayas mina mana 6ki atiht ki--mosci--otinamwak peyakwan owihowiniwaw anihi ayamihewiyiniwa. Ki--ayimaniyiw etikwe mana askaw ka--nisitawinawiht nehiyaw ahp6 moniyaw masinahikanekinihk, peyakwan ayisk wihawak. Atiht ayisk mina 6ki nehiyawak ki--wemistiko-wihawak mana, ayiwak etikwe ekota pah--pitosihtakwaniyiw owihowiniwawa. Piyisk mina ka--ati--kakeskimacik nehiyawa tanisi isi ka--isi--a.s6--miyitokwihowina, napew ka--miyat owihowin wiwa ekwa peyakwan mina piko ka--a.s6--miyatmina kahkiyaw ocawasimisa. Namwac kikway ekospihk s6skwac e--ohci--manacihtahk kispin atiht 6ki e--pimatisitotahkik iskwewiwin ohci. Atiht ki--miyopayiwak. Ki--kaskihtawak ka--isi--masinahamihk owihowiniwawa kwayask e--nahihtahkik tanisi e--itihtakopayiyiki, ekosi kanaweyihtam owihowin. Maka ohcitaw iskwewak otinamwak meskoc onapemiwawa owihowiniyiwa ka--ki--ati--kihci--wikimat. Atiht oki nehiyawak pimacihtemakaniyiwa onehiyawi--wihowiniwawa. Peyakwan ki--a.s6-mekinaniwan wihowina ka--ki--isi--kiskinwahama-cik, keyapic kisak piko ewako anima pimitisa-hamwak. ~ 8 SASKATCHEWAN "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Curious, the birds ask him what he is carrying. He tells them that he has been given a new song which can only be sung inside a lodge which has one small opening and that he is preparing for a sacred ceremony. The bundle, he tells them, is part of the ceremony, the contents of which must not be seen. The birds beg him to teach them the ceremony. He relents and proceeds to give instructions on how to build a lodge in which the ceremony is to be held and into which the birds can dance but only with their eyes closed. After the lodge is built Wfsahkecahk paints the birds in preparation for the dance . Once the singing and the dance starts Wfsahkecahk selects the fattest birds, wrings their necks and throws them into the sack. This goes on until the Water Hen decides to take a peek. Seeing what Wfsahkecahk is doing he immediately shouts an alarm. At this point all the remaining birds escape, leaving the poor Water Hen who barely escapes after Wfsahkecahk steps on its feet in :;z:rn::':,;;::r;! revenge for spoiling his plans. ;:::~~-,::,.;;e:::::~ End of story. Incidentally in the next instalment of the cycle Wfsahkecahk is tricked out of his feast by a cunning fox! Ha!! On the surface, the story seems a simple one The Blindfold Dance, known in some collections as about how the birds got their colours and why the The Shuteye Dancers, contains instructions about how to hold sacred ceremonies . In summary, as Wfsahkecahk Water Hen (in the SICCcollection) has webbed feet (or in other collections why ducks waddle when they walk). is walking along in his endless search for food he sees This is all that tellers, or readers, of the story see as the a flock of ducks and geese and comes up with a plan to "theme" of this particular story- simply a children's get them for his supper by taking advantage of their story to explain the characteristics of waterfowl. curiosity. He fills his sack with moss (or bulrushes, Beyond the surface, however, there are some crucial depending on the version) and walks back and forth lessons about ceremonies which adults must be aware along the shore singing until the birds notice him. School , Through the Aboriginal Employment Development Program and the Aboriginal Representative Workforce Strategy, the Government of Saskatchewan works in partnership with Aboriginal communities to assist in the employment of Aboriginal people in all occupations. For more information on this and other programs, please contact: Saskatchewan Intergovernmental and Aboriginal Affairs (306) 787-6250 ■ Saskatchewan Intergovernmental and Aboriginal Affairs POWWOW ISSUE1998 Hon. Bernhard H. Wiens Minister "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN D A 9 �of in order not to be misled. Essentially the story gives the story~ teller an opportunity to tell his audi~ ence how to build a sweat lodgebuilding the sweat lodge being a sacred thing and the instructions for which are guarded to be revealed for a specific audience. It is not surpris~ ing that all the collected versions of the story- even the Cree version in Leonard Bloomfield's SacredStoriesof the Sweetgrass Cree (34~40)- gloss over these instructions. In the SICC version of the story there is also the point made that if someone promises to give a dance ceremony, as Wfsafrkecafrk tells the birds he had done, then one must keep his word. Another aspect of the story important in the Cree world is the notion of being given a song or a ceremony and the responsibilities that go with that. The most important lesson, how~ ever, is the necessity of "keeping one's eyes open", to be on guard for any shenanigans, after all the world is full of trickery. The Cree version which follows has editorial asides to help in the telling of the story. Piyakwaw Isa Wisahk1'cahk k1'-papirnoht1'w wasakarn sakahikanihk. Kitahtawiw Isa kawaparnat sisipa ikwa niska I-akwamothit natakam. Hay, k1'siskawkasopathihow. "Tanisi orna ta-ki-isi-nipahakwaw oko SISipak," Iwhispering] Isa itithihtam. Makarnina Isa I-noht1'-mkisot! Isaidin an exasperated tone] Hay, ati-k1'moci-pasikow, I-ati-sipihtit. Kltahtawiw isa wapahtam mask1'kwa! Atimamosahkinarn I-asowatat ornaskimotihk. Sakaskinahtaw ornaskirnot. Ati-wasakamiw kisik I-nanikamot. "Hay ya hay ya hay, nipasakwapisimona nipimowatan," !singing] ka-isi-nikamot Isa awa napiw. Kinwisis wawasakamiw athisk oko sisipak I-otarnimicisocik. Plthisk piyak SISipa wapamikow. "Hay! CTst! Kikwathiw awa kistisinaw kapimowatit!" isi-kakwicirnitowak Isa oko SISIpak. Piyak Isa awa Sihkihp kaskirnaw ta nitawi-kakwicimat Wisahk1'cahkwa k1'kwathiw I-pimowatithit. "Hay, NistisI ," it1'wISa oho napiwa (witha Isa kahkithaw awiya awa Wisahk1'cahk i-k1'osimisit Ian aside said in reverent toneI) . Ahcipoko papirnohtiw awa napiw ahk1'tap Ika I-pihtawat oho osirnisa . Nawac ka-kisiwitipwatikot. "Hay! Nistisi! " ka-isi-tipwit Isa awa Sihkihp . Kipihdw Isa awa Wisahkkahk tapiskoc i-sascihtawat oho Sihkihpa! "Hay! Kikoskornin nisim1," itiw Isa oho Sihkihpa i-kisiwatisihkasot. IO SASKATCHEWAN ■-8■A.il "COLLECTIONSOF OUR CULTURE " POWWOW ISSUE1998 �"keepingone's eyes open," to be on guardfor any shenanigans,after all the world isfull of trickery. "Kikway oma ka-pimowatlyan, NistlsI," isi-kakwkimiw Isa ostisa awa Sihkihp . "Ninikamowina oho," itlw Isa awa anihi Sihkihpa. "Mahti maka nikamo!" itik Isa osimisa awa Wisahkkahk. "Nama! Oski-nikamowina oho I-kI-mithikawiyan . Namotha pakwanita pokttI nika-kI-nikamon." "Tanisi maka," kakwkihklmow awa Sihkihp . Ikwani ikota ohci ati-wihtamawiw kahkithaw sisipa tanisi oma ta-itotamithit klspin nohtt-pihtahkwawi anihi oski-nikamowina. Ati-sihkimawasow Wisahkicahk. "Haw! Otahk askiy oma nikI-asotamakan ta-nimihkiyan anohc ka-asklwik. lkwani anohcihkI nikI-mithikawin oho ninikamowina ka-pimowatayan ikwa nikI-sihkimikawin tanisi ta-isi-nimihkiyan ispI nikamoyani. Ohcitaw poko ta-osihtaniwik mikiwahp nahlthikohk I-ispihcak ikwa piyak poko ta-iskwahttmowik. Ikwa ispI sipwisimowinanowiki ohcitaw poko ta-pasakwapisimocik tahto aniki ka-wI-nimihitocik . Klspin namotha awiyak nohttpasakwapisimow simak ota ohci ta-sipwihtiw!" Ikosi isi-kakwIpahkacimiw oho sisipa. Hay kahkithaw oko s1sipak noht1-pasakwapisimowak. Kahkithaw ikota kisadwak I-ati-mosahkinahkwaw mihta ta-osihtacik animithow m1kiwahp ikwa m1na akwanahamwak iyakwithow asosiya I-apacihtacik . Ikwani ispI ka-klsihtacik mikiwahp ati-mamanihiw osimisa W1sahklcahk, I-wawis1hat, I-papitosisisopikahwat Iherethe narratorcango intodetailaboutthe coloursof the ~ many differentducks who came to dance]. Ha! Kwayask cihklthih- } tamwak oko sisipak I-mamithonasocik! ~ s Ikwa! Ati-sipwiham Wisahklcahk! ~ "Hay ya, hay ya, hay ya, pasakwapisimowina ninikamohtan," a:................ isi-nikamow awa nap1w pihtokamihk ohci mikowahpihk, dki iskwahtimihk paskac I-apit ta-nahi-wapamat anihi sisipa. Ikwa aniki s1sipak ati-pihtokI-pasakwapisimowak IHerethe narratorwould Nanabush& DucksbyUrdaPelfy imitatethe dancingducks,noddinghis head in time to his singing] . Hay One day Nanabush was out walking in the forest. As usual mithonawiw s1sipa Wisahkicahk ... ati-nanawasoniw tahto anihi he was hungry . He had been trying all day to kill an animal to nawac ka-tahcipothit, I-ati-kaklskikwtnat ikwa 1-ati-posowipinat feast upon. omaskimotihk. As he walked along he came to a lake and, to his delight, Kitahtawiw Isa awa Sihkihp ka-ati-klmotapamat ostisa. Wahwa! saw some ducks swimming. "I must trick those ducks someKoskwapisin oho ka-itaspinatikocik! Simak tJpwiw. how," he thought. He began to think of how he would do this. "Tapasik! Tapas1k! Kim1scihikonaw awa kistisinaw!" I-isi-tipwit He set up his tent and then made a large leather bag and went Ishouting] . into the forest . Coming to a swamp, he picked up some moss Wahwa! Kwayask papasi-tapasiwak oko sisipak! Mitoni ana and bundled it. Returning to the shoreline of the lake, he walked along with Sihkihp I-nakacipahiht, witha 1sa iskw1yanihk wathawitimiskwaht 1his head down, pretending he did not see the ducks. In a short ispahtat . Maka mwihci kikac I-paspit ka-tahkiskatikot omitime the ducks noticed him. "Let's ask him what he is carrying tokanithihk . . . Mitoni I-wathawHahkiskatikot Wisahkicahkwa. in that bundle," one of them said . "Nanabush, what are you Ikwana kiyapic maskipathow Sihkihk ispI ka-kakwI-pimohttt carrying?" they shouted to him . Nanabush continued to walk, asklhk. pretending he did not hear them . "Nanabush, what are you Ikwani pitama I-iskwacimikosit Wisahkicahk. carrying?" they shouted a little louder. This time Nanabush W(..1, ........ -..~ ....... ----..;......., ____ __... ____ ......_ _____ ___ ne Fromthe Ratt family stories. pretended to look around for voices . "What did you say?" he shouted back. "What are you carrying in that bundle?" the ducks asked again. "I am carrying my song bag," replied Nanabush . "Let us hear you sing then," asked one of the ducks . "Oh, I cannot do that," said Nana bush. (continuedon page 14) POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE " SASKATCHEWAN Ill 11 �RECORDS <http://www.sweetgrassrecords.com> CREE WHITETAIL LIVE AT SKYDOME NORTHERN WIND SOEIEZUN WORU>CHAMPIONSHIPS TA-OTHA SPIRIT WALKING BUFFALO A DREAM TAKES FLIGHT PAINTED HORSE LIVE AT NAPI Attend the Beardys& OkemasisWillow Cree First Nation Powwow at Duck Lake, SK for the $5,000 Sweet GrassRecords Drum Contest STONEY PARK SCHEMITZUN WORLD CHAMPIONSHIPS August 14-16, 1998 (306) 467-4441 call to order: (306) 343-7053 or fax (306) 343-5930 Mail to: P.O. Box 23022, Saskatoon, SK S7J 5H3 CDs@$19.99 and cassettes@ $12.99+5% shipping& applicabletaxes MOCCASIN FlAT UVEATNAPI MERVIN DREAVER GONE BUT NOT FORGOnEN Receivefreebonusselectionon first orderof 4 or moreitems. (June1st- July 31st) *SpecialAnniversaryFREEBonusis a randomselectionfrom the SweetGrass Recordscatalogueand mustbe requested . WISCONSIN DELLS IRON WOOD SOfEMIIZUN WORLD CHAMPIONSHIPS SCHEMITZUN WORLD CHAMPIONSHIPS LITTLE AXE LIVE AT NAPI COZAD LIVE AT RED EARTH �All photos supplied b_vAnita Large MISS INDIAN WORLD: A ONCE IN A LIFETIME EXPERIENCE BY ANITA LARGE If someone asked me if I would do it all over again ...I would say no. Why? I would not meet the same group of girls that I did dur~ ing my journey to Albuquerue. Some were shy, some quiet or funny but most importantly all were very friendly, and that is what made the 1998 Miss Indian World Contestants a great group of girls. One by one the contestants arrived at the Albuquerue Convention Centre to register. Everyone was excited, nervous and happy. After we registered and handed in our tickets, we had a chance to meet each other. There were 26 of us from many dif~ ferent nations . I was soon joined with a girl from Guatemala named Elsa. Elsa was the first of our southern neigh~ bours to compete for this title. She was sweet , friendly , talented POWWOW ISSUE1998 ~ and spoke four languages: Spanish, English, French and Mayan, her native tongue. The Miss Indian World competi~ tion challenges the contestants' skills in public speaking, dance and traditional knowledge. After registration, the Committee began the first competition. Public speaking was one of the seg~ ments that we could not prepare for. We each found a partner and had five minutes to get to know each other. We then had one minute to introduce our partner to the audience. I thought this would not be dif~ ficult because I am very used to speaking in public. However once it was my turn to introduce my partner I never thought I could feel so nervous . My knees and legs were shaking. I also felt my voice shaking . I soon found out that it is not about being scared to "COLLECTIONSOF OUR CULTURE" talk in public but the idea of com~ petition. All the girls did a good job. The award was given to Farren Penny from Lapawai, Idaho. Our second competition of the day was the personal interview. Each contestant only had 10 min~ utes to answer the questions the judges asked. We were timed to the minute. The judges were look~ ing for a balance between being rooted in traditional culture and being educated. The winner of this category was Nonabah Sam from Brimhall, New Mexico. We started Day TWo early in preparation for the traditional presentation we were to make later that evening in front of an auditorium full of people. I must say that this day was very long. I, like the others , was very ner ~ vous. My mom told me that I should not look at it as a (continuedon page 15) SASKATCHEWAN i lllBi.A ill 13 �Dw1ks ·continuedfr.omv..age111 •• ·- •- i~'• ...... . . -. . -:-·• - . . .. - . . . .. .. . .. .. - . -.. .. .- ....... . . . -- .. .. ... . . . ... . - • • ~~ Storytelling, we are often told, is an art regulated to "storytellers" of the community . In my experience, in an effort not to dance blind, I have never found that to be the case. Each family unit had someone who was the most skilful in the art and passed the stories to all the family members and each family member was able to tell the stories in preparation for the time when he or she began to raise a family . It is very hard for me to imagine a family unit wintering on their own, as they most often did due to the scarcity of game, to go through the winter without stories because the "storyteller" was miles away at another camp. Wintering on the trapline in northern Saskatchewan when I was a child, my late mother would tell us stories as we were laying down to go to sleep . None of this romantic notion of sitting around a campfire listening to the community "storyteller" have I ever experienced. It would have to be a pretty big teepeea multi-family condo-teepee perhapsto include all the people to come listen to the community "storyteller". It is true that in social gatherings like powwows the best storyteller of the community would be 14 SASKATCHEWAN ilt..1~iAt.1 - - • - i - - - - •. .• -- - - •• - - •!- - - - asked to tell stories and often did . Nevertheless, it was necessary for each person in the community to know the stories even if they were not "storytellers". It was necessary because telling stories was one of the key components of educating our young about the world and about our cultures- if the family members did not relate the stories to their children then many would grow up without an education for most of the year because tribal gatherings were rare and often held in summer months when traditional stories were not told. The term "storyteller", as I use it here in quotation marks, is merely one of the many "invented traditions" that have run amok since we began the blindfold dance ages ago- it is dangerous to accept that such a notion ever existed. I was shocked by a young mother this winter at a storytelling session when she told me she didn't tell her children traditional stories or even read traditional stories to them because she was not a "storyteller". She had bought into this notion of "storyteller" . Poor kids- they are missing so much! {~ ·COLLECTIONSOF OUR CULTURE· I' POWWOWISSUE1998 �Miss Indian World: A Once in a Lifetime Experience(continuedfrom page l 3) competition but rather as something I do back home. When it was my turn to go on stage, my mother and I said a little prayer. I really believe the prayer helped me out. I pretended that I was giving a performance at Wanuskewin . As I told a story about the Indian dress, my mother acted out the story. I received many great compliments. It definitely was a night to remember. I was certain I would receive the award for best traditional presentation. However Rose Johnson from Reno, Nevada won the award. Day three was the beginning of the Gathering of Nations Powwow. I was finally going to dance in the Gathering. We danced in with at least 1,500 dancers; the "Pit" was packed. It was a great feeling. Peepeekisis First After the second grand entry, the dance competition for Miss Indian World began. I had no idea how the judges were going to choose a winner because there were many different dancing styles. There was the northern and southern straight traditional, fancy dance (my style), jingle and many other types. It really was colourful. The winner of this category was Sunny Rose Yellow Mule from Bernalillo, New Mexico who also won Miss Congeniality. After the very last grand entry, the Miss Indian World Title was awarded. This title went to April Whittemore from Fayetteville, North Caroline. Sunny Rose Yellow Mule took First Runner-Up and Second Runner-Up went to Rose Johnson. Although I did not win any awards, I came home a winner. I had the opportunity to meet 25 wonderful girls and I made numerous friends. To be a participant of Miss Indian World was an exciting opportunity and a once in a lifetime experience. ~ Nation FolloivYourDream Arts Festival August 7 & 8, 1998 AT T REGINA INN . TheGovernment of Saskalchew~m strivesto increaseand retaintherepresentation of qualifiedpersonsfromthedesignated groups - women , personsof r\boriginaJ ancestry , personswilhdisabilities , andmembersof,~siblc minorit)group!> - in lhc PublicSenice. FormoreinformationaboutEmplo)ncnt Equity pleasecontact: Saskatchewan PuhlicSeniceCommission 210.-11thAvenueRegina , SK S P 3 Tel: (306) 8 -., · 2 t ~m," 11---- --'--'-------,ill~ I~ fax: (.)06) 8 - 060 Featuringwork of over 50 artists ""~ ..~ from across North America Orvisitour websiteat http-J/www .gm·.sk.ca/psc/ • Arts & Crafts Trade Fair • Dinner Theatre • Fashion Show • Musical Entertainment & more ... ■ For information (306) 585-8450 Government of Saskatchewan REGINA, SASKATCHEWAN CANADA POWWOW ISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN 15 �BY . R.Mc,c l ••••••••• For the longest time I sat and watched lzim, a respected man wlzose accolades and puddle jumping abilities on the powwow circuit were known and somewhat discussed. A chaos of tiny frenetic people and foot-dragging adults were raising dust all about his tent. Witlz impeccable patience he continued his ritual of preening and apply ing the paint just so. I turned to look at my wife with some annoyance as she missed a strand on my hair. She, with customary patience, continued to humour my spoilt demand. 16 SASKATCHEWAN Ii>~- ·'COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �REGINA 610 Henderson Drive Phone: 721-8131 Fax: 721-2562 SASKATOON 701-45 Street West Phone: 244-7119 Fax: 244-0553 When POWWOWISSUE1998 it's PRE-FAB, "COLLECTIONSOF OUR CULTURE " think NU-FAB SASKATCHEWAN I 8 • 17 �~eeps L:>ru~bea,t Ali'Ve Throughout the span of time music, like traditional stories, has been passed from generation to generation. Singers are born not made, some believe. Young children, not yet able to walk or talk, demonstrate their enchantment with song and with the drum. They sit for hours on end before a cassette deck playing traditional music, teaching themselves those age-old rhythms. It is the power of the drum, the heartbeat of a people, that draws them as young children and sustains them throughout their lives . For more than ten years now, the Red Bull Singers have remained dedicated to ensuring that the drum, the voice of First Nation people, is heard throughout the world. The drum group has performed across Canada and the United States from Seattle to Los Angeles to Oklahoma. And, in 1995, they were part of the Goodwill Games, travelling to Poland, Finland, Sweden and Russia to spread their sound. Edmund Bull is the lead singer, manager and drum keeper for the group. From the Little Pine First Nation, he learned to sing and to drum from his father and uncles, following the tradition in his family. Bull put together a group of family and friends from Little 18 SASKATCHEWAN Ill_.. Pine, Onion Lake, Poundmaker and Red Pheasant First Nations in 1987 to debut at the Saskatchewan Indian Federated College's Annual Powwow. The Red Bull Singers were soon in high demand throughout North America. Officially, their music is classified as northern original style that showcases high-pitched vocals. However, they typically perform a mix of traditional, original contemporary powwow and round dance music. Their songs are traditional, passed from generation to generation, and contemporary, mainly composed by Bull. The Red Bull Singers strive to produce quality music that is innovative. Their efforts and the pride in their culture that they display have won them a wide audience that includes Buffy Sainte-Marie. This famous songstress recorded Edmund Bull's song "Darlin' Don't Cry" on her compact disc Up Where We Belong and the group was featured in the video. As their audience has grown, so has the demand for their participation at powwows and round dances. Red Bull has been the host drum for powwows all over the continent and performs regu"COLLECTIONSOF OUR CULTURE" larly at round dances throughout the winter months. They were recently the only drum group to perform at the first-ever Native American Music Awards at the Fox Theatre in Mashantucket, Connecticut. And, they are one of only two Canadian groups to act as host drum for the Red Nations International Powwow '98 at the end of August in Red Wing, Minnesota. For the second time now, the Red Bull Singers were named best in the world at the prestigious 1997 Schemitzun World Championships in Hartford, Connecticut. They had previously won this title in 1995, the same year that they were nominated for a Juno award. Edmund Bull has called this title an honour and credits the Creator for the success the group has experienced. The Red Bull Singers will be appearing at powwows throughout Saskatchewan this summer and will be competing for top honours at the 1998 Schemitzun World Championships later this year. Red Bull recordings are availab le through Sweet Grass Records at (306) 343-7053. t~ t POWWOWISSUE1998 �THE EDUCATIONAL VALUE OF TRICKSTER TALES \Vi hti koh kanak Cree society had safe-guards against anything that would be harmful to the community . These safe-guards came through in the stories and at powwows through the figure of the Wihtikohkiin. If only the Wihtikofzkiinn{?-the closest to a physical embodiment of the Trickster in Cree society at powwows and recognizable as clowns who merely scare children at today's powwowswould do their jobs without fear of reprisal, then maybe we wouldn't have to put up with so much invented tradition . The Wihtikohkfinnkwere, at one time , functional as critics of unacceptable behavior in societyno one was immune to their comical, yet often scathing, criticism. In today's powwows most of these figures simply dress weird to scare children. One was actually very good because he seemed to understand his function. He had on a jingle dress with the jingles, which are normally made from bells, made of bingo daubers! If we are to revive our cultures then we must encourage these performers to do their jobs well, without fear of reprisal. Furthermore, if we are to revive our cultures through the storytelling traditions then, with most of us not understanding our mother tongues, we must do so in English. We must each take the responsibility ourselves for our children's sake and not dance the blindfold dance to the tune of the selfproclaimed "storyte Iler". We must, or our cultures will surely die . ., POWWOWISSUE1998 Stories of Wfsahkecdhk have played a dominant role in the Cree education process. The oral tales have enabled the Cree, as well as other Nations, to examine the relevance of their cultures to their times . As an educational agent Wfsahkecdhk, an the Tricksters of other Nations ~ served to question the validi cultural and societal codes in a world always in flux. If the codes were pertinent to the survival and progress of a people then they were affirmed through Trickster stories. However, if they were stagnant and thus had a potential for reater harm than good then Tric th promp ada t the1r therefore rep and reinterprete , an ~ anew, to accommodat i world. J A Wfsahkecdhkstory which shows j an example of a new Trickster tale l added to the canon to accommoi date a changing Cree society is t included in Bloomfield's text (29-32}. l I have transliterated the Cree ver1sion into the Standard Roman f Orthography and edited a few awk1ward sentence patterns and J "COLLECTIONS OF OUR CULTURE " spellings of words in the text but have left the gist of the story as it was presented. This story was told by ComingDay, K,Uifsikaw-pihtokew, to Leonard Bloomfield in the summer of 1925. The story, about the influx of traders and missionaries onto the Cree world, goes like this: emisti wa: asinahikan. ama an nita)( Maka kiyimi cet nika-ayan -tipahikeya .' Ekosi omisi itwew; .:111,1 1~u.A16siwa· "w awa: "Nama kikff - -tipahikakan. Kispin iyani, kiyipa nika-ayan ." "Aha,"-Wemistikosiwak- "kikway kinitaw1yihten W1sahkecahk." Wapawiyana n1so, m1na mitas n1so, miskotakay m1na n1so paskisikan ." Ekota mistahi ayawinis otinam . Ekosi ekwa kiwew Wtsahkecahk. Ow1kimakana miyew kahkiyaw. (continued on page23) SASKATCHEWAN i I.A. 19 �C olour, flash, energy and unequalled talent: these are the defining qualities of the performances of the Wanuskewin Dance Troupe. The troupe features 32 of the top powwow dancers Saskatchewan has to offer. It was designed to showcase the exceptional abilities that First Nation powwow dancers have developed through hard work and dedication. The dancers first came together in June 1997 for a one-time performance at the Wanuskewin Heritage Park in Saskatoon. Donnie Spiedel, the group's coordinator, says that the organizers wanted a show that people would remember. To achieve this, they invited recognized world champion powwow dancers from across Saskatchewan to perform at the event. The Red Bull Singers, a drum group from the Little Pine Cree Nation, were also invited to perform . The exhibition proved to be extremely popular with all those in attendance. "The support was overwhelming," says Spiedel. Elders and community leaders who attended the event encour20 SASKATCHEWAN llilil81.Alilil .\ aged the formation of a permanent performance group. Since then, the Wanuskewin Dance Troupe have been formally established. Wanuskewin supports the dancers with the goal of honouring them and showcasing their talents. "The individuals that dance in these shows have been recognized all over as champions," says Spiedel. Saskatchewan First Nations consistently produce powwow dancers who win championships at powwows across North America. The challenge, as some see it, is that in the United States these talented Saskatchewan powwow dancers receive recognition; young people look to them as role models and heroes. But, Spiedel says, "Here at home we have nothing [like that]." The time has come, he believes, to promote Saskatchewan First Nation dancers at home. "We now want in-province recognition for them ." And one of the ways to do this is through performances of the Wanuskewin Dance Troupe. Spiedel describes the show as taking the contemporary and traditional and putting them on stage to produce something unique. "We've incorporated a lot of elements," he says. The show is choreographed and uses modem lighting and music techniques to create interest. The group also incorporates live narration of the \ Wanuskewin Dance Troupe Pho tos by Kevin Voinorosky of Aneline Photographies Saskatchewan Po\V\Vow Dancers Showcased "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Prairie Treat~ Gathering Unfinished Treary Business Saskatoon Inn Saskatoon, Saskatchewan August 5 & 6, 1998 No Registration Fee Pre-Registration is advised A FORUMFOR DISCUSSIONON ISSUESRELEVANTTO TREATYFIRST NATION LEADERSAND DECISION MAKERS Resource Revenue Sharing• 1930 Natural Resource Transfer Agreement • Impact of Delgamuukw Supreme Court Decision • Other Topics Banquet Wednesday, August 5, 1998 Corporate Table: $500 Proceeds to FSIN Treaty Rights Protection Fund For more information: Office of the Chief, Federation of Saskatchewan Indian Nations 200-103 A Packham Ave.• Saskatoon, Saskatchewan S7N 4K4 • Tel: (306) 956-6916 • Fax: (306) 955-0950 Affirming Our TreatyRights & Maintaining Our NaturalResources history and story of each dance style during the performances. Spiedel maintains that the level of excellence the dancers have attained is visibly apparent in each of their exhibitions. The Wanuskewin Dance Troupe has shared their gift of song and dance throughout the province. They were part of the grand opening of the permanent site of the Northern Lights Casino in Prince Albert and were also featured during the RCMPTattoo in Saskatoon, celebrating the I 25th Anniversary of the establishment of the RCMP. They have also appeared at a number of community events says Spiedel, including an afternoon appearance at Nutan a Collegiate in Saskatoon . In an attempt to give back to the community, the dancers arranged to perform a second time that day. Approximately 350 people turned POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE" out to watch the evening show and were treated to a guest performance by Keith Secola. These performances, says Spiedel , demonstrate the commitment of the 32 world champion powwow dancers in the Wanuskewin Dance Troupe to bring awareness of First Nation song and dance to Aboriginal and non-Aboriginal comm unities . These dancers are attempting to revitalize and honour the beauty and values of First Nation culture. ~ ~ SASKATCHEWAN ifmEli..U,I 21 �It happened in the darkness of the primeval world that there existed a being , it is said, who may have been a man. With him was one who was his wife. They had two sons , one being half--grown and the other a small, toddling boy . They lived in a wigwam, not of hides, but made of many willow wands plas-tered over with mud to make it warm. Once in a while in later times such lodges were built for winter use ; but the impos-sibility of their being removed from place to place brought them to such discredit among this nomadic people that they were in time entirely replaced by those of skins . This family lived happily for a time. Every morning the father went out into the woods and seldom came ome without bringing with him the choicest pieces of venison. He was happy in his work and in the companionship of his wife and chil-dren. A time came, however, when he noticed that she had changed somehow. Instead of the happy, contented look he used to see on her face, there was now an air of restless preoccupation. A strange light was in her eyes. Every now and again she would get up and go for wood in a nearby bush. This she did repeatedly , even when it seemed altogether unnec-essary . The man said nothing, but made up his mind to do some investigation in order to he lp her, if it were poss ible . One day , some time after this, being in the bush , he saw her coming. Something in her eager gait so roused his curiosity that he hid himself behind some willows. She approached a dead tree, at the foot of which there was a large hole . She tapped! A great number of snakes came crawling out. She sat on a log that had blown down ; and they crawled alJ around her, while she fondled them . He was horrified! In him was born all that human abhorrence of the snake. Not 22 SASKATCHEWAN Iii.A stopping to make his presence known, he went back to the tent and called his two sons . "I am going out to hunt," said he . "Tell your mother so when she returns ." He walked a long time and passed many wild animals before he killed a moose. Without even stopping to take out the insides, he went home. Arriving there , he sighed as if in great weariness and told his wife that he had killed a moose . He explained to her where the carcass lay and asked her to go for some of the meat , as he him-self was not feeling well. She showed marked reluctance at having to go; but she could not very well disobey him . "Let me run for some wood first," she cried . "No," replied the man in a firm voice, "Go at once!" Mumbling to herself, she started off. The man, look-ing at the fire, saw a piece of sinew contracting with the heat. He knew that she had dropped it there while he was not looking and that it was an act of magic per-formed by her, in order to make shorter the distance she had to go. He scooped it out of the fire with a piece of stick and, wetting it, stretGhed it to its utmost length , thereby counteracting the effect of her act. Having done this, he armed himself with a hunting knife and walked to where he had seen the snakes . He tapped and as before the snakes began to crawl out one after the other. As fast as they came out, he cut off their heads. He spared only one - and that a very little one . "When the Earth is peopled by men," said he, "you will not have the power to interfere with those who are to be lords of it. You will be small and eas ily conquered. " Having made this pronouncement on the reptiles of the West, he hurried back to the tent and began to make preparations for his wife's return . He took four things and, calling his older son to him, he Said, "You are to take your little brother on your back and flee for your lives. Here are things which will be use-ful when danger approaches: this Awl means a hedge of thorns ; this Flint gives fire; this Piece of Rock can form a mountain; and this Beaver Tooth, a great river of water . Farewell, my own sons! Farewell! May your lot be such that good may come to the Earth through this evil that is fallen upon us. n days to come should you want to see me, look up to the northern skies ; for J shall be up there . People will call me Oochaykatak(The Great Dipper) ." The boy took up his brother and fled to the West. "COLLECTIONSOF OUR CULTURE " (continuedon page 24) POWWOWISSUE1998 �The Educational Valueof TricksterTales(continuedfrompage 19) Omisi itik owi'kimakana: "Macikiseyiniw! Tanita taki-ohtinaman ta-tipahikakeyan!" Ekosi itwew: "Notokesiw, peyakwaw nina-nitawapamaw wemistikosiw." Ekosi ekwa sipwehtew. E-pihtokwet, wemistikosiw awa omisi itwew: ah, Wisahkecahk, kipe-tipahikan?" "Namoya," itwew Wisahkecahk, "Miyin pihcipowin." "Tanisi kititoten." "Eh, mahihkanak nikanipahawak." Ekwa miyik maskihkiya, pih-cipowin. Ekwa kiwew Wisahkecahk. E-pihtoket wikiwahk, "Notokesiw, miyin pimiy." Miyik pimiy. Ekwa ekota pihcipowin astaw pimihk; ekwa apisasin oyakanis, sikinam ekota pimiy . Mihcet ekota osihtaw apisasiki pimisa, ahkwatinwa. Ekwa kahkiyaw otinam; ekwa sipwehtew e-natonawat mahihkana. Ketahtawew wapamew peyak mahihkana. "Ah, nisim, astam!" itew ohi mahihkana. "A,namoya!" itwew mahihkan, "A,kiwi-nipahin osam!" "Namoya, nisim. E--wi-masinahikehitan." "Tanisi e-wi-isi-masinahikehiyan." "E-wi-atoskehitan ka--papa-nitomacik mahihkanak mina mahkesisak, kahkiyaw ka-miyosicik mahkesisak. Ota nika-apin ispat-inahk, e-wi-kakeskimitakok, e--miywasik acimowin ka--wihtamatakok. Ekwa tapwe awa mahihkan sipwehtew, e--nitomat mahihkana mina mahkesisa. Tapwe pe-ito-htewak mihcet mahihkanak. Mitani misiwe wasakam apiyiwa, e-winitohtakot, tapiskoc ayamihewiyiniw Wisahkecahk. Omisi itwew: "Nisimitik, ayamihawin ka-nitohtamek ta-otinamek; ekosi ekwa namoya awiyak kanipahikowawak, ayamihayeko. Maka eka tapwehtameko, ka-nipahikowawak. Eh, 6hi wapahtamok, eh 6hi !" Mahihkanak, mahkes1sak ewapahtahkik 6hi pimiya, "Haw, 6ma, awiyak 6ma mkici ka-wi-saskamohak, kinwesk kapimatisiw," ekosi itwew Wisahkecahk. Ekwa kahkiyaw, "Niya, niya!" itwewak mahihkanak, e-miyweyihtahkik kinwesk ka-pimatisicik. "Ekwa 6ma," ekwa miyew pimiy. Mkiwawa mahihkan, ekosi ekwa sipwehtew. Pah-peyak esaskamohat wasakam, mina mahkesisa, kahkiyaw mestinam 6ma pimiy. "Ekosi kinwesk ka-pimatisinawaw, nis1mitik, 6ma ka-otinamek ayamihawin." Tapiskoc ayamihewiyiniw Wisahkecahk, e--miyat mahihkana ayamihawin. Ketahtawew e-apit mekwac Wtsahkecahk, kahkiyaw enipiyit. "Maci-kakepatisak 6ki! Niki-ohci--ta-tipahikakewan !" itew esa 6hi mahihkana W1sahkecahk. Ekwa wiyinihew, e-kiwehtahat, ekwa mahkes1sa mina kahkiyaw. Mahihkana ayamihawin ka-kiskinohamawat kahkiyaw nipahew. Ekosi kahkiyaw tipaham omasinahikewina, e-wayesimat mahihkana. Ekosi ekwayikohk. Wfsahkecahkwas very poor; he had not even clothing in his house, where he dwelt with his family. Then at one time arrived some Frenchmen who were going about buying furs, wolf-pelts and buffalorobes. But Wfsahkecahkhad no furs to sell. The other people had many; they bought many clothes, but Wfsahkecahkhad none at all. Then he spoke to the Frenchmen as follows: "Won't you let me have credit? I haven't any furs. But in a short time I shall have a good many with which to pay my debt." Thus Wfsahkecahkspoke to the Frenchman: "You will not need to pay anything. If you give me credit, in a short time I shall have them." "Very well,"-- the Frenchmen--"What do you want, Wfsahkecahk?" "TWoblankets, two pairs of breeches and two coats and a gun." Then he took a great deal of clothing. Then Wfsahkecahkwent home. He gave all of it to his wife. This is what his wife said to him: "Crazy old man, where can you get anything with which to pay?" He answered, "Old woman, once more I shall go see the Frenchmen." So he set out. (continuedon page 27) POWWOWISSUE1998 "COLLECTIONSOF OUR CULTURE" SASKATCHEWAN .& 23 �CONTINUEDFROM PAGE 22 Some little time intervened before the mother arrived , panting and covered with perspiration . Her path had been long and she had run most of the way. Without a word she dropped her load and hurried t~ the bush . A great suspicion had come over her. Sure enou~h , there Jay her pets in a heap, dead . Only one little snake came out to tell her what had taken place. An insane fury came over her, and she ran to wreak vengeance upon her husband for the death of the reptiles. In the meantime, the man had been making preparations ; he had pu ed a net over the door and he t e in hand , ready for his Sh roached furiously, b as arrested by net; only m n y tthern skies at nigh t1 the Great Dipper; to one si Little Dipper, which is the b his former wife, always chasin but afraid to go too near the a of the North Star, who loves her hus~ band and therefore is ready to pro-tect him. THE FLIGHTOF WISAHKECAHK With wonderful speed the head of th~ mother rolled after the two boys. This was now Chichipischekwanthe Rolling Head . From afar the 'boys could hear her say, "Where - where can you flee? I am going to kill you!" isahkecahk , for th at we must now ~all th e boy , ran faster , holdi ng his litt le brot her. Ever nearer came the voice of his mother. Somethin g must be done . He remembered the advice of his father and, putting his brother down on the ground, he threw the Awl behind him, saying at the same time , "Let it be as my father said .'' Immediately there came to be a seemingly impenetra ble hedge of thorn s between them and their pur suer . Once more he took up his brother and fled . Rolling Head could not find an gening anywhere . She went up and down, but the hedge , extended from sea to sea ; there was no alterna tive but to force her way through somehow ; and this she proceeded to do . Here and there she rolled, screaming with pain and fright as the thorn s pricked her. How long she took to make her way through is not told, but in time she was free on the other side, bleeding all over but more furious than she had been before . It is said that this hedge of thorns disappeared as time went on ut that remains of it ar~ ·11to be seen in the cacant in the th --'----' ~-...;:i;.....:.:..-_;...!;:-~.:....!.. ~ -~~;._..:__.....:.:_~ re in t e flee to? aid dow and, throwing the pie behind him, said, "Let e e be a mountain from one end of the earth to the other." Immediately, Rocky Mountains sprang up and once again Rolling Head found herself thwarted. Back and ~orth she rolled, looking for an openmg through which she could go; but she found non Imbued with unnatural power thou she was, a time came when she exhausted. She lay down besi wall of rock and slept. A st sound awoke he r. It see mingly from the heart of the sound grew l she saw a ho ster worm through th as the G Banff an Here the wor crushin hole. whi let her scratche �fronted by a great flow of water that 'he realized his fatal mistake. The river w Head be ina. He and his Jittle brother were now at the mercy of their mother, facul ·es cleared; and he ran along the sid~ of the river, seeking some wa-y,of e Wh en abou:t to despa ir, he saw two old .patriarchs . They were great Bitterns, o on e1the bank of the river, exactly opposite to each other . These birds are quit were Msters in size . He ran to them and implored them to pdt him and his refused to do . They were not bad at heart , however , for in time they took pity on their necks side by side , and on this hastily improvised bridge, the fugitives er ln a moment or two Rolling Head came up. "Put me across!" she commande Head was a creature well vers made many flattering remarks were pleased, she kept on W1sahkecahk implored them n birds once more placed their Head pro ceeded to cross. Her naturally wicked nature weather had given rheumatism painful. Rolling Head, when s began to jump up and down a THE BEST OF BOTH CITIES Travelodge FreeIn RoomCoffee• FreeLocalCalls ModernRooms& Suites LicensedRestaurant,Lounge,Bar SASKATOON REGINA Meeting/Banquet Rooms l 06Circle Dr.W. 4177Albert St.S. IndoorPool& Waterslide Saskatoon, Sask. S7L4L6 Regina, Sask. S4S3R6 TravelodgeMilesGuestRewardProgram Ph:(306)242-8881 Ph:(306)586-3443 Fax:(306)665-7378 Fax:(306)586-9311 Toll Free: 1-800-578-7878 - ---- - -- .,,. - - - ® < - as her own undoing. Recent wet o the birds and their necks were e saw Wfsahkecahk on the bank, she crossed. The incensed birds pulled up their necks; and she tumbl ed into th e river. The boy, Wfsahkecafrk, acting on the insti ct which was later to bring him into such prominence in the a airs of the young world, took a stone and, throwing it into the ter wher e his mother's head had disappeared, yelled out the w rd, "Namao! Namao!" !Sturgeon!. The Head whisked its tail and s am away, a fish. Thus th e mother who, beca e of her evil ways, had lost the highe st that mortal can attain, as de stine d forever to play th e humbler role. But even against er evil will she made he rself use ful to man by becoming th e fish now found in our rivers, called by the Cree Indian s, Painting by Tyler Bain , Nutana Collegiate Hotel in front of them and the Rolling d he knew what that meant . His pe. The river seem uncrossable. men in appearance, sitting, one arge now; but in those days they rother across the river. This they he plight of these boys. They put sed safely to the other side . . The birds refused. Now Rolling in the wisdom of her kind . She o the Bitterns . Seeing that they ill they offered to help her. t to do so, but to no avail. The eeks side by side and Rolling ~ ... ,.,..~- - ...... namao. from The Journal of Ame rican Folklore 1929, volume 42, 309313. SASKATCHEWAN 9 25 �TRADITIONKEYTO SIFCPOWWOW'S SUCCESS Pratt says. "I think all that has been very good to me." He believes that this opportunity for cultural expression is a large factor in the success of the powwow as it continues to draw people back, organizers and participants alike. "Cultural freedom is very healthy and very positive for the individuals and social groups," he says. Originally designed as a stressreliever for students before the on-set of exams, the powwow has grown to a true community event. Culture and tradition are two of the driving forces behind the success of the Saskatchewan Indian Federated College's (SIFC) Annual Powwow. For the 20th year in a row now, SIFC has hosted a powwow in Regina for students, faculty and anyone else who wants to participate. Charles Pratt has been the Chair of the Powwow Committee for five years . He attributes the success of the powwow to a variety of contributing factors. The first is the dedication of the staff and students of the SIFC and the volunteers. Year after year, the same hard-working individuals contribute to the event. "I think it's still a positive experience for them," he says. This comes, in part, from the cultural aspects associated with the powwow. On a personal level, "I learn a lot about my culture," 26 SASKATCHEWAN tit A.'1 ..-~ "It puts back into the community, " says Pratt . This year, 34 drum groups and close to 700 dancers registered for the two-day event. But Marlene Lerat, another powwow committee member, believes that more than 800 dancers actually participated . Of the registered dancers, more than half were under the age of 16 including 167 tiny tots. This number, indicative of the predicted Aboriginal population boom, speaks positively to Pratt. "Personally, I think it is good for them," he says . "There 's an attitude at the powwow that they are coming to that draws them into the circle." He is confident that they are learning something and taking knowledge about their culture home with them. More than 6,000 spectators are estimated to have attended this year's event. While these numbers are not up significantly from last year, Pratt is not concerned . It is not growth that is the priority, he says, but stability. The people who attend the powwow are genuinely interested in partic~ :t?1 ipating, something which makes all the difference. "The thing about this powwow," he says with pride, "is tradition, the sameness with the past." ~ AJJpho tos by Shannon Avison "COLLECTIONSOF OUR CULTURE" POWWOWISSUE1998 �(continuedfrom page 23) When he entered, the Frenchmen said, "Well, Wfsahkecahk,have you come to pay? " "No," said Wfsahkecahk , "Give me some poison ." "What do you want that for?" "Oh, I am going to kill some wolves ." So the other gave him some med icine , po ison . Then Wisahkecahk went home . When he came into the tent, "Old woman, give me some fat." She gave him fat. Then he put the poison into the fat; and into a small dish he poured the fat. He shaped a great many little lumps of fat and cooled them until they were hard. He took them all, and went out to look for wolves . Presently he saw a wolf. "Hey, brother, come here!"~~to that wolf. "Oh dear, no!" said the wolf; "Why, you want to kill me!" "No, little brother. I want to employ you ." "How do you want to employ me?" "I want to give you the work of going round and summoning the wolves and foxes, all the good~look~ ing foxes . I shall be sitting here on this knoll, ready to preach to you , to tell you good tiding. " So that wolf went off to call the wolves and foxes. Indeed, many wolves came . In great numbers they sat round in a circle, to listen to Wfsahkecahk , exactly as if he were a miss ionary . This is what he said: "My brother , the tidings which you hear you should accept, and then no one will ever kill you, if you take on religion . But if you do not believe, someone will kill you . Look upon these things , these here! " As the wolves and foxes looked at those pieces of fat, "Now then, if anyone eats this which I shall place between his teeth , long will he live," spoke Wfsahkecahk . Then all the wolves cried, "I, I!" glad that they were to live long . "Here you are!" and he gave them the fat. A wolf would eat it; then he would go. He placed it in their mouths one by one, round the circle, the foxes too, using up all the fat. "So now long shall you live, brothers, now you have accepted this faith." Just like a priest was Wfsahkecahk, as he gave religious instruction to the wolves . Presently, as Wfsahkecahk sat there, all the wolves leaped up in the air and fell down, poisoned, and they all died. "These stupid fools! I surely did need something to pay my debts with!" Wfsahkecahk must have said to those wolves . Then he skinned them and took their skins home , and all the foxes' too . Having taught the wolves reli~ gion, he killed them all. In this way he paid all his debts, by deceiving the wolves with talk. That is all. SaskTel. InPartnership UJilh flboriginal Communit SaskTel and its Aboriginal Customer Services team are proud to work with Aboriginal communitie s across the province , improving access to communication services, building alliances, and encouraging students to remain in school. Communicationis the answer, and SaskTelis proudto share in the solution. reprintedwithpermissionfromSacred Storie s of t he Sweet Grass Cree by LeonardBloomfie ld. Copyright 1993. Fifth House Publishers, Calgary,Canada. SaskTel WWW �JerryWhitehead Over the years , Jerry Whitehead 's artwork has gone through a number of stages . The one thing that has remained con stant throughout this progression is his focus on powwows and powwow dancers . "Powwow dancers have been an ongoing theme in my work since I began painting . Seeing the dancers as a child had a lasting impression. The subject matter has been ideal for expressing a part of my culture as well as accommodating changes in my work," says the artist from the James Smith First Nation. As a child in Saskatchewan, Whitehead says he was interested in art like any of his friends. He says, "I used to draw as a kid. I used to draw all the time ." Unlike the average kid, he used almost any source he could find for his drawings including the ashes that remained from fires and the lead in the bullets his father used as a hunter. In his early teen years, Whitehead moved on from drawings done with pencils and lead to paintings. He believes that his interest in art comes from his family . Whitehead remembers his grandmother working with hides and says that his mother did beadwork and braided rugs . 28 SASKATCHEWAN illldHHAliil His family suppo rted his talents and allowed h im to develop them . "I was lucky to be encouraged along the way," he says . In addition to familial encour agement and an abundance of natural talent, Whitehead has sought out technical training . He obtained a Bachelor of Arts in Indian Art from the Saskatchewan Indian Federated College and a Bachelor of Fine Arts from the Nova Scotia College of Art and Design in Halifax. Upon completing his formal training, Whitehead began showing his work in exhibitions across the country. In the eleven years since, he has had numerous shows in Saskatchewan, Ontario, Nova Scotia and British Columbia. His work has been commissioned by University Hospital in Saskatoon and the Summer Pops Symphony at Cable Wharf in Halifax to name but two. Whitehead says that his style has changed over the years . "I went through a lot of different stages," he says. In the beginning, Whitehead did beadwork and attached the work to his paintings . He also says that, for awhile, he used to wrinkle his canvas to give his paintings a dimensional appearance . But, as in ·his current work, powwow dancers and powwows remained an integral theme . He currently produces abstrac t paintings that demonstrate his fondness of vivid colours. This , he believes , was learned from his mother and her bright ly coloured , braided rugs . He says that this current style "just developed " over time . "My work is a little tame r now ," he says . "It's mo re refined ." He attributes part of th is change to developmen t ove r time say ing he took more risks when he first graduated from school. The other part of the change can be attributed to the fact that he is now a family man . As such, Whitehead says that he is incorporating family themes into his work on a more frequent basis . Whitehead is quick to shrug off labels for his work. He says that many people try to define his style but he refuses to limit himself in this way. He is always looking for new ways to adapt and change. "Lately I've been putting letters, words, sayings in my paint ings, " he says . "'Let's Dance' lthe painting featured on the cover] is about Mom in the middle , Dad and little girls; the small family ready to dance all day all night among the others. 'Let's Dance' is written in the painting." Jerry Whitehead currently resides in Vancouver, British Columbia but his work can be seen throughout western Canada . He has displays in Saskatchewan at Artworks in Saskatoon and at the Wanuskewin Heritage Park. For more information on Jerry Whitehead or his artwork call (604)251-4399 . "COLLECTIONSOF OUR CULTURE" POWWOW ISSUE1998 �Saskatchewan and Aboriginal Peoplesin the 21st Century: Social, Economic and PoHticalChangesand Challenges .,. Vrtal Information for Planners & Strategic Thinkers ~·~···.• ............\ .• ..·.:·•·····, · This timely study can assist you in developing business and operational plans that recognize the Aboriginal potential. It is clear, it is concise and it is available now. For anyone involved in charting the future of a private, public or volunteer sector organization, this comprehensive and revealing book will provide the data to forecast how individual organizations can benefit from partnership with the Aboriginal community . An es sential R esoJ 'rce ·. 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Raising the stakes on excitement. ~ PAINTED HAND CASINO Yorkton ;//f/l GOLD EAGLE CASINO casino North Battleford BEAR CLAW CASINO White Bear First Nation fii';"7 NORTHERN LIGHTS CASINO Prince Albert � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian Magazine Subject The topic of the resource First Nations--Saskatchewan--Periodicals Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1970/2011 Rights Information about rights held in and over the resource In Copyright Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1970/2011 Description An account of the resource The <em>Saskatchewan Indian</em> was the official publication of the Federation of Saskatchewan Indian Nations and served as an effective communication vehicle for the First Nations in the province of Saskatchewan between 1970-2011. It provided coverage of people, issues and events both entertaining and informative throughout First Nation communities. The magazine was distributed to all First Nation communities in Saskatchewan and to all First Nation groups, organizations and institutions throughout the duration of its publication. Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre<br />#305 - 2555 Grasswood Road East<br />Saskatoon, Saskatchewan S7T-0K1<br /><br />Phone: (306) 244-1146<br />Email: library.services@sicc.sk.ca<br />Website: <a href="https://www.sicc.sk.ca/" target="_blank" title="Saskatchewan Indigenous Cultural Centre" rel="noreferrer noopener">https://www.sicc.sk.ca/</a> Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Magazine Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Saskatchewan Indian, vol. 28, no. 3 (Powwow Issue 1998) Subject The topic of the resource First Nations--Saskatchewan--Periodicals Description An account of the resource Contents: Miss Indian World: A Once In A Lifetime Experience I had the opportunity to meet 25 wonderful girls and I made numerous friends. To be a participant of Miss Indian World was an exciting opportunity and a once in a lifetime experience. By: Anita Large Powwow issue 1998 Storytelling Is An Art Form By: Saskatchewan Indian Powwow Issue 1998 Another Good Powwow By: G.R. Mccallum Powwow Issue 1998 Red Bull Keeps Drumbeat Alive For more than ten years now, the Red Bull Singers have remained dedicated to ensuring that the drum, the voice of First Nation people, is heard throughout the world. The drum group has performed across Canada and the United States from Seattle to Los Angeles to Oklahoma. And, in 1995, they were part of the Goodwill Games, travelling to Poland, Finland, Sweden and Russia to spread their sound. By: Saskatchewan Indian Powwow Issue 1998 Saskatchewan Powwow Dancers Showcased By: Saskatchewan Indian Powwow Issue 1998 Let’s Dance: Jerry Whitehead By: Saskatchewan Indian Powwow Issue 1998 Creator An entity primarily responsible for making the resource Federation of Saskatchewan Indian Nations Publisher An entity responsible for making the resource available Federation of Saskatchewan Indian Nations Date A point or period of time associated with an event in the lifecycle of the resource 1998 Contributor An entity responsible for making contributions to the resource Federation of Saskatchewan Indian Nations Large, Anita McCallum, G. R. Rights Information about rights held in and over the resource In Copyright Language A language of the resource English Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1998 Powwows Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: George Brass, Kamsack, Charley Buffalo Calf, John Quinney, Agnes Desjarlais, John Fisher, Lawrence Tobacco, John Rockthunder, Walter Poorman. Time Summary A summary of an interview given for different time stamps throughout the interview (00:00-00:05) Elder teachings, like Oral Tradition, songs customs are carried down from generation to generation, (00:05-00:10) Elder prayer, Indian medicine and the Traditional way of payment, (00:10-00:20) Spirituality, Traditions and Customs are all handed down orally, from generation to generation, stand together and pass the knowledge on, keep our Indian ways, our Nations together, (00:20-00:55) Story: Medicine healing, on a whiteman, (00:55-01:05). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 2/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-25/1974-03-26 Contributor An entity responsible for making contributions to the resource Brass, George Buffalo Calf, Charley Quinney, John Desjarlais, Agnes Fisher, John Tobacco, Lawrence Rockthunder, John Poorman, Walter Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00306 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Kamsack (Sask.) Cree Saulteaux Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: Edward Fox, Sweet Grass, John Moosomin, Mosquito, Joe Machiskinic, Poorman's, George Brass, Kamsack. Time Summary A summary of an interview given for different time stamps throughout the interview Story: Horse- raiding party, "Ohoo" Indian warrior, captured by the Sioux, told by "Makesis" (00:00-00:37) Story: Woman killed by husband through jealously, marriage teachings, (00:37-00:50) Story: "Siskowton" a deformed young man, (00:50-01:09) story con't (00:00-00:09) (Saulteaux) )(00:09-00:25). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 1/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-25 Contributor An entity responsible for making contributions to the resource Fox, Edward Moosomin, John Machiskinic, Joe Brass, George Format The file format, physical medium, or dimensions of the resource audio/mpeg Language A language of the resource Cree Saulteaux Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00305 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sweetgrass First Nation Mosquito, Grizzly Bear's Head, Lean Man First Nations Kawacatoose First Nation Kamsack (Sask.) Cree Kawacatoose First Nation Mosquito-Grizzly Bear's Head-Lean Man First Nations Saulteaux Storytelling Sweetgrass First Nation Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Indian Legends 1972-1973 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1972-1973. Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00285 Description An account of the resource Contains: The Cry of the Wolf, Where Did We Come From? Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Time Summary A summary of an interview given for different time stamps throughout the interview Stories and storytelling, of long ago, oral Tradition, F.S.I.N. (00:00-00:12) Story: Alcoholic's dream, (00:12-00:20) Learning the parent's Traditional teachings, (00:20-00:30) Elders's Traditional teachings, (00:30-00:46) Elder prayer, (00:46-00:52) Native unity to make us stronger, (00:52-01:01) Native Education starts at home, (01:01-01:05). Elder prayer, (00:00-00:07) Unity and support, among the Native people, (00:07-00:1#). Interviewee The person(s) being interviewed Voices of: Jim Cannipotato, Tom Sapp, Mr. Alex Stick, Mrs. Alex Stick, Mrs. Nancy Waskewitch, Mr, Peter Waskewitch, Mrs, Waskewitch, Mr. John Applegarth, Mr. Peter Vandall, Bob Hall, Joe Kennedy, Mrs. Angeline Waskewitch, Mr. Alex Bonaise, Ernest Tootoosis Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Married Couples Workshop 89-3-#9 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1971-03-03 Contributor An entity responsible for making contributions to the resource Kâ-Nîpitêhtêw, Jim Sapp, Tom Stick, Alex Stick, Mrs. Alex Waskewitch, Nancy Waskewitch, Peter Waskewitch, Mrs. Applegarth, John Vandall, Peter Hall, Bob Kennedy, Joe Waskewitch, Angeline Bonaise, Alex Tootoosis, Ernest Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00316 Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: John Quinney, Frog Lake, Andrew Keewatin, Cote, James Crowe, Kamsack, George Brass, Kamsack, Parktown motor inn, Saskatoon Time Summary A summary of an interview given for different time stamps throughout the interview Story: Pills for a sick horse, grandmother's horse, (00:00-00:02) (Saulteaux) (00:02-00:17). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 6/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-28 Contributor An entity responsible for making contributions to the resource Quinney, John Keewatin, Andrew Crowe, James Brass, George Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00310 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Frog Lake First Nation Cote First Nation Kamsack (Sask.) Format The file format, physical medium, or dimensions of the resource audio/mpeg Cote First Nation Cree Saulteaux Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: Edward Fox, Sweet Grass, John Moosomin, Mosquito, Mr. and Mrs. George Mantee, Piapot, John Quinney, Frog Lake, Charly Buffalo Calf, Maple Creek, Theresa Hunter, Lestock, Mrs. Alex Kennedy, Little Pine, Mrs. Dorothy Pelletier, Yorkton, Mre. Agnes Desjarlais, Meadow Lake, Mrs. John Albert, Lestock, Thomas Asham, Pasqwa, John Rock Thunder, White Bear, Eli Bear, Little Pine, George Mantee. Time Summary A summary of an interview given for different time stamps throughout the interview Story: "Kacaneses" unfaithful wife, (00:00-00:22) Story: Jealously, newly weds, (00:22-00:32) Story: Strong man, (00:32-00:36) Story: In-laws, (00:36-00:38) Story: Jealous man, (00:38-00:41) (Saulteaux) (00:41-00:45) Story: 3 short stories, (00:45-00:49) Story: House-cleaning woman, (00:49-00:53) Story: Duck tale, (00:00-00:05) Story: Indian agent, (00:05-00:09) Story: Bull fight, (00:09-00:20) Story: Elder's life story, (00:20-00:33) Story: Duck tale, (00:33-35) Story: Frog story, (00:35-00:37 ) Lying wife, (00:37-00:38). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 5/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-28 Contributor An entity responsible for making contributions to the resource Fox, Edward Moosomin, John Mantee, George Mantee, Mrs. George Quinney, John Buffalo Calf, Charly Hunter, Theresa Kennedy, Mrs. Alex Pelletier, Dorothy Desjarlais, Agnes Albert, Mrs. John Asham, Thomas Rock Thunder, John Bear, Eli Mantee, George Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00309 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Sweet Grass First Nation Mosquito, Grizzly Bear's Head, Lean Man First Nations Piapot First Nation Frog Lake First Nation Maple Creek (Sask.) Lestock (Sask.) Little Pine First Nation Yorkton (Sask.) Meadow Lake (Sask.) Pasqua First Nation White Bear First Nations Language A language of the resource Saulteaux Cree Little Pine First Nation Mosquito-Grizzly Bear's Head-Lean Man First Nations Pasqua First Nation Piapot First Nation Saulteaux Storytelling Sweetgrass First Nation White Bear First Nations Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: Charley Buffalo Calf, Maple Creek, Jim Canipotato, Onion Lake, George Brass, Kamsack, John Rockthunder, Piapot, Lawrence Tobacco, Poorman's, John Quinney, Frog Lake, Andrew Keewatin, Kamsack, Jim Crowe, Kamsack, John Fisher, Fort Qu' Appelle, Joe Machiskinic, Poorman's Time Summary A summary of an interview given for different time stamps throughout the interview Story: "Kakiyaskisk" hungry times, (00:00-00:13) Story: War story, (00:13-00:26) War story, (00:26-00:40) (Saulteaux) (00:40-00: Saulteaux story con't (00:00-00:15) Story: Children charged with break and enter, (00:15-00:25) Story: "Kanitawkikot" scouting party, (00:25-00:35). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 4/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-28 Contributor An entity responsible for making contributions to the resource Buffalo Calf, Charley Kâ-Nîpitêhtêw, Jim Brass, George Rockthunder, John Tobacco, Lawrence Quinney, John Keewatin, Andrew Crowe, Jim Fisher, John Machiskinic, Joe Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00308 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Maple Creek (Sask.) Onion Lake Cree Nation Kamsack (Sask.) Fort Qu' Appelle (Sask.) Kawacatoose First Nation Cree Kawacatoose First Nation Onion Lake Cree Nation Saulteaux Storytelling Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Oral History Description An account of the resource Saskatchewan First Nation's oral history Creator An entity primarily responsible for making the resource Saskatchewan Indigenous Cultural Centre Source A related resource from which the described resource is derived Saskatchewan Indigenous Cultural Centre #305 - 2555 Grasswood Road East Saskatoon, Saskatchewan S7T-0K1 Phone: (306) 244-1146 Email: library.services@sicc.sk.ca Website: https://www.sicc.sk.ca/ Publisher An entity responsible for making the resource available Saskatchewan Indigenous Cultural Centre Date A point or period of time associated with an event in the lifecycle of the resource 1972/2007 Rights Information about rights held in and over the resource In Copyright Type The nature or genre of the resource Oral History Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Saskatchewan 1972/2007 Language A language of the resource English Plains Cree Swampy Cree Woodland Cree Saulteaux Dene Dakota Nakota Lakota Format The file format, physical medium, or dimensions of the resource audio/mpeg Contributor An entity responsible for making contributions to the resource Saskatchewan Indigenous Cultural Centre Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Interviewee The person(s) being interviewed Voices of: Walter Poorman, Poorman's, Harry Desjarlais, Meadow Lake, John Lone Thunder, White Bear, George Mantee, Regina, Edward Fox, Sweetgrass, John Moosomin, Mosquito, Joe Machiskinic, Poorman's. Time Summary A summary of an interview given for different time stamps throughout the interview Story con't (00:00-00:06) Story: "Atim-ka-mihkosit" Sundance, (00:06-00:11) Story: "Piapot" scouting party, hide in a cave to survive an attack, (00:11-00:23) Story: "Wasko-keseyen" scouting party (00:23-00:50) story con't (00:00-00:13) Story: Hunting party, (00:13-00:25). Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legends & Storytelling Cree & Saulteaux part 3/6 [Audio] Date A point or period of time associated with an event in the lifecycle of the resource 1974-03-26 Contributor An entity responsible for making contributions to the resource Poorman, Walter Desjarlais, Harry Lone Thunder, John Mantee, George Fox, Edward Moosomin, John Machiskinic, Joe Format The file format, physical medium, or dimensions of the resource audio/mpeg Type The nature or genre of the resource Oral History Identifier An unambiguous reference to the resource within a given context 00307 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Kawacatoose First Nation Meadow Lake (Sask.) Regina (Sask.) Sweet Grass First Nation Mosquito, Grizzly Bear's Head, Lean Man First Nations Cree Kawacatoose First Nation Mosquito-Grizzly Bear's Head-Lean Man First Nations Saulteaux Storytelling Sweetgrass First Nation