Book examines "flawed enterprise"
Aboriginal artsts called to apply
Ft. Norman working to preserve culture & heritage
Book examines “flawed enterprise”
In 1884, the nuns of the Ursuline Order left their Toledo home for the plains and mountains of Montana with well-intentioned hopes of bringing Native Americans into their religion. Over the years, these dedicated women endured grueling winters, poverty, sickness, primitive conditions, and a disheartening lack of support. Drawing on journals, letters, and other archival material, Lady Blackrobes shares their engrossing story of determination in the face of great hardship.
By the standards of their time, these missionaries met with success: by the turn of the century they had established eight missions, one of which, St. Labre’s, is today considered one of the finest schools for Native Americans in the United States. But their efforts must also be viewed through a modern lens, and this comprehensive history recognizes the negative impact assimilation had on Native culture.
In her introduction, author Irene Mahoney says, “Certainly, I would agree that missionary activity, as it was practiced in the nineteenth century (and later), looks to us now, with our contemporary perspective, as, at best, a flawed enterprise. The Native Americans had not disappeared, had not slipped away into some unknown existence as an earlier generation had hoped. They were still there, pushed from east to west by hunters, government soldiers, and settlers. Since they had not gone away, they had to be dealt with, and by the mid-nineteenth century, two methods were in vogue: exterminate them or assimilate them. At face value, it seemed far more humane to assimilate them, although, as one critic charged, assimilation was simply a more subtle form of extermination.
“In time they learned from the Jesuit priests, who had already established missions in the Montana region, that it was essential that children be separated from their families as much as possible, that all Indian customs be forbidden, and that they must never be permitted to speak their native languages. Only with such draconian measures could assimilation be assured.
“In order that the Native Americans be brought into the family of Jesus Christ, their culture, with its rituals, myths, and languages, had to be destroyed. Missionaries accepted this without a pang. To lead these people from darkness into light was a goal that could not be questioned.
“It is, of course, precisely this absolutism that today we question and deplore. Our theology of ‘mission’ has changed radically. The goal of ‘missionaries’ today is a far different affair – not destroying but enabling people to live fuller lives within their own culture.
“Some time ago, I listened to a group of historians discussing their craft. ‘History is a crippled discipline,’ one of them ruminate. ‘It can’t really get at the truth.’ I found the statement comforting as I tried to sort out what these Ursuline missionaries thought and accomplished, knowing that however hard I worked, I would never be able to get at the truth. Hindsight prevents me. I live in another world with another perspective, another set of assumptions.
“So what then are we to say of those Ursulines who so singlemindedly strode off into the plains and mountains, the gullies and buttes of Montana? Whatever their limitations (and there were many), they lived lives of almost unendurable hardship, unswervingly faithful to the only vision available to them. Perhaps our best explanation is found in the words of that perceptive novelist Henry James: ‘We work in the dark; we do what we can. The rest is the mystery of life.’”
Irene Mahoney is a member of the Ursuline Order of nuns. She is a retired professor and writer-in-residence at the College of New Rochelle. Mahoney is also the author of A Far Country, which explores the Ursuline Mission in Thailand. She lives in New Rochelle, New York.
Aboriginal artists called to apply
By Wanda Nanibush
Aboriginal artists in Ontario have resources that they may not know about. The Ontario Arts Council (OAC) has dedicated programs that support emerging, mid-career and established Aboriginal artists working in all traditional and contemporary art forms. And that’s in addition to the fact that Aboriginal artists and organizations can to apply to all of OAC’s granting programs.
In my area, the Aboriginal Arts Office, there are two main project programs that support Aboriginal artists and arts organizations – Aboriginal Arts Projects (AAP) and Aboriginal Art Education Projects (AAEP).
The Aboriginal Arts Projects program has several categories that fund creation, promotion, presentation, research, distribution and programming of Aboriginal artistic work by individual artists, collectives or arts organizations.
Individuals can receive creation grants for new work in film/video, new media, painting, sculpture, craft, birch-bark-biting, basket-weaving, beading, pottery, tufting, dance, theatre, music, poetry, fiction, non-fiction, spoken word, and storytelling. Funding can also support the research and development that leads to the creation of this new work.
In addition to creation, there is a category for non-profit arts organizations, artist collectives and informal arts groups that funds exhibitions, festivals, arts publications, and single and series presentations.
The Aboriginal Arts Education Projects program supports Aboriginal artists to work with learners of any age in any setting. The artists often teach language and culture through the arts. Other artists focus on teaching artistic skills to the next generation of artists. All of the projects have the learners actively engaged in making their own artwork. Artists work within their own communities and sometimes travel to other communities to conduct workshops. We have funded community mural projects, media arts training, traditional arts workshops with community supported Elders, theatre creation in Aboriginal languages for young audiences and much more.
In January, 2006, OAC launched a new program called Access and Career Development. It funds mentorships, internships and training for Aboriginal artists and arts professionals who want to improve their artistic skills. Through this program, several Aboriginal artists have been able to be mentored by a senior artist.
For Aboriginal Artists based in northern Ontario, there is a new program called Northern Arts. To be eligible for the Northern Arts program, applicants must live in one of the three northern regions of the province identified by OAC – the northeast, the northwest and the far north. See the map at www.arts.on.ca under Hot Topics for boundary details or contact our new Northern Arts Consultant Marilyn McIntosh toll-free at 1-866-391-2221 or email mmcintosh@arts.on.ca
As OAC’s Aboriginal Arts Officer, I am available by email or by phone if you would like to discuss your project ideas and application questions. I can also provide feedback on applications if you send them to me well before the deadline. If you would like me to come to your community for a community information session on OAC programs and application processes, please contact me and I can see if we can accommodate your request.
For more information about all OAC programs, please visit www.arts.on.ca or contact Wanda Nanibush, Aboriginal/ Northern Arts Officer, 416-969-7454 or 1-800-387-0058 ext. 7454. Email wnanibush@arts.on.ca
The Ontario Arts Council recognizes and values the arts produced by Aboriginal Peoples of Ontario. OAC is an agency of the Government of Ontario.
Ft. Norman working to preserve culture & heritage
By Dene Skylar
The Ft. Norman Historical & Heritage Society was formed after concerned residents of Tulita, NT came together to work on preserving and promoting their history, culture and heritage. Chief Frank Andrew and the Tulita Dene Band Council supported the creation of the society by formalizing their support through a Band Council Resolution. Other Elders and concerned community people came together to support the establishment of the society.
Members of the Ft. Norman Historical & Heritage Society at the site of Old Anglican Church in Tulita, NT. The church, built by Allan Hardisty in 1880, is one of the oldest structures standing in the Northwest Territories and the government has designated it a historical site. Plans are underway to conserve the structure.
After discussions, Elders and citizens met together and decided that the society should be called the Fort Norman Historical & Heritage Society in respect of the former name of Tulita. Tulita was originally called Fort Norman and was an important fur trade and administrative center back in the 1800s. The objectives of the Fort Norman Historical & Heritage Society are: to preserve and promote the history, heritage and cultures of Tulita, NT and Tulita District; to foster awareness of history, heritage, cultures and arts; to encourage Elders, youth and adults to work together; to preserve and promote history, heritage, culture and arts.
The society is active in pursuing its objectives. Recently they began working on the development of a Community Conservation Plan for the long term management of the Old Anglican Church and to use the Plan as a basis for identifying and adding other historic places to their Conservation Plan. The Old Anglican Church was built by Allan Hardisty in 1880 and is one of the oldest standing structures in the Northwest Territories. The church has been designated as a historical site by the Government of the Northwest Territories. By focusing efforts on a Conservation Plan for the church, the Society wants to create success one project at a time.
Tulita Elder Laura Lennie, who is a founding member of the Society, stated, “it is important for us to work together to ensure our community history and heritage is preserved. This work will be good for everyone.” Tulita Dene Council, Band Manager, Carl Yakeleya also noted the importance of communities taking responsibility to ensure they preserve their history and heritage by saying, “It is good to see our people involved in working together to preserve our history and heritage as it demonstrates the importance of working together and that results can be achieved through cooperative efforts.”
Another founding member of the Society, Mabel Martin, said, “You have to know your history of where you came from to go forward… it is important because Elders and people share lots but now some kids are left on their own… if we do historical and heritage work they may take notice and get involved… it will be good for everyone.” The Society plans on doing other projects to support and promote their history, heritage and culture. It is good to see people working together to preserve their history, heritage and culture. The Ft. Norman History & Heritage Society is off to a good start in their important work.