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'
HUUMG
�MAKING
VISUAL
COMMUNICATION
SIMPLE
Since 1986, Dark Horse Studio has pushed the boundaries of traditional
communications.
We offer
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Ph: 1-306-652-5086• Fax: 1-306-652-7666
112-112 ResearchDrive • Saskatoon,SK• Canada• S7N3R3
www.dhscommunications.com
dollars.
�FAIi2002
Volume32 #3
2 IndianOutlook
Saskatchewan's First Nations Calendar of Events
..
,
Saskatchewan Indian is the official publication
of the Federation of Saskatchewan Indian
Nations and is intended to serve as an
effective communication vehicle for the
First Nations in the province of
Saskatchewan.
The tradition of the Saskatchewan Indian
magazine is to provide coverage of people,
issues and events both entertaining and
informative throughout First Nations
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 are unable to cover
them all. Therefore, we invite stories,
photographs, artwork and letters from our
readers.
Saskatchewan Indian provides an opportunity
for advertisers to reach the First Nation
consumer. The magazine is distributed to all
First Nation communities in Saskatchewan
and to all First Nation groups, organizations
and institutions. For more information contact:
Saskatchewan Indian
Federation of Saskatchewan Indian Nations
Suite #200 - 103A Packham Ave
Saskatoon, SK S7N 4K4
Telephone: (306) 665-1215
Fax: (306) 665-0115
The views and opinions expressed by
contributors to Saskatchewan Indian are
their own and do not necessary reflect the
opinions of Saskatchewan Indian or the
Federation of Saskatchewan Indian Nations.
3 Letterfromthe Editor
5 15thannualTreaty4 FourGathering
Getting bigger and better every year.
6 RayMcCallum
painter, dancer, songwriter
11 SavingMistaseni
Remembering
a Cree sacred site.
14 Livingthe Music
Saskatchewan recording companies make their mark.
2002
Saskatchewan
FirstNations
• Cultural
Celebration
andPowwow
Program
17 JournalismTraining
The INCA Summer Institute 2002
19 Dreamsof Gold
A scholarship
begins a new journey
for Shaylynn Pewapisconias.
Saskatchewan Indian is published by the Federation of Saskatchewan Indian Nations.
Darcy McKenzie, Editor, FSIN (306) 956-6922
JocelyneWasacase, Managing Editor , FSIN (306) 956-1012, email: wasaj @fsin.com
For advertising information: Jocelyne Wasacase (306) 956-1012 or OHS Publishing (306) 652-5086
Layout and Design : Pamela Whitecalf
Contributors: Jocelyne Wasacase, Bev Fast, Keith Davidson, Christina Weese, Kerry Benjoe
Printed in Saskatchewan by Four Directions Printing Inc. (306) 721-1874
Produce by OHS Publishing Inc. (306) 652-5086
Copyright 2002. All rights reserved. ISSN 0048-9204.
�Oct. 16 & 17, 2002
FSIN Fall Legislative Assembly
Nov. 6-8, 2002
Aboriginal Law & Taxation 2002
Saskatoon, SK
Crown Plaza Hotel Georg ia
Joanne Cardinal (306) 956-6947
Vancouver, BC
Native Investment & Trade Associatio n (NITA)
flQtlflfll
----
_.
-.
Oct. 18- 20 2002
2002 Saskatchewan First Nations Cultural
Celebration and Powwow
--
"\,
Saskatchewan Place
Saskatoon, SK
■
■
■
Saskatchewan:S First
Nations Calendar of Events
FSIN (306) 665-1215
(604) 275 - 6670
toll free l -800-337-7 7 43
Nov. 6 - 9, 2002
Aborigina l Financial Officers Association
Canada 3rd Annual Conference
Saskatoon Inn
Oct. 19 & 20, 2002
Open Recreation Hockey Tournament
Beardy's & Okemasis Arena
Saskatoon , SK
Donna Morin dmorin@pbcfs.sk .ca or
Marilyn O secap (306) 665 -1215
Beardy 's First Nation, SK
Derek Cameron (306) 467-2007
Dale Mike (306) 467 -5423
Oct. 21-24, 2002
Native Wellness Institute
Spirituality and Self-Care Conference
Nov. 14-17, 2002
,,
Indigenous Healing Traditions of the
Americas
Hyatt Regency Capitol Hill
Washington, DC, U.S.A.
www .procultura.org or mail@procultura .org
Tucson, Arizona
Jillene Joseph, NHI Directo r (503) 666 -7669
Oct. 25, 2002
SaskTel Aboriginal Youth
Awards of Excellence
Dec. 2-6, 2002
Native Wellness Institute
Native Youth Paths Conference
San Diego, California , USA
Jillene Joseph, NHI Director (503) 666 -7669
Saskatoon Centennial Auditor ium
Saskatoon, SK
(Deadline for nominations - September 20)
Joan Beatty, Chair
(306) 931 -6285 or l-800-873 -75 73
Dec. 3-5, 2002
Resource Expo 2002 - Aboriginal Energy &
Resource Development
Telus Convention Centre
Melody Bitternose
(306) 931-6289 or l-888-830 -2803
Calgary, AB
Na tive Investment & Trade Assoc iation (NITA)
Shawn Albert
(604) 275 - 6670 or toll free l-800-337 -77 43
(306) 931-6286 or l-866-931 -6286
Oct. 25, 2002
Building of Foundation of Wellness
Big River Band Hall
Big River First Nation SK
Dec. 7, 2002
Beardy~ Midget "AAA" Blackhawk
Cattle Raffle
Beardy 's Arena
Lorette Dreaver (306) 724-4 700
Beardy 's First Nation , SK
Mel (306) 961-4360 or (306) 467 -4844
Lorraine Thomas (306) 883-3880
Pam (306) 46 7 - 4523
James Isbister (306) 724-4664
Oct. 26 & 27, 2002
Thunderchild First Nation 1stAnnual Mens
& Womens Volleyball Tournament
Feb. 19-22, 2003
"Dreamcatching 2003" Professional
Development Math & Science Workshops
for Teachersof Aboriginal Students
Thunderch ild First Nation, SK
Montreal , QC
Ken Okanee Jr. (306) 845-4328
Native Access to Engineering Programme
(514) 848-7842 or www.nativeaccess .com
Nov. 5-7, 2002
Awareness 2002 - A Conference About
Problem Gambling
PA Inn Banquet & Convention Centre
Prince Albert , SK
Ally Marchand (306) 765 -5305
2
Fall2002
I
==
=
=
�Letter from the Editor
For more than three decades, Saskatchewan Indian has been a voice for First Nations across the province.
We have shared individual stories of courage and inspiration, celebrated events large and small, talked
one-on-one with actors, artists, athletes, business people, dancers, young people, elders, political leaders
and more. Now, to enhance our image, better meet the needs of our advertisers and reflect the growing
demographics of Saskatchewan First Nations, we have redesigned our magazine.
The premier edition of Saskatchewan Indian will feature the 2002 Saskatchewan First Nation Cultural
Celebration and Powwow program. It is an exceptional event that promotes Saskatchewan's Fi'rst Nations
in a positive manner that encourages non-First Nation people to come out and explore First Nation culture
and history.
The celebration itself is a showcase of unity and pride. To produce an event of this magnitude requires
the involvement of many organizations, groups, sponsors and individuals that have committed to the
event in one form or another. The belief of sharing and promoting First Nation culture is strong. The celebration brings together people from across this continent. The Federation views the Saskatchewan Indian
as a bridge and is proud to play a part in promoting awareness and harmony throughout all of society.
As the official publication of the FSIN, we will continue to be a forum for education, promotion and the
sharing of information. The magazine is an important alternative media source. It is unique in that it tells
stories for and about Aboriginal people, stories often not covered in other media. It is our goal to eventually
put Saskatchewan Indian into every home in the province. With our newly redesigned format, we will
continue to provide leading edge coverage of people, places, events and issues facing our Aboriginal
people. By bringing Saskatchewan Indian into a new age, we will share our successes, spark new
interests and inspire hope for a better future.
Editor
Darcy McKenzie
Saskatchewan
Indian 3
�SIITCareer Opportunities
SIIT offers training and education programs in the following areas:
Management Studies & Information Technology
■
■
■
Management Studies (Saskatoon, Prince Albert, Fort Qu' Appelle,
N orthlands College, Yorkton)
Accountanc y (Prince Albert)
Information Technology (Saskatoon, La Ronge, Regina, Onion Lake)
Trades & Technologies
■
■
■
■
■
Process Operation Technician (Meadow Lake)
Integrated Foresty Worker (La Ronge)
Geographical Information Systems (Prairie West Regional College)
Building Maintenance Technician (Parkland Regional College)
Construction Careers Project (Saskatoon, Regina)
Health & Community Studies
■
■
■
■
■
■
■
Community Services, Addictions (Saskatoon)
Community Services, Community Health Representative (Saskatoon)
First at.ions Child Care (North Battleford)
Home Health Aide/Long Term Care Aide (Whitebear First at.ion, Fort
Qu'Appelle, Yorkton Tribal Council & East Assiniboine Training & Employment)
Home Health Aide (Meadow Lake, orth Battleford)
Lifeskills Training
School Board Training
Adult Secondary Education
■
■
Adult 12 (Saskatoon, Prince Albert)
A dult 10 (Cote First Nation, La Ronge, Prince Albert Urban, Regina, King
George Project-Saskatoon )
For more information contact:
Saskatchewan Indian Institute of Technologies
118 - 335 Packham Ave.
Saskatoon, SK S7 4S1
ASKATCHEWAN Phone: 306-244-4444
Fax: 306-244-1391
Provincial Toll Free: 1-800-667-9704
INDIAN
INSTITUTE
OF
TECHNOLOGIES www.siit.sk.ca
�15th annual
Treacy 4 Eour
Gathering .
Once again, the File Hills Qu'AppelleTribal Council
partnered with the Touchwood Agency Chiefs and
Yorkton Tribal Council to host the annual Treaty
Four Gathering. This year's event took place
September 9-15 at the Treaty Four Grounds near
the town of Fort Qu'Appelle.
The week-long gathering featured educational,
cultural and political activities in commemoration
of the original signing ofTreaty Four. The various
activities are designed to promote awareness of
Treaty Four, which was signed one hundred and
twenty-six years ago on September 15, 1874.
This year, an Elders' Forum and a well-attended
Justice Forum hosted by the Congress of
Aboriginal Peoples highlighted the political
programme. The annual Treaty Four Chiefs Forum
gave the 34 Chiefs of the Treaty Four First Nations
a chance to meet and talk with members about
issues of governance and more.
Of course, good old-fashioned fun is an important
part of the gathering. This year's event featured a
golf tournament and fastball tournament, both of
which proved popular. The two-day powwow
attracted a good crowd of spectators, who were
treated to excellent dancing by a number of
talented performers.
A large part of the gathering is focussed on
education, an area where the event continues to
make a major impact. Although final numbers
hadn't been tallied at the time we went to press,
organizers estimate that more than 6,000 school-age
children from surrounding regions, some from as
far as Regina, came out to spend a day at the
event. There were 27 tipis set up and the kids
went from tipi to tipi learning different traditional
crafts, sharing stories and more. There was
something different in each tipi and dance
demonstrations were held over the noon hour.
For many youngsters, particularly those from inner
city areas, the Treaty Four Gathering is often their
first direct interaction with traditional First Nations
culture, sometimes even with First Nations people.
It has proven tremendously beneficial in providing
a chance to educate First Nations youth about the
many aspects of the culture.
The Treaty Four Gathering is organized and
managed by members of the partnering Tribal
Councils, with the support of many volunteers.
Everyone goes above and beyond the call in
making the event a success. The result is that
every year, the Treaty Four Gathering gets bigger
and better.
��ations
rtist
After many years of being the
artist behind the magazine cover,
Ray McCallum finds himself as
the subject on the cover of the
magazine. He's not entirely
comfortable up there.
"My first thought (when I saw the
proof) was 'Who is this old man
and what is he trying to prove?'"
As it turns out, Ray McCallum
does have something to prove,
though he may not admit it to
anyone. Through his painting,
songwriting, and dancing, ·he is
showing how First Nations culture
can be kept alive and vibrant
through its arts.
One of his earliest influences was
his mother, Vitaline. Ray remembers
his mother beading late into the
night by the light of a bitch lamp
. (skanakus - a lamp of braided rag
soaked in grease and laid on a
saucer). "She would never rush to
get the work done, even if it meant
she might lose the contract;' he
says. Vitaline's dedication to her
beadwork and design made an
indelible impression on Ray.
Ray is a member of the Waterhen
First Nation but spent much of his
youth on the Flying Dust First
Nation. The last of nine children,
he knew very early on that he
wanted to create images, even
before he knew what an 'artist'
was . These early seeds started a
journey of exploration and
experiences in the lite of one "little
brown man;' as he says.
�Ray attended residential schools
at Onion Lake and Beauval. It was
there, he says, that "I experienced
my first culture shock:' Memories
of the schools are not always
pleasant but Ray has managed
to come to terms with his own
situation.
Ray missed out on a high school
education. Friends and co-workers
in subsequent years supplied a
real-life education, and Ray
credits their teaching with getting
him to where he is today.
"I was fortunate to have had the
kind of relationship with my
friends and Elders whose guidance
and understanding led me away
from a long, dark road. The one
thing I will not forgive the schools
and the government for is the
arrest of our language and culture.
That, for me, is the biggest crime
of all. We now have much less of
our culture that we can share
with our children. The people who
have lost their language have lost
the subtleties and nuances in our
stories as well:'
""Jwas fortunate to have had
As a child Ray contracted tuberculosis, the effects of which have
left him hearing impaired. An
appointment for an ear operation
led to much bureaucratic red tape
and long delays, and as a result
s Fall2002
the kind of relationship
with my friends and Elders
whose guidance and
understanding
led me away
11
from a long 1 dark road ...
"I owe much gratitude to everyone
that was connected to my life
because without their care and
understanding I would be nothing.
My education has been from
people, who came from all walks
of life and cultures. They've
shown me that as different as we
are culturally, we are inside a
dignified human being to be
respected. You learn a little bit
from everybody, and you hope that
it will make you a better person:'
If anybody is his mentor, he says,
it is his wife, Paula, a policy analyst
with the FSIN. "She is my hero. A
consumate professional:'
Through a sometimes turbulent
life, Ray has always followed his
heart in respect to his artwork.
This first led to a sojourn at
Emma Lake in 1986, where at 16,
he was the youngest artist to be
accepted to audit classes through
the University of Saskatchewan.
He went on to become involved
in the Indian Art (Inda rt) program
through the Saskatchewan Indian
Culture Center. Many of the
students who participated in the
program have gone on to
become successful artists. For
Ray, it evolved into a career as an
illustrator for various institutions
under the FSIN. Other activities
included working as a graphic
designer for Saskatchewan Indian
magazine during the 70's and
�numerous album covers for
Sweet Grass Records. A recent
illustration of Ray's can be seen
on this year's FSIN Powwow
poster and program.
Though Ray says his illustration
pays the bills better, he much
prefers fine art as a way of
expressing himself. He has been
involved in various art shows
throughout his life and still feels
his most definitive work is a paintstroke away from materializing.
In 1983 Ray embarked on another
artistic journey when he took up
dance and beadwork. This journey
has taken him as far away as
Denmark and as close as the
reserve next to Saki may, where
he and his wife Paula lived for a
while. Like everything else in
Ray's life, this journey is ongoing,
and memories of his mother
Vitaline are prevalent as he goes
about doing his beadwork.
As a young man Ray taught
himself how to play guitar and
enjoyed playing the music of
Dylan and Cohen. For quite some
time he had quit playing, but in
'92 he picked up a tune that he
composed fifteen years earlier
called "Bannock Fandango': This
tune inspired an awakening for
Ray and he began writing songs
and composing tunes.
Armed with this thought, Ray
applied to the Canada Council for
the Arts and received an arts
grant to study flamenco guitar in
Seville, Spain. In the future, Ray's
ambition is to find singers that
will compliment his songwriting.
Ray composes in English as well
as Cree; he believes the larger
audience needs to hear and
understand where he is coming
from as an artist with a First
Nations point of view. For a song
to be successful, he feels the
music must reach out and move
the hearts and minds of listeners
everywhere. It's also important to
him to be able to create songs in
his own language, a non-traditional
type of song that he hopes will
inspire younger artists to use the
Cree language.
The journey that Ray has
embarked on is a road with no
end and he finds himself still plying
the skills that have taken him this
far. His hope for the future is that
other artists will find their journeys
as interesting as the one he has
experienced, but without the
negatives. "Art is a continuum of
space and time, where concepts
are interpreted in new and exciting
ways and each artist, however
inexperienced, has something to
contribute:'
"This is our language and we
have to use it. We have to re-create
ourselves in our own image, and
I'm trying to show that we can do
this. That's what artists do - they
innovate and bring new ideas to
the community:'
Saskatchewan
Indian 9
�"Enjoy
theCelebration
ofCulture_a
the
FSI Awareness
Day& Poww
w"
~
@
Mailing Address:
Aboriginal Consulting Services
410 AvenueN South
Saskatoon, SK S7M 2N4
Tel: (306) 978-8118
Fax: (306) 978-8117
Email:johnl@eaglefeathernews.com
Web: www.eaglefeathernews.com
FIRSTNATIONS
BANK
7
~
•·iHWid
THE FIRST NATIONS BANK OF CANADA WAS
CREATED TO SERVE THE GROWING NEEDS OF
CANADA'S
ABORIGINAL COMMUNITY.
We proudly offer* a full range of banking services .
Visit or contact any First Nations Bank of Canada
Branch to open your account or discuss your
banking needs.
For more information or
to open an account , call toll-free
1-888-454-3622
www.firstnationsbank .com
firstnationsbank@quadrant.net
FIRSTNATIONS
BANK
l:Im!JD
An Affiliate of
Ei'J eANK
* Some
products and services are offered throug~ TD Bank Fi~anclal Group. T_heTD Bank Financial Group
means The Toronto -Dom inion Bank and its subsidia ri es and afftliates, w ho provide deposit, investment, loan,
securities, trust, insurance and other products and services. ~rade-mark of TD Bank.
10
Fall2002
�By Keith Davidson
Saskatoon, Spring 1966.
It was snowing. Big, wet, heavy
flakes. No matter, I had tickets
to a concert featuring Buffy
Sainte-Marie and Dick Gregory.
I had a date. Life was good.
Mistaseni
The concert had been arranged
to help save a sacred Cree site
near Elbow, Saskatchewan. The
Gardiner Dam was complete.
Diefenbaker Lake would soon
cover the big boulder the Cree
called Mistaseni or Mis-Tos-Si-Ti.
If the committee to save
Mistaseni could make enough
money, the huge stone could be
moved and protected for future
generations to ponder and
study. If was the operative
word. Timing was tight. The
stone was huge. The move
would be expensive.
'Rusty' Williams photographed
· the site in June, 1959. He
estimated it was thirteen metres
long and stood about five
metres high. The rock was in the
shape of a sleeping buffalo. The
eye and mouth of the bison
were clearly visible.
'Rusty' reported the stone and
remembered an archaeologist
and a senior PFRA official
asking for directions in 1960.
He didn't accompany them to
the site but asked later if they
had noticed anything special
about it. They hadn't.
Photos Tell A Story
'Rusty' had walked into the site
in the late afternoon . He saw
more than just a big rock and
he felt it was an important
artifact. Carefully incised into
the granite were various
images. A gifted photographer,
he knew he would need low
light for the carvings to show in
a photo. He took three images.
His plan worked to p~rfection.
Examining the photos later,
'Rusty' was able to discern a
dog, a smiling face, an unhappy
face, a star blanket and a
medicine wheel. On top of the
rock, he had also noticed two
other carvings that he later
learned depicted sun dance sites.
As time went on, 'Rusty ' asked
people in the area about
Mistaseni. An older farmer in
the area told him that he had
seen beads and other offerings
in the cracks in the stone. Rusty
gave away one copy of his best
photo to the late Reverend
Adam Cuthand. Adam
�SASKATCHEWAN INDIAN FEDERATED COLLEGE
. CONTACT INFORMATION
Saskatchewan Indian Federated College
Rm 118, College West Building
University of Regina
Regina, SK S4S 0A2
Ph: (306) 546-8400
Web: www.sifc.edu
Fax: (306) 546-8470
Email: info@sifc.edu
�confirmed that the sleeping buffalo rock was a
Cree sacred site.
In the End
Dick Gregory's plane couldn't land. Buffy sang
her heart out for two sets. I became a fan for life.
My date became my wife.
Other parts of this story don't end as well. It
was decided the rock could not be saved. In the
winter of 1966-67 the rock was blown up. Part
of the debris was used in a cairn that
commemorates
Mistaseni at the marina in
Elbow. The rest is buried in the face of the
Gardiner Dam.
We should be thankful that the spirit of Mistaseni
survives in the cairn and the waters of Lake
Diefenbaker. And just maybe we've learned
enough to save the other sacred rock in the
Ou'Appelle valley, but ...that's another story.
Article Sources :
Discussions with 'Rusty ' Williams. His original photos may be available to serious researchers .
Photo titles and credits :
1. Mistasen i, June 1959. "Rusty " photo.
2. Rock near Elbow 1965. Courtesy of Dennis Gilbert son, CFQCTV Operations Manager . Saskatchewan Archives Board
444 Quebec Street
Regina, Saskatchewan S4R 1K7
Tel: (306) 721-1874
Fax: (306) 721-1876
Email: fourdprinting@sasktel.net
Printing at it's best. Check us Out!
�LiviNGT~E Music
What do the "Nammys" have to do with Saskatchewan? Well this year,
two of Saskatchewan's Aboriginal-owned recording companies were on
the list of winners at the Fifth Annual Native American Music Awards,
a.k.a. "The Nammys" in Indian Country.
It seems that being
Aboriginal in
Saskatchewan has
nothing to do with their
ability to compete with
those Hollywood Indian
types. In fact, when it
comes down to it, you
might say that Sweet
Grass Records andTurtle
Island Music are doing
their own thing straight
off the "rez':
Producer Ted Whitecalf at the NAMA's with Best Folk/
Country award winners: Laughing Woman and Eagle Wing
"We are very rich - especially in
the prairies - with talented
people and we are always trying
to come up with new ways of
producing their music. And
making people aware of what is
in our own back yard - our
music, which is also unique
because it is Aboriginal;' said
Ted Whitecalf, owner and producer of Sweet Grass Records.
The Fifth Annual Native
American Music Awards
(NAMA) were held in
Milwaukee, Wisconsin,
September 7th, 2002. Over
140 national recordings were
submitted for nomination.
Nominees were selected by
"THiNqsAREREAllySTARTiNq
TO
HAppENiN THEAboRiqiNAlwoRld"
14
Fall2002
NAMA's Advisory membership.
The winners were selected
through member ballots and a
national on-line voting website
that was open to the public.
Sweet Grass Records is a
recording label that has, until
recently, focused on traditional
Aboriginal music. This first step
into the contemporary world
resulted in the "Nammy" for
Best Folk/Country Artist:
Laughing Woman and Eagle
Wings "Reservation:'
"Laughing Woman and her
husband Eagle Wing
approached me and said they
were working on an album and
wanted Sweet Grass to work
with them. They heard my work
and they were pleased with it:'
Sweet Grass Records was
established in May 1993, to
record, promote and distribute
stereo recordings of traditional
native music throughout
Canada, United States and
�Europe. Sweet Grass Records
has recently negotiated a
partnership agreement with
EMI Records to distribute its
products worldwide.
"EMI said that there is a lot of
talent that has to be exposed:'
One album that Whitecalf is
particularly keen on is an album
that Sweet Grass and EMI have
partnered on called, "Skin Tight
Blues:' The album features
fourteen Blues Musicians from
the States and Canada.
Ted Whitecalf, no newcomer to
the music industry, was also the
recipient of a Lifetime
Achievement Award at the 2001
Canadian Aboriginal Music
Awards (CAMA). This is
awarded to an individual who
has dedicated his or her career,
voluntarily or professionally, to
the advancement, production
and promotion of Aboriginal
music and musicians in
Canada. He also won the Music
Industry Award, which is
awarded to a professional
member of the Canadian Music
Industry who is currently
contributing to the advancement,
production and promotion of
Aboriginal music and musicians
in Canada.
Also under the Sweet Grass
label, awards went out to Best
Drum Songs Album: Whitefish
Jr's "Cree Man"; Best Album
Cover Design: Whitefish Jr's
"Cree Man'; Designer Pamela
Wh iteca If; Best Powwow Al bum
- Contemporary: Stoney Park
('Wolf Pack:'
"Canada has been ahead in
terms of recognition in the
mainstream. Buffy Saint Marie
recommended to the Juno's
(Canada's Music Awards) that
there should be a section for
Aboriginal music. As for the
States, the Grammy's are in the
second year of presenting the
Native American category.
Things are really starting to
happen in the Aboriginal
world;' said Whitecalf about the
growing industry.
Another Aboriginal recording
company that has its goals set
on winning a Juno somewhere
in the near future is Turtle Island
Music, which is owned by Kelly
Parker and operates out of
Saskatoon.
"Music was part of my background. I never planned on
doing music for a living. I
wanted to be involved in the
arts in some way. One thing led
to another, which led into music
and video production. Once I
got into it, I really found out
that I love it;' said Parker.
Since the start of the company
in 1996, Turtle Island Music has
earned its place right beside
Sweet Grass and is a top
contender in the business. In
fact, Parker also won a Music
Industry Award the year before
Whitecalf.
Turtle Islands Kelly Parker, George Parker
and Sheldon Graham
"WE OpEN THE
dooRs foR THEM
TO SEE THEiR
d REAMs REAliZEd .
INTURN, WE ARE
SEEiNq OUR dREAMS
REAlizEd As wEll."
"There are a lot of Aboriginal
artists who normally wouldn't
get a chance to record their
music, so we open the doors
Saskatchewan
Indian 15
�for them to see their dreams
realized. In turn, we are seeing
our dreams realized as well:'
At the 2002 Native American
Music Awards, Turtle Island
Music walked away with Best
Powwow Recording for "Red
Bull - Traditional:'
At last year's Canadian
Aboriginal Music Awards, Turtle
Island Music won Best
Producer/Engineer for the
production of the album, "The
Best of Winston Wuttunee:'
Turtle Island Music also had two
Prairie Music Awards nominations: Corny Michel for best
instrumental and one for the
best Aboriginal recording for the
album, "The Best of Winston
Wuttunee': These Awards focus
on Manitoba, Saskatchewan and
Alberta.
Turtle Island Music operates a
specialized Digital Pro Tools
recording studio and audio
post facility and does video
production, cassette and CD
manufacturing.
Understanding the Aboriginal
music industry is what they see
as making a difference. "It's all
in the heart and I think that you
have to be a part of the music.
You have to grow up with the
music, to have the culture and a
proper understanding. And also
to understand what the feeling
is and hearing the sound of the
"WE ARE VERY
Rid~ ,, ESpECiAlly
iN THEpRAiRiES
,,
WiTH TAlENTEd
'
prnplE ANd WE
AREAlwAysrnyiNq
TO
COMEup wiTH
NEWWAYSof
pRoduciNq THEiR
.
MUSIC...
"
groups is what it's really about.
It's just like living it and feeling
it in your heart;' says Whitecalf.
Each company is once again on
the list of nominees at the
upcoming Fourth Annual
Canadian Aboriginal Music
Awards to be held at the Sky
Dome in Toronto on Thursday,
November 28, 2002. You can
bet that we will continue
hearing more about their latest
achievements.
On vot1rWcl\ home ...
SGlwants yov to ArriveAlive
SGl c;11-c'>
;1bmit \ ovr '>:1tet\.Pk,l'>l'. t;ikc c;11-c011the ru,1cl.
SG/////
Take care out there.
16
Fall2002
�2~~2
Saskatchewan
firstNation's
PROG
Saskatchewan Place
Saskatoon, Sask
October 18,- 20
2002
'RAM
�On behalf of the Federation of Saskatchewan Indian Nations Executive, Senate, staff and
our 73 First Nations, I want to extend the warmest welcome to the people of
Saskatchewan at the 2002 First Nations Cultural Celebration and Powwow.
It is indeed our distinct pleasure to present to you with pride a cultural extravaganza and
powwow that is not only exciting and entertaining, but begins to bridge the cultural
gap between First Nations and the people of the province.
This event is for you, the people of Saskatchewan. It is our sincere hope that the public
of Saskatchewan will learn more about our traditions and culture and begin to join us
in a journey towards self determination
and partnership for the betterment of our
collective communities.
At this event, the people of Saskatchewan will experience first hand our culture, traditions
and the Treaties, which collectively connect us for eternity.
It is the Federation's
hope that this event will begin to provide the public of Saskatchewan with a clearer
understanding of our Treaties and how those Treaties are relevant to all of us, even today.
To our corporate sponsors and partners, thank you for helping make this event a success.
We look forward to expanding our partnerships for the betterment of Saskatchewan.
So, on behalf of all First Nations people within
culturally enlightening celebration.
the Saskatchewan region, enjoy this
Sincerely,
FEDERATION OF SASKATCHEWAN INDIAN NATIONS
Chief Perry Bellegarde
�A Message from the Premier of Saskatchewan
On behalf of the Government of Saskatchewan, I am pleased to offer warm greetings
to all those attending the 2002 First Nations Cultural Celebration and Powwow.
This will be an exciting weekend as participants and spectators have the opportunity
to learn about First Nation beliefs and traditional practices through cultural awareness
workshops, stage performances, and the largest Pow Wow in Western Canada for the
2002 season. I know that this will be a memorable experience for all.
I offer a sincere thank you to the Federation of Saskatchewan Indian Nations for its
hard work in organizing this event. I am pleased to welcome all visitors to our beautiful
City of Bridges, and I hope they take the time to explore the many sites in and around
Saskatoon.
Best wishes for a wonderful
Lorne Calvert
Premier
celebration.
�On behalf of the citizens of Saskatoon, I am pleased to welcome the spectators and
participants to the 2002 First Nations Cultural Celebration and Powwow.
Our Community is rich in both culture and spirit, and we are pleased to have opportunities
to celebrate our multicultural heritage. We appreciate the work that the Federation
of Saskatchewan Indian Nations continues to do in promoting awareness of First
Nations culture in our city. Thank you to all of the organizers who have worked hard
to make this a successful event.
Enjoy the Cultural Extravaganza and Powwow!
James Maddin
Mayor
�Welcome everyone to the 2002 Saskatchewan First Nations Cultural Celebration &
Powwow at Saskatchewan Place.
On behalf of our organizing committee, we are pleased to present to our corporate
sponsors and particularly the people of Saskatchewan this proud display of First
Nations culture, traditions and dance.
Sharing is an important aspect of First Nations culture. It is on this premise that we
view this event as an exciting opportunity to share our diverse culture and traditions
in a manner that is exciting and entertaining.
I want to extend to members of the organizing committee a sincere thank you and job
well done in organizing this event for our brothers and sisters. As I am sure many of
you can appreciate, an event of this magnitude takes months of preparation, dedication
and hard work. Thank you to all of the committee members and FSIN staff who
worked many months and hours to ensure this events success.
To our corporate sponsors and partners, thank you for helping make this event a
major success and we look forward to continuing what we as First Nations view as a
positive relationship that is sure to grow in the future.
On behalf of the FSIN, our staff and our 73 First Nations, enjoy the celebration!
Sincerely,
FEDERATIONOF SASKATCHEWAN INDIAN NATIONS
Irene Oakes
Committee Chair
FSIN Chief of Staff
�Message from the President of Rawlco Radio Ltd. - Pam Leyland
It is both an honour and a privilege for Rawlco Radio stations 650 CKOM, C95 FM, and Rock 102 FM in Saskatoon,
to be sponsors of the 2002 FSIN Powwow. Having the rich heritage and traditions of First Nations people
showcased in Saskatoon is an opportunity for all of us to celebrate.
At Rawlco Radio we believe that the future of Saskatchewan is bright and exciting, with benefits for the economy at
large, the work force and the quality of life for all of our families. Our future is strengthened through partnerships
and cooperation between First Nations and non-First Nations people. That's why Rawlco Radio has invested and
continues to invest in recruiting, hiring and training for First Nations employees throughout our twelve radio
stations province-wide.
The commitment of the Rawlinson Family, owners of Rawlco Radio Ltd., has been demonstrated in part with a
donation of $1 million to the University of Saskatchewan College of Commerce to establish the Rawlco Resource
Centre, a partnership between the College of Commerce and the SIFCSchool of Business to recruit and encourage
First Nations students to pursue a business education and graduate with a Bachelor of Commerce Degree.
We believe that part of our mandate as Saskatchewan broadcasters is to tell the stories of First Nations achievements
in Saskatchewan through programs such as Seeds of Success,heard on all twelve of our stations. In addition, we
are proud of the weekly First Nations and Metis current events program "Meeting Ground" with David Kirton and
Mervin Brass, which focuses on Aboriginal issues and opportunities.
On behalf of everyone at Rawlco Radio Ltd., we wish you every successwith this event .
RAD
I 0
�Saskatchewan
IndiangamingAuthority- Presidentand CEO- EdmundBellegarde
SIGA is the largest First Nations-owned and operated business in the province, with revenues exceeding $77 million
a year and profits of almost $25 million. SIGA currently operates four casinos in the province; the White Bear
Casino located on the White Bear First Nation, the Gold Eagle Casino located in North Battleford, the Northern
Lights Casino in Prince Albert and the Painted Hand Casino located in Yorkton.
We are also a major employer of First Nations people. Our payroll currently stands at roughly 1,100 people with
approximately 70 percent of them being First Nations individuals. SIGA invests heavily in training and skills
development, building human resource capacity not only for First Nations but for the province as a whole.
SaskatchewanIndianCulturalCentre- President- LindaPelly-Landrie
The Saskatchewan Indian Cultural Centre has served First Nations people since 1972. It was the first Indian
controlled educational institution serving at the provincial level. Our mission statement is to strengthen and
support overall Indian education and cultural awareness of Indian People. We also promote cross-cultural
awareness of Indian peoples' historic and current role in Canadian society. We provide an Indian resource base
for Bands and school systems to draw upon so the Indian children may accurately inherit the values and traditions
of their heritage. Extensive research is also conducted and facilitated on Indian heritage and culture. Above all,
we strive to respect' and promote the inherent sovereignty of First Nations and their Governments as recognized
by the Royal Proclamation (1763) and confirmed by the Treaties and Constitutional relationships.
The Centre is an incorporated non-profit institution of the Federation
managed by a Board of Governors comprised of representatives from
traditional Council of Elders, representing the eight-language/cultural
its activities. The Centres' activities are organized into six focus areas
•
•
•
•
•
•
Cross Cultural and Information Systems
Cultural Resource Development & Publications
Library and Information Services
Audio Visual and Technical Unit
Administration
Finance
of Saskatchewan Indian Nations, which is
each Tribal Council within the province. A
groups, advises and guides the Centre in
or departments:
�SASKATCHEWAN
INDIAN
INSTITUTE
OF
TECHNOLOGIES
SaskatchewanIndian Institute of Technologies- President - Joan Greyeyes
The Saskatchewan Indian Institute of Technologies has been in existence since 1976, offering training and
education programs to First Nations adults in Saskatchewan. In 2001 - 2002 there more than 2,000 students
enrolled at SIIT in the wide range of programming provided throughout the province, both on and off-reserve.
SIIT is an educational institution of the Federation of Saskatchewan Indian Nations (FSIN) and i~governed by a
Board of Directors comprised of FSIN Senators, Saskatchewan Tribal Council appointees, and an FSIN Executive
member appointee.
SIIT serves First Nation adults by providing vocational and technical employment
educational services for continued career growth.
programming,
as well as
Although SIIT is governed by Saskatchewan's First Nations it also operates within the Saskatchewan provincial
post-secondary system.
On July 1, 2000 legislation was passed in the Saskatchewan Legislature recognizing SIIT as a post-secondary
institution by way of the Saskatchewan Indian Institute of Technologies Act. This Act now provides SIIT with
recognition from both the Indian and non-Indian community as a provider of quality post-secondary education
programs and services.
Federationof SaskatchewanIndian Nations- President- Eber Hampton
In May 1976, the Federation of Saskatchewan Indian Nations entered into an agreement with the University of
Regina, creating the Saskatchewan Indian Federated College (SIFC).
The Agreement provides for an independently administered university-college, the mission of which is to serve
the academic, cultural and spiritual needs of First Nations' students. The College also accepts non-First Nations'
students. The Chiefs of Saskatchewan appoint the College's Board of Governors. Programs are academically
integrated with the University of Regina, and the College follows university regulations respecting admissions
and the development of new programs. The College has close to 60 full-time faculty and offers students a
unique First Nations curriculum. The SIFCoffers degree and certificate programs in a variety of faculties and
disciplines such as Indian Studies, Indian Art, Indian Languages, Indian Education, Indian Social Work, Indian
Management and Administration, Indian Communication Arts, Science and Indian Health Careers, Dentistry
with the National School of Dental Therapy.
Since 1983, the SIFChas entered into over twenty-five agreements with Indigenous peoples' institutions in
Canada, South and Central America, and Asia. The College has also signed agreements with academic
institutions in Siberia (Russia), Inner Mongolia (China), and Tanzania (Africa).
From less than a dozen students in 1976, the SIFC'senrollment has surpassed 1,600 students, one quarter of
whom come from outside Saskatchewan and represent every province and territory in Canada. The College has
a campus in Saskatoon with approximately 500 students. The Northern Campus in Prince Albert, with approximate
enrollment of 500, provides extensive off-campus programming to First Nations' communities across Canada,
with liaison offices at the Regina campus and La Ronge.
�Irene Oakes
JIEE
owco =PITT
Chair
Darcy Mckenzie
Communications/
Marketing
Lyle Daniels
Security/ Transportation
Shirley MacDonald Greyeyes
Coordinator Cultural Awareness Oct. 18, 2002
Joanne Cardinal
Venue/ Audio/
Jeannie Pewapisconias
Volunteers
Jocelyne Wasacase
Communications
Data Entry/ Registration
Lori Worm
Trade Show/ Booths/ Data Entry/ Registration
Sally Moccasin
Youth / Pageant
Debbie Delorme
Data Entry/ Registration
Lauren Thomson
Data Entry/ Registration/
Dorothy Myo
Cultural Awareness Facilitator/
Lorraine Delorme
Data Entry/ Registration
Donnie Speidel
SICC- Tech. Director
Donna Heimbecker
Sask. Native Theatre
Kennetch Charlette
Sask. Native Theatre
FSIN INSTITUTIONS
Darlene Lancley
SIIT
Darlene Speidel
SICC
Tyrone Tootoosis
SIFC
SCHOOLS
Cory Dogniez
Public Schools
Shelley Agecoutay
Public Schools
Sharon Laflamme
Catholic Schools
Nevadas
Give Away - Specials
�The Federation of Saskatchewan
Aims and Objectives:
Indian Nations
• The protection of Treaties and Treaty Rights
• The fostering of progress in the economic, education, and social
endeavor of First Nation people
• Co-operation with civil and religious authorities
• The adherence to democratic procedure
• The promotion and respect and tolerance for all people
Target Audience:
•
•
•
•
•
Sfl [Ij /71I
I
(l___
J_ j_ ~j_
- -}_J
Da Or.e
01/
j-----;
~
Saskatchewan First Nations, Tribal Councils and Aboriginal organizations
Youth, both non-Aboriginal and First Nation
School Boards, both non-Aboriginal and First Nation
Governments, Corporations, Public and Private Businesses
General public
1
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.
Cultural Awareness Day
(Workshop and Performances Only)
October 18, 2002
8:00-9:00
Pipe Ceremony Wanuskewin Heritage Park
12:00-1:00
Performance, by SICC Dance Theatre and SNTC
4:00-5:00
Performance, by SICC Dance Theatre and SNTC
6:00
VIP Reception for Cultural Celebration Saskatchewan Place
Entertainment
7:00
Opening Ceremony for evening performance by SICC Dance
Theatre & Sask Native Theatre Company
Address by:
Chief Perry Bellegarde, FSIN
RAWLCO Radio Representative
Saskatchewan Place Representative
7:00-9:00
Special Public Performance by SICC Dance Theatre
& Sask Native Theatre Company
�][)ray T M/(()) Powwow
October 19, 2002
12:00
Grand Entry of Dancer
Introduction
of Dignitaries
Opening Remarks:
}Jay Three
Premier's Office
Powwow
October 20, 2002
City of Saskatoon - Mayor's Office
12:00
Chief Perry Bellegarde
STC- Tribal Council Representative
Introduction
RAWLCO Radio
Opening Remarks
2002 FSIN Princess - Chantel
& 4th Vice Chief
Dustyhorn Honoring
Tiny Tots
Introduction
lntertribals
& Honoring of
2002-2003 FSIN Princess
Contests - Junior Categories
Teen Categories
Contest - Teen Categories
Specialty Dance and Song Demonstration
Announcement
lntertribals
Contest Winners
Contests - Golden Age Category
3:00-4:00
6:00
Supper Break and Family Specials
7:00
Grand Entry
Introduction
of Junior Dance
Specialty Dance & Song
Demonstrations
Exhibitions - Adult Categories
Contests - Golden Age
Categories
Contests - Adult Categories
of Dignitaries
7:00-8:00
Opening Remarks
Exhibitions - Junior Categories
2002-2003 FSIN Princess Dance Contest
8:30-9:30
of Dignitaries
Tiny Tots
Honor Song & Honoring - Elected 2nd
3:00-4:00
Grand Entry of Dancer
Specialty Dance & Songs Demonstrations
Contests - Juniors and Teens
Special Contest-Men's
Fancy-Sponsored
by Chief Perry Bellegarde
Adult Contests
Announcement
of Winners in Song &
Dance Competitions
Retiring of Flags
�-e
L
ion
pi r:_lj
j 0 1~11wo 1~
Prtncess
Chantel Dustyhorn- KawacatooseFirst Nation
Chantel Dustyhorn was selected in July 2002 as the Youth Powwow Princess. She has represented the
FSINwith the utmost dignity and respect that can be afforded by a positive ambassador, not only of
the youth, but of all First Nations people.
Chantel credits her successand her beliefs in her Cree culture to her mother, Doreen, who has encouraged
her with wisdom and guidance. Miss Dustyhorn has traveled to many powwows and celebrations
throughout Canada and the U.S. She is an accomplished Jingle Dress dancer and has just successfully
completed her first year in the women's jingle dress category.
Chantel is 18 and is completing her final year as a grade twelve student at Scott Collegiate in Regina.
The messages that Chantel brings to everyone are:
• Awareness of the misuse of drugs and alcohol. She believes that this is a strong issue
with all of our people and it is affecting us all.
• The importance of Education. Drop out rates by First Nations people are unacceptably high.
• The importance of family and community support for the youth. A child should be
surrounded by the support of parents, peers, family, and the community, so a child can
function and make the right choices to function as a healthy adult.
• Youth are the future. When given the right choices and the right support, the youth will
exceed all expectations.
Chantel Dustyhorn has represented the people of Saskatchewan with great honor. She is and continues
to be a positive role model for everyone. The Federation of Saskatchewan Indian Nations would like to
thank Chantel and her family for accepting this tremendous responsibility .
�RAD
I 0
Proud Sponsor of the
Saskatchewan First Nations
Cultural Celebration and Powwow
650AM
CKOM
MIX
101
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980AM
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CJME
NewsTalkRadio
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An Arena Director is a vital part of the powwow. He must direct all activities within the dancing circle.
Experienced dancers and singers make the best arena directors because they are aware of the expectations
of other dancers and singers.
The following Arena Directors have been chosen for their experience as competitors and participants within
the dancing circle and as positive role models within their communities and within the powwow circle.
They also choose to practice and live a healthy lifestyle by abstaining from the use of drugs and alcohol.
Delbert Wapass
Delbert is serving as the dancing arena director of this year's powwow. He is a champion grass dancer who
competes in the Canadian and American powwow circuit. He has also served as Arena Director at many other
prestigious powwows throughout North America.
Delbert is the incumbent Chief of the Thunderchild First Nation where he resides with his wife and four children. He received his Bachelor of Arts degree from the Saskatchewan Indian Federated College and a
Bachelor of Education degree from the University of Saskatchewan.
RobertJR McArthur
JR, as he is known to the powwow circle, is serving as one of the head singing judges. He is a champion grass
dancer who has been dancing since he was very young. He is also a champion singer who sings with the
Crooked Lake Agency singers.
JR presently sits on the WhiteBear band council as a council member and works with the oil and gas industry
in the area. He resides in WhiteBear with his wife, Vida and three daughters.
Marc Longjohn
Marc is serving as one of the head singing judges. He currently works with the Federation of Saskatchewan
Indian Nations in Urban Development. He received a Bachelor of Arts degree from the University of
Saskatchewan.
Marc is a long time championship style singer who has been singing in the powwow circle as well as the
round dance circuit. He is a member of the Sturgeon Lake First Nation and currently resides in Saskatoon
with his wife, Adonica.
�The Master of Ceremonies or Announcer is a vital part of every powwow. A good announcer can
contribute to a successful, enjoyable and memorable powwow. A successful and requested announcer is
a good story teller, has many jokes to share, is very knowledgeable in the history of powwow and the
different styles of dances and knows most of the dancers and singers.
The2002 SaskatchewanFirst NationsCulturalCelebrationand Powwow is very proud to utilize the
servicesof the following Master of Ceremonies.
BillCrouse
Bill is an enrolled member of the Seneca Nation of Indians. He is a member of the Hawk Clan, who he represents as a Faith keeper of the Coldspring Longhouse on the Allegany Indian Reservation in New York State.
He is currently employed as the Seneca Language and Culture teacher in Salamanca Middle School. He is a
freelance artist and curriculum developer. He resides on the Allegany Reservation with his wife and five children . He has dedicated and continues to dedicate his life's work of preserving and teaching Native American
Culture through his singing, dancing, storytelling and artwork.
In the summer, Mr. Crouse is in demand as a master of ceremonies, a singer and performer at the many pow wows in the U.S. and Canada. Bill has a dual role with this powwow. He will be introducing and singing for
the Iroquois Smoke Dancers during the special performances of the powwow.
DonnieSpeidel
Donnie is a Lakota and is an enrolled member of the Standing Rock Sioux Tribe from North Dakota. His
Lakota name is Tatanka Hoksila (Buffalo Boy). Mr. Speidel has danced all his life and is known across North
America for his promotion of First Nations Culture. He is a champion fancy dancer and singer and was the
leader of the Wanuskewin International Dance Troupe for the past four years.
Mr. Speidel currently- works for Saskatchewan Indian Cultural Centre. He currently resides in Saskatoon with
his wife, Deanna and his two daughters.
FrankAsapace
Frank currently works with the Federation of Saskatchewan Indian Nations as the Director of the Senate. He is
a champion traditional dancer who has been dancing for many years.
Mr. Asapace currently resides in Sweetgrass with his wife, Nadine and his children.
Kawacatoose First Nation.
He is a member of the
�h O_\/lf N' DA~
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It
N
WomensJt:"n
q e DressDre
u1ce
This style of dance is believed to have originated in the Lake of the
Woods area of Ontario and Mille Lacs, Minnesota. Th.ere are several
versions of the origin of this dance, but it is a healing dance.
One story of its origin is that an Ojibway holy man dreamed of four
women wearing these dresses. In his dream he was taught how to
make the dresses, what songs to sing for the dance, and how the dance
should be performed. He and his wife made four of the dresses, which
they presented to the women he had seen wearing them in his dream,
at a dance where he recounted his dream and instructed the women
on how to dress and dance.
Another story is from a man from the Lake of the Woods area whose
daughter was ill. In this man's vision, the jingle dress was made of shell.
The meaning of his vision was for the dress to be given to those who
believed in a traditional way of life. The dress was to be given for the
purpose of healing. The jingle dress is a medicine dress. If a woman
chooses to take on this dress, she must be ready for the responsibility
that it entails.
In the 1980's, the Jingle Dress was reintroduced to the prairies with
performances and dance demonstrations by a group of jingle dress
dancers from the Lake of the Woods area led by the late Maggie
White. Today it is the most popular style of dance for women and
continues to be characterized by a cloth dress decorated with hundreds
of metal cones or jingles. It has become custom for women to carry
fans, which they raise during the honor beats of a song. In today's
powwow world, we are witnessing another classification of dance
within the jingle dress dance. The jingle dress dance can now be classified
as traditional with basic steps and contemporary with fancy footwork.
In the past, women only danced on the sidelines in support of the male
dancers unless songs were sung specifically for them to come out into
the center to dance. Their styles of dance were very modest and dignified, the most common being the stationary, the graceful walk and the
side step. It was not until the evolution of contemporary powwow, in
the 1950's, that women came out to dance along side the men in intertribal dancing.
The Women's Traditional Dance is a very dignified, graceful and modest
dance that shows the strength, pride, respect and honor the women
carry for their family, relatives and friends.
There are three styles of this dance. The first is the stationary dance.
This style originated with the Dakota/Nakota people in their small
gatherings of long ago. The women would stand and bounce gently to
the beat of the drum in honor of their family or relatives for whom the
�song was sung. In these gatherings, the women would adorn themselveswith their most elaborate quilled, beaded and decorated dresses
and accessories. The outfit was personal and was created through
dreams or traditional family designs. These dresses symbolized the
industry, patience and steadfastness a woman had to possess to complete such an enormous project.
In the Grass Dance Society, the women danced in what is known as the
circle dance, round dance or side step dance. This dance is still performed as part of competitions today. In the third style, the women
gracefully dance in a zigzag pattern around the edge of the dance
arena. Their dance is in time to the drum beat.
WomensFancy
The Women's Fancy dance is one of the most modern of the women's
dances. There are several stories on the origin of this dance. One of the
most well respected stories came from the North Dakota/ Montana
areas, when women had traditionally stayed in the background and did
not participate in the dances within the circle. A group of ladies led by
Gladys Jefferson from the Crow Tribe and Yvonne Chase from the
Mandan, Hidatsa, Arikara Tribe wanted to dance and show their fancy
style. Thus, the Women's Fancy dance was born - but not without much
persuasion by this group of women.
Other women who led the initiation of this dance included Bonnie
Deer from Minnesota and Reta Metcalf from St. Francis, South Dakota.
Gladys Jefferson from the Crow Tribe tells of their struggles to become
an accepted group within the powwow Circle. Dancers who introduced
and promoted this dance in the province included Celina and Sandra
Bird from Montreal Lake, Dianne Goodwill from Standing Buffalo,
Bernadine Standingwater and Virginia Horse from Thunderchild and
Irene Seeseequasis (Tootoosis) from Beardy's. Other frontrunners
included Marlene Jimmy from Thunderchild, Marjorie Dressyman from
Red Pheasant, Lorraine and Lorna Blackbird from Thunderchild and
Linda Standing and Sara McArthur from Whitebear and Roselma
Haywahey from Carry the Kettle.
In the 1960's, this dance was called the Graceful Shawl Dance and the
dance steps were closer to the ground, but the dancers showed their
creativity with their fancy footwork. The dancers would dance wearing
a beaded traditional top with either a buckskin dress or cloth material
dress, and they would carry a shawl and a fan. Reta Metcalf introduced
the wearing of a large colorful scarf over the shoulders. This was introduced in order to portray the practice of modesty. Into the 1970's, the
dancers wore the shawls followed by the addition of a cape made of
cloth or leather. Thf leggings were usually leather with fringes.
Into the 1980's, the addition of beaded capes made this dance more
colorful. In the 1990's, the shawls became an important part of the
dance as their designs became more intricate and eye catching.
Today in the Women's Fancy Shawl Dance (as it is called today), the
brightly colored shawl is one of the distinctive parts of the outfit, as
well as the fully beaded cape, matching leggings, moccasins and hairpieces, usually adorned with rhinestones.
A fancy shawl dancer dances to a fast drum beat, such as is required of
the Men's Fancy Dance. The Fancy Shawl Dancer shows not only gracefulness and agility, but endurance as she moves perfectly to the beat of
the drum.
�1\/J, n's Trad tt ional Dan
The Men's Traditional style of dance is one of pride and confidence
amongst First Nations men. This style's roots stem from the days when
hunting and war parties, upon returning to their home village, would
celebrate their successesby recounting their encounters with the prey or
enemy by re-enacting them through dance. Tradition~! dancers demonstrate a style of dance that evolved from the old form of war dance.
The regalia worn in the men's traditional style is highly symbolic and
the colors are more subdued than those worn in other men's dance
styles. The traditional dancers wear a single bustle, which is made of
feathers from birds of prey such as the eagle, who converges on the
hunt or battle site at its conclusion. Most traditional dancers wear a
headdress called a roach, which is topped with two eagle feathers that
signify enemies meeting in battle. The dancers usually carry items that
denote their status as warriors such as a shield, coup stick and an eagle
wing fan.
While the dancers are dancing, they appear to be strong, bold warriors.
They tell a complete story that can be seen in their dance steps as they
bend low to the ground and peer cautiously about. The process is
repeated as an on-going hunt. The completion of the successful hunt is
demonstrated as they move in for the kill.
Today in Men's Traditional Dance, two styles have emerged: traditional
and contemporary. The traditional style is more subdued and graceful,
while the contemporary style is more active and has flashier outfits.
1
lHen FaneI Dan e
The Men's Fancy style of dance can trace its origin to the wild west
show days of the late 1800's and early part of the 1900's, when promoters incorporated Men's Fancy War Dance demonstrations and contests
into their show routines. The Men's Fancy War Dance was a crowd
pleaser. Those who danced with the wild west shows introduced this
style of dancing into their home areas, where it was a spectator
favorite. It also became a favorite in the southern state of Oklahoma,
considered the home of the Men's Fancy Dance. The wild west show
Men's Fancy War Dance competitions actually paved the way for the
evolution of the contemporary competition powwows in the Northern
Plains, and a northern style of men's fancy dancing evolved.
There are two distinct styles of the Men's Fancy Dance: the southern
style and the northern style. Entertainment is the main feature of the
dance today. The bright colors of the outfits and fast moves of the
dancers provide an entertaining sight for the audience.
Men's Fancy dancers wear two brightly colored bustles on their backs.
Some dancers choose to make their bustles out of man-man feathers
while others choose eagle feathers. The dancers also wear a cape made
of cloth, ribbon or fully beaded. They also wear matching front and
back aprons. In addition to their regalia, the dancers wear porcupine
head roaches, fur leggings and bells.
�The Men's Fancy Dance is, in many respects, a test of a dancer's
endurance and knowledge of all songs. Not only is the dancer required
to show great agility and creativity, but he must also be able to stop on
time to any song. A dancer must be physically fit and well-coordinated
becausethe dance requires a great deal of muscle control. It also permits
the dancers to display highly complex dance steps and body movements.
Men'sGrassDance
During this century, the Grass Dance or freestyle has been the most
dominant of men's dance styles in the Northern Plains. There is more
than one version of the origin of Grass Dance, and versions differ
throughout various locations in Canada and the United States.
In one version, this dance was introduced into the Northern Plains and
promoted by the Dakota/ Lakota/ Nakota, who purchased from their
Omaha relatives the right to organize grass dance societies and execute
the ceremonial dances of the society. Membership in the Omaha
Society, as it is called by the Dakota/ Lakota/ Nakota, was extended
only to the most accomplished warriors, who wore braids of grass tucked
in their belts during the society dances, thus the name the Grass Dance.
In some regions, First Nations believe that the Grass Dance is a heal ing
dance. Another version is that the grass dancers were called out to the
place where feasts and special events were to take place. The dancers
blessed the ground while they danced in time with the beat of the
drum. While the grass dancers danced, they flattened the grass with
their feet in preparation for the ceremonies to take place.
Today's grass dancer's regalia consists of a fringed shirt, pants and
apron that are decorated with bead and ribbon work. The outfit also
consists of a beaded belt, cuffs, headband and harness with a porcupine roach, which adorns two eagle feathers or a set of plumes. Each
outfit is designed to move with and enhance the motions of the
dancer. The dancer moves his hips, arms, head and shoulders in harmony with the movement of his legs and dance steps. Dancers attempt
to imitate nature, resembling the gentle swaying of grass on a windy
day. Grass dancers must display balance, endurance, coordination and
gracefulness. All movements are done both on the left and right sides.
~
ems ·cKe.,
ce
The Chicken Dance Society is the Blackfoot Society adopted by the
western Cree and the Dakota/ Lakota/ Nakota Grass Dance Societies.
As each adopted the society, they modified the rules, rituals and regalia
to fit within their cultural norms. Although similar, they are unique.
During the early years of the evolution of the contemporary powwow,
the Blackfoot and ~estern Cree performed dances originating from the
Chicken Dance Society and incorporated its protocols in their powwows. Just like the Dakota/ Lakota/ Nakota had done with the grass
dance. The Chicken Dance was gradually replaced with the more contemporary fancy, traditional and grass dance styles until there were few
chicken dancers.
In the past few years, however, there has been a resurgence of this
dance. As the popularity of this dance style is reviving, it is being
adopted by dancers from all over Canada and the United States. The
2002 Saskatchewan First Nations Cultural Celebration & Powwow is
proud to present the Chicken Dance as part of the Adult and Teen category dance competition.
�a
C
SaskatchewanNativeTheatreCompany(SNTC)
The Saskatchewan Native Theatre Company (SNTC) is a non-profit organization incorporated in January of 1999.
SNTC's mission is to develop and produce performing arts initiatives that educate and promote the richness and
diversity of Aboriginal cultures. The foundation of the organization is built on the understanding that the art of
theatre and cultural awareness are intertwined. SNTC uses theatre as an effective means to empower, educate,
entertain and employ utilizing ' a holistic approach that enhances our cultural identity and strengthens the spirit of
our communities.
<]nP+(Askiy -
"The Land") by Mark Dieter and the
Saskatchewan Native Theatre Company
Directed and Designed by: Kennetch Charlette & The SNTC
Youth Ensemble
Costume Designer: April Doepker
Original Music by: Joseph Naytowhow
Actors: SNTC Youth Ensemble
Dancers: Cheryl Kay, Matthew Whitebear
,,
Askiy is a tribute to the Treaties of Saskatchewan, the history of Saskatchewan's First Nations peoples and their connection to the land. The story speaks to the transitions
endured by First Nations people, and celebrates the survival
of their cultures. Through storytelling, drama, dance and
song, Askiy is a multi-media presentation that honors the
spirit of the land and educates the viewers on the richness
and diversity of Saskatchewan First Nations cultures.
The SNTC Youth Ensemble is proud to be a part of this
production. They are:
Kasey Atcheynum, Mark Dieter, David Knight, Cheperyn
Makokis, Raine Morin, Delvin Opissinow, Brenda Peeteetuce,
Curtis Peeteetuce, Mitchell Poundmaker & Cara Weeseekase
SaskatchewanIndianCulturalCentreDanceTheatre
The Saskatchewan Indian Cultural Centre Dance Theatre was established to showcase First Nations' songs and dance
from the Northern Plains region. Many of the performances' feature champion dancers of various traditional and
contemporary dance styles and music. Through song and dance both First Nation and non-First Nation audiences
gain an appreciation of the diversity of First Nations cultures and the high caliber of Saskatchewan talent.
The Saskatchewan Indian Cultural Centre Dance Theatre was formed through the leadership of the Saskatchewan
Indian Cultural Centre. Donnie Speidel is the director of this exciting performance. Donnie's ongoing commitment
and interest is seen through the quality of the dance performances.
As a tribute to the 2002 Saskatchewan First Nations Cultural Celebration & Pow Wow, the Troupe has based this
year's performance on Treaties.
�HoopDance
First Nations consider the hoop to be sacred and employ its use in many ceremonies, including ritual dances.
Today one of the more popular dances often featured at powwows is the hoop dance. This contemporary
form of hoop dance has several different origins. One is that the Hoop Dance was performed by medicine
men and spiritual leaders as a medicinal and/or visionary dance. Visions were seen through the hoops to cure
ailments or see the future. This dance allows the dancers to weave the story of how all living things on the
earth are connected and how they grow and change. The Hoop Dancer uses a number of hoops to imitate
the creatures found on Mother Earth. While every dancer lends his or her own interpretation, each follows
the theme of harmony with nature. These dancers may imitate the form and movement of an eagle, a butterfly, a flower, Mother Earth, etc.
Another story of origin is from the wild west show days. It is said that during the 1893 World's Columbian
Exposition in Chicago, performers from the Indian Village saw Chinese jugglers demonstrating some fancy
manipulations of rings and hoops. The organizers of the Indian Village encouraged the Taos hoop dancers,
who danced with two hoops, to incorporate more hoops into their dancing to be more like the Chinese jugglers.
Hoop dancing has continued to be primarily a "show dance", with some dancers performing with as many as
48 hoops that they manipulate into various designs and shapes. Only a small number of powwows sponsor
hoop dance competitions.
Hoop Dancer- Alex Wells- 2002 World Hoop DanceChampion
Two-time World Hoop Dance Champion Alex Wells is the third Canadian to hold the title and the second
Canadian to win it consecutively. Alex acquired the title at the annual World Championship Hoop Dance
Contest held at the Heard Museum in Phoenix, Arizona. Mr. Wells is a member of the Lil' Wat First Nation of
Mt. Currie, B.C. Alex is an accomplished Hoop Dancer, Men's Fancy Dancer, Native Flutist and aspiring actor.
Alex has travelled nationally and internationally and his talents have been showcased in such shows as:
CCMA Awards, AEC's 25th Anniversary, Calgary Exhibition and Stampede and Banff's "Springtime in the
Rockies" World Youth Congress Conference. He also played a role in Jackie Chan's "Shanghai Noon" and
CBC's "Cowboy Stories". Mr. Wells also works with inner-city youth at risk and aboriginal foster youth. He
currently resides in Morley with his wife, Theresa and two daughters.
TerranceLittletent - KawacatooseFirst Nation
Terrance is a champion grass dancer and his talents extend into the hoop dance arena. He is an accomplished
hoop dancer and has previously won the Championship in this category at the Schemitzun World
Championship of Song and Dance in Connecticut. He has demonstrated his talents throughout the country.
Terrance currently resides in Regina with his wife and daughter.
KellyDaniels- SturgeonLake First Nation
Kelly Daniels is an accomplished grass dancer and has been performing as a hoop dancer throughout North
America and internationally. He has been performing since he was very young and acts as a role model for
other youth who aspire to reach their full potential.
�IroquoisSmokeDance
The Iroquois Smoke Dance is an offshoot of the Iroquois war dance style of dancing. It has been somewhat
modernized in that the tempo of the songs has been accelerated. This dance has been used for many years by
the various generations of show dancers as a fast exhibition dance. In the past few years it has been rising in
popularity as a competition dance of speed and agility at various powwows throughout Indian Country.
Dene Singers
The 2002 Saskatchewan First Nations Cultural Celebration and Powwow is proud to feature the Buffalo River
Dene Singers from the Buffalo River Dene Band in northern Saskatchewan. Their singing style is quite different
from the styles of powwow singing that are presented at this celebration. They are led by Joe Billette.
Crow Dancers
The Crow Tribe from southern Montana have a traditional style of dancing that is unique from all other
styles of traditional dancing. The 2002 Saskatchewan First Nations Cultural Celebration and Powwow is
proud to present this outstanding style of dancing from our southern neighbours.
Inuit Throat Singers
The 2002 Saskatchewan First Nations Cultural Celebration and Powwow is proud to introduce Nikki
Komaksuitiksak and Melinda Tautu, the Inuit Throat Singers.
Throat Singing is a well known form of Inuit Music that is usually performed by two women. The singers
stand face to face. It helps if one singer is shorter than the other. Each singer repeats a different sound in a
fast rhythm. The low pitch that is the trademark of throat singing represents sounds made by different birds
and animals. Sometimes throat singing can be a contest to see who can sing the longest.
~
rm n
In the late 1800's, the Canadian and United States governments banned Indian dancing because it was
viewed as barbaric and a hindrance to civilization. Yet citizens in general would pay a fee to watch the "savage red man" perform his dances. This led entrepreneurs like Wild Bill Cody to put together "cowboy and
Indian shows" or wild west shows, which toured throughout North America and extensively in Europe. It also
became common for non-Indian communities to request Indians make a camp and perform their dances at
their annual sports days and fairs. In both scenarios, the spectators wanted more than just the routine dancing known today as "intertribal dancing", so the organizers and promoters sought to develop dance performances that would keep the audience captivated and spell bound. As a result new dances were created just
for the sake of show dancing.
Lanceand ShieldDance
Historically, the majority of non-Indian people feared First Nations dances, presuming them to be war
dances. In reality, each First Nation had a wide variety of dances, most of which had nothing to do with war.
It is, however, true that nearly all First Nations had one or more dances that were associated with celebrating
successesachieved in the hunt or battle. The Lance and Shield Dance draws upon elements of those dances
to emulate a celebration of success in the hunt or war.
Eagle Dance
All First Nations revere the eagle. He is the greatest and most powerful of all birds, the respected leader of
those who fly. Some believe he has the power to end wars as well as to make them. Many believe him to be
the Creator's emissary and symbol of purity because he flies in the most pure of places. First Nations who
have pipes or calumets often decorate their pipes with eagle feathers. Most Woodlands and Plains tribes had
a form of eagle dance or pipe dance that incorporated similar elements and some had two distinct dances.
Both dances were used to greet strangers, create ceremonial friendships or make peace, and often to bring
success in hunting or war, to bring good luck or oppose bad luck, and in some cases to cure sickness. The
Eagle Dance incorporates aspects of those dances and is done in demonstration of First Nations' profound
respect for the eagle.
�BuffaloDance
The Plains Indians historically admired the qualities that the buffalo represented and sought to develop
those same qualities - great strength, courage, endurance and generosity. They were very dependent upon
the buffalo, who provided for their food, shelter, clothing and other needs. Plains Tribes historically acknowledged their dependence on the buffalo and were humbly grateful for what was provided. The buffalo is
believed to have spiritual qualities and is accorded the utmost respect . Nearly every Plains tribe had several
Buffalo dances. Some were associated with the hunt, others were strictly ceremonial, and some were social in
nature. The Buffalo Dance is a rendition of a "buffalo calling dance" that was performed to call the buffalo
prior to a hunt. The dance is done in respect for the buffalo.
TeamDance
This is a new style of dance that has evolved in recent decades. Three or four dancers form a team and synchronize their steps and movements. Team dance competitions and demonstrations have become a popular
addition to powwows.
Saskatchewan CHIP Hotels are Proud sponsors of the
2002 Saskatchewan First Nations Cultural Celebration
& Powwow
SASKATOON
HOTEL
AND
INN
CONFERENCE
CENTRE
1-800-667-8789
REGINA
~JtA;I> ~
HOTEL
AND
INN
CONFERENCE
CENTRE
1-800-66 7-8162
1-800-333-3333
(,,
,
IMPERIAL 400
M
Saskatoon
Regina
(306) 244-290 I
(306) 584-8800
O
T
E
L
S
1-800-781 ~2268
"Your Friends at Saskatchewan CHIP Hotels would like the opportunity to thank
all First Nations organizations, people and communities for their continued
support and we value our working relationship."
�EventSponsors
The Federationof SaskatchewanIndianNationswould like to thank its corporatesponsors
& partners,along with the variousindividualswho generouslydonatedto this event.
On behalf of all SaskatchewanFirst Nations,thank you!
Major Event Sponsor:
RAWLCO
RAD
I 0
The FSIN would like to specially thank the President of Rawlco Radio, Pam Leyland and her staff for their dedication
and enormous contributions toward the promotion and marketing of this event.
Eagle Sponsors:
Saskatchewan Indian Gaming Authority (SIGA)
Saskatchewan Indian Institute of Technologies (SIIT)
Saskatchewan Indian Cultural Centre (SICC)
Saskatchewan Indian Federated College (SIFC)
Gold Sponsors:
Cree Way Gas
DarkHorse Studio
Silver Sponsors:
Saskatchewan Government Insurance
4 Directions Printing Inc.
Cameco Corporation
Prince Albert Grand Council - Northern Lights Community Development Corporation
CHIP Hospitality (Raddison Hotel, Saskatoon Inn & Imperial 400)
Eagle Feather News
Bronze Sponsors:
SaskPower
Federated Cooperatives Limited
Saskatchewan Sage & Wind Speaker
Circle of Friends:
SaskTel
Hitachi Canada Industries Ltd.
Delia Opekokew - Opekokew/Winegarden,
Barristers & Solicitors
Saskatchewan Sport, Culture & Recreation
Jake Tootoosis
PAGC Grand Chief Gary Merasty
Vice Chief Elmer Ballantyne
Vice Chief Emile Hanson
�POWWOWCATEGORIES
Golden Age 50+
YOUTH 6 - 13
1st
$800
2nd
$600
3rd
4th
5th
$100
TOTAL$2,100 X 2 = $4,200
1st
$100
2nd
$75
3rd
$50
4th
$50
TOTAL$275X 6 ==$$1
·1. Mens Traditional
2. LadiesTraditional
TEENS 13 - 18
$300
$200
$100
4th
$50
TOTAL$2,100 X 7 = $4,550
1. Teen BoysTraditional
2.
3.
4.
5.
6.
7.
Teen Girls Traditional
Teen Boys Grass
TeenGirls Jingle
Teen Boys Fancy
Teen Girls Fancy
Teen Boys Chicken Dance
�THE tNCA SUMMERtlNSTtTUTE
2002
By Kerry Benjoe
A room filled with over 27 journalists may seem
like a nightmare to those who fear the media.
However, to Shannon Avison, Department Head,
of the INCA (Indian Communication Arts) program
it is a sign of success. The INCA program is a
two-year certificate offered at the Saskatchewan
Indian Federated College (SIFC). Every two
years, summer institute is held as part of the
INCA program and this year's summer institute
boasted the biggest class ever, with a success rate
of 100 percent. All 27 students who participated in
the class passed, which is amazing since the
students dubbed the class journalism boot camp.
To understand the full magnitude of the summer
institute one has to envision 27 students, one
classroom, over 30 instructors and seven short
weeks. The institute was a carefully choreographed event that two very talented instructors
were able to pull off. The students received the
best training possible from a group of professionals
who took time out of their busy schedules to
spend time teaching a group of inexperienced but
eager students at the University of Regina's
School of Journalism.
Everyone had to be committed because internet,
print, radio and television journalism, were all
covered in seven weeks. The students were
involved in every aspect of journalism, from
building their own website to editing their own
radio and television documents. This was on top
of pitching unique story ideas, script writing,
mastering technical equipment and attending
daily lectures. The student journalists were very
fortunate because they were trained by a wide
variety of talented people. It was a change from
regular classes because no one relied on text
books instead everyone learned through hands
on experience combined with the expert advice of
11
Fall2002
those working in the media. Students ~nd lecturers
worked side by side like colleagues, which may
be why there was a high level of success.
The students learned a great deal from the
instructors, but the instructors in turn learned
from the students. Fiddler originally came to the
institute as a training coordinator and was working
for CBC in Vancouver with the full intention of
returning at the end of the institute. Fiddler was
placed in the role of teacher and mentor and her
experience at the institute changed her focus. She
is now pursuing her Masters and has remained in
Regina. Fiddler said that "teaching and mentoring
causes you to see yourself in a new light and
gives you a whole different perspective on life"
and it is what ultimately caused her to change her
career path. Fiddler enjoyed working with the
students because teaching is very rewarding and
she has found that teaching has made her "a
kinder person, with a new way of critiquing other
people's work:'
Linda Kayseas, a student in the summer institute,
had the unique opportunity to be the producer for
the radio show that the students created. In doing
so, Kayseas was offered three different jobs!
Kayseas is now working at CBC and she was
amazed that she, was able to do the work
required considering that she, along with the rest
of the class, received only three weeks of radio
training. Kayseas believes that the summer
institute is very important because "it introduces
a whole new world to Aboriginal people with job
opportunities that they may have never even
considered': Kayseas is enjoying the fast paced
work environment at CBC and she considers
herself fortunate to be given the opportunity to
hone her journalism skills.
�Sheldon Poitras, another student
who participated in the summer
institute, believes that the institute provides the students with
a crash course in journalism
that would benefit any student
regardless of their field of
study. Poitras, president of the
SIFC Students Association,
came out of the class with a
new understanding about how
the media works and he feels
that he now possesses the skills
needed to operate in that area.
Poitras voiced what other
students may have felt and
that is "in addition to receiving
an extraordinary training opportunity we also developed a
whole new network of friends
along with a strong support
system:'
Participants started the institute
as students, but the degree of
specialized training that they
received left everyone with all
the skills needed to become
working journalists. Some students may not pursue a career
in the media but there are some
who have applied to the School
of Journalism and have opted
to make journalism their profession. Regardless of what
each new journalist chooses to
do, the fact remains that
everyone enjoyed their time at
the institute. Anyone remotely
. interested in pursuing a career
'"in t~e media should seriously
consider making plans to
participate in the next summer
institute to be held 2004.
27 STUDENTS
ONE CLASSROOM
OVER 30 tNSTRUCTGRS
SEVEN WEEKS
100%SUCCESS .RATE
The power of
community.
The process of connecting with others has the
power to change attitudes and enrich our lives.
Throughout the year, SaskPower supports many
events celebrating First Nations
cultures and traditions.
SaskPower is a proud
sponsor of the FSIN
·~~ii
illm~f)
•~lfl,mo
Cultural Celebration
& Powwow "Cultural
Awareness Day."
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SaskPower
Saskatchewan
Indian 18
�Shaylynn Pewapisconias is
from Little Pine First Nation,
Saskatchewan. She was
scouted while playing at the
2002 National Aboriginal
Hockey Championship last
spring at Akwesasne, Ontario
and is now on her way - with a
scholarship - to Superior,
Wisconsin to play for the
University of Wisconsin
women's hockey team.
Shaylynn remembers how she
got her start in hockey. It began
with her dad, who took her out
to the frozen pond at the back
of the house.
"My feet were really small for a
four year old and he put big
skates on me," she said. "I kept
falling down and he wouldn't
help me. He just kept telling me
to get up."
It is funny how this story has a
familiar ring to it, like the stories from Saskatchewan's other
players in the big leagues.
Dreams
of Gold
Jt is thewayanyhockeyplayerdreamsif
willhappen.
Except
for thefacfthatthis
hockeyplayerhappens
fo bea girl.
19
Fall2002
Shaylynn is the daughter of Les
and Mareena Pewapisconias
and has twelve adult siblings
and one younger brother who
plays competitive ball. She is 18
years old and recently graduated from the Little Pine First
Nation High School. She began
playing organized hockey at the
age of twelve. Her mother
Mareena first signed her up for
figure skating. "I told my mom I
didn't want to figure skate, I
wanted to play hockey." So after
convincing her mother,
Shaylynn played her first game
in Cutknife with the Atom boy's
team.
By the time she began playing
Peewee hockey, things were
getting harder on her and the
few other girls who were still
playing on the mixed team.
�"The boys on the team didn't
want us there. They would tell
us to quit the team," Shaylynn
recalls. "The other girls finally
quit, but I stuck it out.
"It wasn't until Bantam that I
started playing with an all-girls
team in Unity. This is where I
really started to get good at
playing."
Aboriginal teams started to pick
her up for tournaments.
Shaylynn began making friends
and meeting new coaches and
line mates that supported her
quest to become a better
hockey player. But there was a
tough choice ahead and
Shaylynn's decision proved to
be a major turning point for her.
"At the time I was playing for
the Unity team, I was asked by
Saskatchewan's Aboriginal Team
to play at the National
Aboriginal tournament. This
tournament was the same time
my Unity team was going to
play Provincials. I decided to go
with the Aboriginal team. We
took home bronze and my team
(Unity) won the gold at the
Provincials," said Shaylynn.
"When I got home, the town
paper wrote a story on the team
(Unity) and mentioned all my
team mates, but they didn't list
my name." Shaylynn saw this
as a sign from her coach that he
was not pleased with her decision to play with another team.
Fortunately, her decision was
the right one and it has made
all the difference.
Shaylynn is now looking forward to two-hour daily practices on ice and a daily work
out off ice to improve her foot
speed, plus she will have to
keep up with the demands of
attending university. She is
planning to take teaching while
at U ofW.
Playing the game she loves is a
far cry from what could have
been. Shaylynn was once
headed down the wrong path,
getting into trouble with the law
and considered a young
offender in her community. She
hopes that youth in her community will someday see her as
a role model and realize that
being involved in sports can
lead to better things.
Shaylynn is meeting her future
with a positive attitude both on
and off the ice. She sees moving to Wisconsin as a once in a
lifetime opportunity. Maybe we
will watch her on T.V.as she
once watched her favorite
player - Saskatchewan's own
Fiona Smith who played with
Canada's Olympic Women's
HockeyTeam in Nagano, Japan.
Good luck, Shaylynn!
Back Row Left to Right: Joan Greyeyes (Manager), Lynette Bird, Charmine Naytowahow, Sara McKay, Ruby Norman,
Wylee Dillion, Dayna King, Fallon Head, Darcey King, Shaylynne Pewapisconias, Michelle Delorme, Earl Cameron
(Head Coach)
Front Row Left to Right: Donna King (Asst Coach), Corisa Iron, Danene King, Tiffany Oakes, Kara Pooyak,, Michelle
Mitsuing, Jessica Lamaiqre, Jennifer Hug Ii, Tamara Desjarlais
Saskatchewan
Indian 20
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21
Fall2002
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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 Sovereign Indigenous 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
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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 Sovereign Indigenous 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. 32, no. 3 (Fall 2002)
Subject
The topic of the resource
First Nations--Saskatchewan--Periodicals
Description
An account of the resource
Contents:
15th Annual Treaty Four Gathering Getting bigger and better every year
Ray McCallum painter, dancer and songwriter
Saving Mistaseni, remembering a Cree sacred site
Living the Music, Saskatchewan recording companies making their mark
2002 Saskatchewan First Nations Cultural Celebration and Pow Wow Program
Journalism Training, INCA Summer Institute 2002
Dreams of Gold, a scholarship begins a new journey for Shaylynn Pewapisconias.
Creator
An entity primarily responsible for making the resource
Federation of Saskatchewan Indian Nations
Publisher
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Federation of Saskatchewan Indian Nations
Date
A point or period of time associated with an event in the lifecycle of the resource
2002
Contributor
An entity responsible for making contributions to the resource
Federation of Saskatchewan Indian Nations
Rights
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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
2002
Buffalo Child Stone
First Nations Artists
Ray McCallum