Land Spirit Power

Exhibition catalogue for 'Land, Spirit, Power' at the National Gallery of Canada, Ottawa, in 1992, a collection of contemporary art intended as a response and contribution to current discussions on questions of cultural identity, from the specific perspective of First Nations. Includes three essays, and data on each artist.

"In The Spirit Lives in the Mind the renowned storyteller and historian of the Omushkego shares teachings and stories of the Swampy Cree [Winisk Northern Ontario region] people that have been passed down from generation to generation as part of a rich oral tradition. Cree spiritual beliefs revolve around the sacred places and rich landscape of the Hudson Bay lowlands. [James Bay region also.] The beautiful narratives in The Spirit Lives in the Mind illuminate the meaning and value of spiritual maturity and power, the parallels between Omushkego morality and Roman Catholic teachings, and the importance of maintaining the traditional stories. Bird also offers explanations of shamanism and demonstrates how Catholicism affected Cree tradition. Bird collaborated with Susan Elaine Gray, who worked from many years of learning about and teaching Aboriginal culture and traditions in compiling his narratives and personal testament for The Spirit Lives in the Mind. It is a remarkable evocation of aboriginal storytelling about the Cree peoples, their landscape, and their places in the sky."--Pub. website.

Saulteaux artist Robert Houle (b.1947) has claimed space and authority for Indigenous representation in contemporary art for more than fifty years. This new publication celebrates his generational influence and coincides with his exhibition Red Is Beautiful, organized by the Art Gallery of Ontario and touring to the Winnipeg Art Gallery and the National Museum of the American Indian at the Smithsonian Institution. A curator, writer, and educator as well as an artist, Houle has made a profound impact. Growing up on the Sandy Bay First Nation/Kaa-wii-kwe-tawang-kak in Manitoba, he was placed in residential school and denied access to his family and traditions. Always fiercely principled, he has dedicated his career to challenging colonialist perspectives. In 1980, he resigned from his position as the first curator of contemporary Indigenous art at the National Museum of Man (now the Canadian Museum of History) and set off on a path toward creating a remarkable body of work that spans painting, drawing, and large-scale installation. Robert Houle: Life & Work reveals how Houle's artistic output has opened critical discussion on political and cultural issues surrounding First Nations peoples, including Indigenous identity, the impact of colonialism, and land claims and residential schools. Houle has played a pivotal role in bringing contemporary Indigenous artists into the Canadian art mainstream through his writing and curating of important exhibitions, such as Land, Spirit, Power: First Nations at the National Gallery of Canada in 1992. This book also explores the artist's public art projects, critical elements of his legacy for art in Canada.

Contrasting the views of Native Americans and European Americans, this book provides a fresh look at the rhetoric behind the westward movement of the American frontier. From George Armstrong Custer and Andrew Jackson to Helen Hunt Jackson, the volume gives the views of well-known Anglo-Americans and contrasts them with views of such well-known Native Americans as Metacom, Sitting Bull, Tecumseh, and Black Hawk. Organized around major subthemes regarding the land, who should own it, and what ownership means, the book traces the rhetoric of the 17th, 18th, and 19th centuries, then covers current issues in the words of Oren Lyons, Vine Deloria Jr., and Senator Slade Gorton. The core of the debate in this volume is the taking of the continental United States from native peoples by European immigrants. In chapters revolving around major subthemes, the book develops biographies of significant figures in the history of a continent changing hands. What was George Armstrong Custer's view of Native American culture? How did this view contrast with that of his contemporary and antagonist at the Little Big Horn, Sitting Bull? This book is the first to present and contract the views on both sides of the debate.

Nanabush. A name that has a certain weight on the tongue—a taste. Like lit sage in a windowless room or aluminum foil on a metal filling. Trickster. Storyteller. Shape-shifter. An ancient troublemaker with the power to do great things, only he doesn’t want to put in the work. Since coming home to Spirit Bear Point First Nation, Hazel Ellis has been dreaming of an old crow. He tells her he’s here to help her, save her. From what, exactly? Sure, her dad’s been dead for almost two years and she hasn’t quite reconciled that grief, but is that worth the time of an Algonquin demigod? Soon Hazel learns that there’s more at play than just her own sadness and doubt. The quarry that’s been lying unsullied for over a century on her father’s property is stirring the old magic that crosses the boundaries between this world and the next. With the aid of Nanabush, Hazel must unravel a web of deceit that, if left untouched, could destroy her family and her home on both sides of the Medicine Wheel.

Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.

In this New York Times Book Review Editors’ Choice, the son of working-class Mexican immigrants flees a life of labor in fruit-packing plants to run in a Native American marathon from Canada to Guatemala in this "stunning memoir that moves to the rhythm of feet, labor, and the many landscapes of the Americas" (Catriona Menzies-Pike, author of The Long Run). Growing up in Yakima, Washington, Noé Álvarez worked at an apple–packing plant alongside his mother, who “slouched over a conveyor belt of fruit, shoulder to shoulder with mothers conditioned to believe this was all they could do with their lives.” A university scholarship offered escape, but as a first–generation Latino college–goer, Álvarez struggled to fit in. At nineteen, he learned about a Native American/First Nations movement called the Peace and Dignity Journeys, epic marathons meant to renew cultural connections across North America. He dropped out of school and joined a group of Dené, Secwépemc, Gitxsan, Dakelh, Apache, Tohono O’odham, Seri, Purépecha, and Maya runners, all fleeing difficult beginnings. Telling their stories alongside his own, Álvarez writes about a four–month–long journey from Canada to Guatemala that pushed him to his limits. He writes not only of overcoming hunger, thirst, and fear—dangers included stone–throwing motorists and a mountain lion—but also of asserting Indigenous and working–class humanity in a capitalist society where oil extraction, deforestation, and substance abuse wreck communities. Running through mountains, deserts, and cities, and through the Mexican territory his parents left behind, Álvarez forges a new relationship with the land, and with the act of running, carrying with him the knowledge of his parents’ migration, and—against all odds in a society that exploits his body and rejects his spirit—the dream of a liberated future. "This book is not like any other out there. You will see this country in a fresh way, and you might see aspects of your own soul. A beautiful run." —Luís Alberto Urrea, author of The House of Broken Angels "When the son of two Mexican immigrants hears about the Peace and Dignity Journeys—'epic marathons meant to renew cultural connections across North America'—he’s compelled enough to drop out of college and sign up for one. Spirit Run is Noé Álvarez’s account of the four months he spends trekking from Canada to Guatemala alongside Native Americans representing nine tribes, all of whom are seeking brighter futures through running, self–exploration, and renewed relationships with the land they’ve traversed." —Runner's World, Best New Running Books of 2020 "An anthem to the landscape that holds our identities and traumas, and its profound power to heal them." —Francisco Cantú, author of The Line Becomes a River

This book teaches us how to harness the motivational power of God's wave effect, based on Genesis 1:2.It is an effective tool for daily spiritual enrichment and small group discussions