kihteyhayak pihkswestamawnan: Wisdom Keepers Will Speak for Us

Chris Scribe’s dissertation is premised around Indigenous leadership and learning. He worked with the University of Saskatchewan Human Ethics board to redesign what constitutes relational ethics and sources of knowledge for what traditionally has constituted a “literature review.” His work is premised on the knowledge of traditional Elders and how that knowledge is “owned”, “(re)-presented” and granted source credit. Chris’ dissertation is framed through a creative Indigenous cosmology that privileges orality, experiential learning, and artistic expression. Rather than offering a written work that privileges the language of the colonizer, his work is based in an oral and video docu-story that incorporates cultural expression and symbology. In this journey, Chris articulates through dance, artistic expression, and kinship the ways in which ancestral knowledge of leadership and learning is enacted, along with how he positions himself in his responsibilities to the ancestors, to the land, and to this knowledge. His work maintains academic standards of rigour but is organized in a non-traditional format. Throughout the video, he situates himself in his social location, and also his ancestral territorial locations, from where he explains the impetus for his work on Indigenous leadership and education, its significance, and his role and space. He then explains the Indigenous cosmology within which he is working, describing it through the use of a framework that he has created using Indigenous symbolism, life cycle, and relationships to learning and leading. He discusses the ethical journey he has travelled to incorporate the appropriate protocols in which he has engaged (through the University of Saskatchewan and with Knowledge Keepers) in order to access and share knowledge from the Elders to whom he has spoken on issues of leadership and learning (that also informs his conceptualization). He speaks about how he represents his learnings on educational leadership and his role (and others’ responsibilities) for using this knowledge to inform leadership practice. The final portion of the docu-story includes the overlaying of Indigenous leadership story-work over the “text” of a treaty document in order to represent the juxtapositions of understandings at play in the relationship between colonizers and Indigenous peoples that has impacted constructions of learning and leadership for Indigenous peoples. The final analysis culminates in an “accounting” of his research and learning on a buffalo robe

Nistam Ka-ke Askihkokechik Puskwaw-askihk : an assessment of Besant-Sonota pottery on the Canadian plains

As archaeologists, our understanding of the past lifeways of First Nation people is like a pebble in a mountain. We peer through windows of darkness and attempt to reconstruct and interpret the past. First Nation peoples have failed to fully maintain the knowledge of their ancestors and therefore much has been lost. Much of what remains of the oral tradition only goes back a few generations. There are, however, legends that echo a history that goes as far back as the ice sheet and the megafauna that roamed near it. There are no detailed depictions of the history of a specific First Nation. If it has survived through the cultural collision between the Native American and the western world, then it would be truly rare. However, with the study of the material culture we are beginning to glimpse into the past. For the past few centuries, European descendants, mainly archaeologists, have accumulated a substantial amount of archaeological data spanning several thousand years of First Nations history. It has been stated that approximately 2000 years ago an archaeological cultural phase, known as Besant, emerged on the Northern Plains. It has been widely recognized in the discipline as one of the most sophisticated bison hunting cultures to thrive on the Plains. Later a pottery-bearing sub-phase called Sonota was also identified. Their occupation of the Northern Plains spanned a period of 800 years before the lithic tool and pottery making technology changed. The pottery making technology of this group was comparable to that of other archaeological cultures during the same time period, the Middle Woodland period. Very little is known about the Woodland wares that were produced on the Northern Plains. In the early 1970's it was suggested that the culture produced unique wares. Several sites with this pottery were identified in the northern United States. During this same time period, very little was known about Sonota-Besant sites on the Canadian grassland and adjacent parklands. As archaeological research progressed, more and more pottery with characteristics similar to Sonota wares was unearthed. Sonota-Besant vessels are cord-roughened and/or smooth and decoration, although limited, consisted of either punctates or a combination of bosses and punctates. An assessment of the pottery despite the limited number of sites was necessary in order to determine its characteristics and emergence onto the Canadian Plains

Fra Diavolo Opéra Comique en Trois Actes [Barcarolle]

Le gondolier fidèle brave pour voir sa belle les autans ennemis de loin s\u27il obtient d\u27elle un regard un souris c\u27est toujours ça toujours ça de pris c\u27est toujours c\u27est toujours c\u27est toujours ça de pris. Le gondolier fidèle brave pour voir sa belle les argus ennemis de son amour pour elle qu\u27un baiser soit le prix c\u27est toujours ça toujours ça de pris c\u27est toujours c\u27est toujours c\u27est toujours ça de pris. Le gondolier fidèle brave sur sa nacelle les jaloux les maris quand son coeur de sa belle presse les traits chéris c\u27est toujours ça toujours ça de pris c\u27est toujours c\u27est toujours c\u27est toujours ça de pris