PATRIMÔNIO ARQUEOLÓGICO HURON-WENDAT: CONSTRUINDO RELAÇÕES PARA A COLABORAÇÃO

L’intérêt universitaire pour la population Huron-Wendat du dix-septième siècle en Ontario est loin d’être nouveau. Malgré cela, ce n’est que très récemment que les archéologues et autres chercheurs travaillent avec la communauté Huron-Wendat autour des excavations de sites Huron-Wendat en Ontario. Cette implication est un premier pas, mais ne peut être vue comme une réelle collaboration car dans la plupart des cas les investigations ne sont pas des partenariats et ne répondent pas à de questions directement posées par les membres de la Nation. En 2015, pour le quatre-centième anniversaire de l’arrivée de Champlain en Ontario, les membres de la Nation Huron-Wendat et des archéologues ont co-organisé un colloque autour de sujets significatifs pour la nation, parmi lesquels la relation avec les « Iroquoiens du Saint-Laurent », les Wendat et l’histoire Wyandot après 1650, ainsi que les analyses bio-archéologiques. Cet article présente une brève histoire de la recherche archéologique sur le passé Huron-Wendat et dégage de nouvelles et plus collaboratives voies de recherche présentes et à venir.There is a long history of academic interest in the Huron-Wendat people of the seventeenth century in Ontario. Despite this interest, archaeologists and other academics have only recently begun to engage with the Huron-Wendat community regarding excavations of Huron-Wendat sites in Ontario. This engagement is a first step, and it does not represent true collaboration, because in most cases investigations are not partnerships and do not arise from questions posed by members of the Nation. In 2015, to mark the four-hundredth anniversary of the arrival of Champlain in Ontario, members of the Huron-Wendat Nation and archaeologists co-organized a conference focussed on subjects of interest to the Nation, including their relationship with the “St. Lawrence Iroquoians,” Wendat and Wyandot history after 1650, and bioarchaeological analyses. This paper presents a brief history of archaeological research on the Huron-Wendat past and outlines some new, more collaborative avenues of present and future research.Existe uma história longa de estudo acadêmico do povo Huron-Wendat no século dezessete no Ontario. Apesar disso, é muito recente o engajamento dos arqueólogos e de outros acadêmicos com a comunidade Huron-Wendat em relação às escavações de sítios Huron-Wendat no Ontario. Este engajamento constitui um primeiro passo, porém não representa uma verdadeira colaboração considerando que na maioria dos casos as investigações não são parcerias e não se baseiam em perguntas diretamente formuladas pelos membros da Nação. Em 2015, para marcar o aniversario de quatrocentos anos da chegada de Champlain no Ontario, membros da Nação Huron-Wendat e arqueólogos co-organizaram um colóquio sobre temas de grande interesse para a Nação, incluindo a relação com os “St. Lawrence Iroquoians,” os Wendat e a história dos Wyandot depois de 1650, assim como análises bio-arqueológicas. Este artigo apresenta uma breve história da pesquisa arqueológica sobre o passado dos Huron-Wendat e revela alguns novos, e mais colaborativos, caminhos de pesquisas presentes e futuras

Representing ethnography and history, interacting with heritage : analysing museological practices at the Huron-Wendat Museum

Ce mémoire de maîtrise propose une réflexion sur les choix et mesures pris en termes de représentation et d'interaction dans les musées ethnographiques à partir d’une étude de cas, le Musée Huron-Wendat à Wendake, au Québec. L'objectif est d'analyser et comprendre ces pratiques muséologiques destinées à exprimer une identité autochtone locale. L’étude souhaite également démontrer comment les publics s’identifient et interagissent avec les discours culturels et politiques spécifiques du musée. Une attention particulière est accordée à l'étude du changement de paradigme muséal d'un espace d'autorité à un lieu inclusif. La mission des professionnels du musée concernant le concept de représentation sera analysée, ainsi que leur travail sur les notions d'accessibilité et de participation avec et pour le public. En se basant sur l'étude de terrain et la littérature scientifique, ce mémoire s'engage à questionner les notions prédominantes d'identité, de continuité et d'unité, dans le contexte de la nouvelle muséologie et du postcolonialisme.This master thesis is an analysis of the current specific actions on representation and interaction taken in contemporary ethnographic museums. The aim is to highlight museology pathways used to represent local Indigenous culture and to explore how the public is involved with and relates to these specific discourses on heritage. Special attention will be devoted to the study of the shift of museums from authoritative places of education to socially inclusive spaces. The mission of heritage professionals in terms of representation will be analysed, as well as their work on the notions of accessibility and involvement for and with the public. The Huron-Wendat Museum in Wendake, Québec, serves to investigate these museum practices. Drawing from thorough fieldwork and extensive secondary literature, this master thesis will further probe the prevailing notions of identity, continuity and unity of the new museology in a postcolonial context

Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête

This article examines how La Tempête, a 2011 collaboration between Robert Lepage’s theatre company, Ex Machina, and the Huron-Wendat Nation on the Wendake First Nations reserve, fostered moments of productive interculturalism both on stage and off through what I have termed scenographic dramaturgy. Lepage’s process of scenic re-“writing” responds to the evocative potential of individual performer bodies and a production’s given physical location to craft a postdramatic adaptation rooted in highly physical and visual performance text. This analysis draws on intercultural theory, scenographic dramaturgy, postcolonial theory, and postdramatic adaptation and includes a brief survey of Quebecois and First Nations Shakespeare productions in Canada, highlighting some of the potential traps of staging postcolonial interpretations, including power imbalances among intercultural collaborators and reductionist portrayals of difference. Ex Machina and the Huron-Wendat Nation’s ability to avoid many of these traps will be interrogated through examples illustrating how scenographic dramaturgy’s three central components—bodies in motion, architectonic scenography, and historical spatial mapping—function as both a process and product fostering progressive dialogue between cultures.En 2011, la compagnie Ex Machina de Robert Lepage s’associait à la Première Nation huronne-wendat de Wendake pour une production de La Tempête. Cet article examine comment cette collaboration a donné lieu à des moments d’interculturalisme productifs tant sur scène qu’en coulisses grâce à ce que Melissa Poll appelle la « dramaturgie scénographique ». En effet, la ré-« écriture » scénique de Lepage met à profit le potentiel évocateur du corps de chaque interprète et l’emplacement du spectacle, afin de produire une adaptation postdramatique enracinée dans un texte scénique très visuel et physique. Puisant aux études interculturelles, à la dramaturgie scénique, aux études postcoloniales et à l’adaptation postdramatique, cette étude propose un bref survol des productions québécoises et autochtones de pièces shakespeariennes au Canada afin de mettre en évidence quelques pièges que pose la mise en scène d’interprétations postcoloniales, notamment un éventuel déséquilibre dans le rapport de force entre les collaborateurs interculturels et une représentation réductrice de la différence. Dans cet article, l’auteutre tentera de voir si Ex Machina et la Première Nation huronne-wendat ont su éviter ces écueils en examinant divers exemples qui illustrent le fonctionnement des trois composantes centrales à cette dramaturgie scénique—les corps en mouvement, la scénographie architectonique et la cartographie historico-spatiale—qui, en tant que procédés et produits, encouragent le dialogue entre cultures

Beyond the Divide: The Use of Native Languages in Anglo-and Franco-Indigenous Theatre

Eight plays by Yves Sioui Durand, Tomson Highway, and Floyd Favel all demonstrate the powerful impact of language in the­atre by repositioning the debate between the two so-called official languages of Canada and put­ting Aboriginal languages at the fore. Sioui Durand, a French-speaking Huron-Wendat, uses French, English, Spanish, Mohawk, Innu, Attikamek, Huron-Wendat, Ojibwe, and the Nahualt dialect of the Aztec language. Similarly, Highway uses Cree, his mother tongue, as well as some Ojibway-Anishnaabe in The Rez Sisters (1988) and Dry Lips Oughta Move to Kapuskasing (1989), while Favel uses Cree in Governor of the Dew (2002) and All My Relatives (2002). Speaking in an endangered language is political and resistant; it also allows for greater ease and power of expression. Although Durand’s approach is pan-Native, encompassing many different Indigenous languages and cultures, while Favel and Highway deal specifically with Cree, all three playwrights succeed in decentring the power of the dominant languages

Origins of Yukon First Nations Beading Styles: Searching Floral Patterns from 1500s France to 1800s Yukon

This dissertation shows the path of 1600s regional floral embroidery designs from France to the Yukon. These patterns became the first floral designs that my culture, the Yukon First Nations people, adopted in the mid-late 1800s. Before floral designs Yukon First Nations people created a geometric style of imagery that was applied to their clothing and tools. This begs the question: where did the floral imagery originate from? I begin with an examination of Athapaskan geometric designs before the adoption of floral designs. I then examine the Upper Yukon River Floral style that my people adopted in the mid-late 1800s. From here I move back in time to what I have identified as the Cree/Métis ‘A’ style. It was the Cree/Metis that first brought floral designs into the region which they themselves adopted earlier and from peoples further from the east. After examining the Cree/Metis, Anishinaabe, and styles of First Nations people in the Great Lakes region I will jump further back in history all the way to 1600s France where I believe the styles originated from. I will analysis the French Regional and Baroque Styles and it was these styles that were brought from France to New France by various Catholic orders. Now moving forward in time I will show the adopting of the French styles by the Huron and Iroquois. I will show through diffusion that these styles generally stayed the same over time as they spread west and north, eventually arriving into the Yukon. I then analyse various floral styles adopted by Yukon First Nations and show how they changed by the mid-1900s

Initiative huronne-wendat de création d'une aire protégée : mobilisation des savoirs et affirmation territoriale

Ce mémoire traite du projet de création de l’aire protégée Ya’nienhonhndeh de la Nation huronne-wendat. À travers l’exploration de la production, de la circulation et de l’utilisation des savoirs relatifs à ce projet, nous cherchons à éclairer les dynamiques constitutives des relations entre la Nation huronne-wendat et l’État québécois dans le cadre de la gestion du territoire traditionnel huron-wendat, le Nionwentsïo. Ce mémoire vise d’abord à mettre en lumière les aspirations de la Nation huronne-wendat concernant l’avenir de son territoire ancestral ainsi qu’à documenter les types de savoirs produits pour les faire valoir. Ensuite, à partir de la cartographie du cheminement de ces savoirs, sont exposés les obstacles structurels qui entravent la réalisation de ces aspirations lorsqu’elles doivent passer par la bureaucratie québécoise. Puis, en s’appuyant sur quelques-unes des diverses utilisations qui furent faites de ces savoirs, la réflexion est élargie pour porter sur les rapports de pouvoir établis entre la Nation huronne-wendat et l’État québécois dans le cadre de questions territoriales. Mots clés : aire protégée, Hurons-Wendat, projet autochtone, aspirations autochtones, bureaucratie, institutions, rapports de pouvoir, État québécoisThis study analyzes the Ya’nienhonhndeh protected area project of the Huron-Wendat First Nation. Through the exploration of the production, the circulation and the application of the knowledges associated with this project, I seek to shed light on the constituting dynamics of the relations between the Huron-Wendat and the Quebec state regarding the former’s traditional territory, the Nionwentsïo. This study first aims to expose the Huron-Wendat’s aspirations regarding the future of their traditional territory while documenting the knowledges produced to assert these aspirations. Then, from a cartography built on the circulation of these knowledges, I elucidate the bureaucratic and institutional obstacles blocking the realization of the Huron-Wendat’s aspirations. Finally, based on the observation of the applications made of these knowledges, I broaden my reflection on the power relations existing between the Huron-Wendat First Nation and the Quebec state regarding the Nionwentsïo. Key words : protected area, Huron-Wendat, project, aspirations, First nations, bureaucracy, institutions, power relations, Quebec stat

Huron-Wendat historical visual arts tradition: symbol of cultural continuity and autonomy in the past, source of inspiration in the present

This article explores issues of representation in historical Aboriginal Canadian artworks, focusing on the souvenir arts business developed by the Huron-Wendat community