Rooted Here: Woven from the Land Teacher Study Guide PDF 2024

ROOTED HERE WOVEN FROM THE LAND TEACHER STUDY GUIDE WINTER 2024 TABLE OF CONTENTS 3 PROGRAM INFORMATION AND GOALS 6 GLOSSARY 8 ABOUT THE E XHIBITION 10 A BRIEF INTRODUCTION 12 THE ACTIVITIES 14 PRE-TOUR ACTIVIT Y #1: WHO ARE THE ARTISTS? 19 PRE-TOUR ACTIVIT Y #2...

ROOTED HERE WOVEN FROM THE LAND TEACHER STUDY GUIDE WINTER 2024 TABLE OF CONTENTS 3 PROGRAM INFORMATION AND GOALS 6 GLOSSARY 8 ABOUT THE E XHIBITION 10 A BRIEF INTRODUCTION 12 THE ACTIVITIES 14 PRE-TOUR ACTIVIT Y #1: WHO ARE THE ARTISTS? 19 PRE-TOUR ACTIVIT Y #2 : WEAVING NATURE 22 PRE-TOUR ACTIVIT Y #3: GEOMETRIC DESIGN COLL AGE 25 PRE-TOUR ACTIVIT Y #4: UNDERSTANDING 27 FURTHER LEARNING | TEACHER AND STUDENT RESOURCES “You should think about blankets as merged objects. They are alive because they exist in the spirit world. They are the animal. They are part of the hunter; they are part of the weaver; they are part of the wearer.” – Chepximiya Siyam’ Chief Janice George 2 TEACHER STUDY GUIDE | ROOTED HERE VANCOUVER ART GALLERY TEACHER’S GUIDE FOR SCHOOL PROGRAMS Rooted Here: Woven from the Land celebrates the work of four prominent local Salish weavers: qʷənat, Angela George (səlilwətaɬ/Tsleil-Waututh); Chepximiya Siyam’ Chief Janice George (Sḵwx̱wú7mesh/ Squamish); Skwetsimeltxw Willard “Buddy” Joseph (Sḵwx̱wú7mesh/Squamish); and Qwasen, Debra Sparrow (xʷməθkʷəy̓əm/Musqueam). The exhibition establishes important contexts for understanding each artist’s career, including the long history of Salish weaving, the rootedness of these traditions in the land and its resources, the interruption of Salish weaving by colonialism, and the artists’ significant roles in its contemporary revival and renewal. It also creates an opportunity to better understand the crucial role these artists have played in designing the exterior of the Vancouver Art Gallery’s new building and the rich significance of its woven surface. DEAR TEACHER, LAND ACKNOWLEDGEMENT This teaching guide will assist you in preparing Rooted Here: Woven from the Land takes place on for your class tour of the exhibition Rooted Here: the unceded, ancestral and current territories of Woven from the Land. It provides activities to the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh facilitate discussion before and after your school (Squamish) and səlilwətaɬ (Tsleil-Waututh) tour. Engaging in the suggested activities will Nations. reinforce ideas generated by the tour and build continuity between the Gallery experience and your ongoing work in the classroom. Most activities require few materials and can be adapted easily to the age, grade level and needs of your students. Underlined words in this guide are defined in the Glossary section. 3 ROOTED HERE: WOVEN FROM THE LAND HAS 3 MAIN GOALS: 1 TO INTRODUCE STUDENTS TO THE WORKS OF FOUR SALISH WEAVERS 2 TO CONSIDER KEY CULTURAL ELEMENTS WITHIN THE EXHIBITION SUCH AS THE INTERCONNECTION TO ALL LIVING THINGS AND ANCESTRAL KNOWLEDGE 3 TO EXPLORE INDIVIDUAL ARTWORKS IN THE CONTEXT OF IDEAS, TECHNIQUES AND PROCESS 4 TEACHER STUDY GUIDE | ROOTED HERE 5 GLOSSARY ANCESTRAL Used as an adjective to describe things that someone inherited from an ancestor. Ancestral things have been around so long that they once belonged to your ancestors, the family members who lived before your grandparents were born. ANCESTORS Usually refers to a person related to you who lived a long time ago, rather than parents or grandparents. ANCESTRY 1. One’s family or ethnic descent. 2. The origin or background of something. COLONIAL(ISM) | COLONIZATION A process that occurs when settlers arrive at a place in order to establish political control over it. “This is done by creating new governing systems and ways of living, being and doing that make the ways of those who were there before, inferior. This creates unequal relationships between the colonizer and the Indigenous people.” KNOWLEDGE KEEPER Someone who is responsible for preserving and passing down information, traditions and cultural practices from one generation to the next. It is their job to protect and promote knowledge related to their culture and society. POTLATCH A ceremony integral to the governing structure, culture and spiritual traditions of various First Nations living on the Northwest Coast and in parts of the interior western subarctic. It primarily functions to redistribute wealth, confer status and rank upon individuals, kin groups and clans, and to establish claims to names, powers and rights to hunting and fishing territories. POTLATCH BAN The ban made Indigenous ceremonies illegal and punishable by law. It lasted for sixty-seven years from 1884 to 1951. During that time, it was illegal for more than three people to congregate outside of the church, or make speeches, dance, give names away and gifts. Families who potlatched in secret not only risked having their masks and regalia seized but also could be sent to jail for two to six months. Yet the resiliency of Indigenous Peoples remained strong, and they have now reclaimed and revitalized the Potlatch. RECONCILIATION In Canada, a multifaceted process that restores lands, economic self-sufficiency and political jurisdiction to Indigenous Peoples, and nurtures respectful and just relationships between Indigenous Peoples, the government of Canada and non-Indigenous Canadians. It is an effort to renew the relationship between settlers and Indigenous Peoples, based on recognition of rights, respect, cooperation and partnership. REPATRIATE The act or process of restoring or returning someone or something to their country of origin, allegiance or citizenship. In this case, returning human remains or artifacts to Indigenous Peoples who can show a cultural link to the item. 6 TEACHER STUDY GUIDE | ROOTED HERE GLOSSARY RESIDENTIAL SCHOOL Canadian, government-sponsored religious schools established to assimilate Indigenous children into Euro-Canadian culture. An estimated 150,000 children were forced from their homes and forbidden to speak their languages or to practice any of their own cultural ways of life. In total, over 130 residential schools operated in Canada between 1831 and 1996. TEXTILE ART(IST) An artform that uses materials such as yarn, string and fabric. Textile artists use a wide range of techniques to produce their works, including knitting, crochet, weaving, embroidery, knotting or braiding fabric or natural fibres. UNCEDED A term for a relationship between the government of Canada and Indigenous People when no treaties have been established. In general, ‘unceded’ means the lands and waters of Indigenous people were never surrendered and were taken without permission. WEAVE | WEAVING The textile art in which two distinct sets of yarns or threads—called the warp and weft—are interlaced with each other. The warp threads run vertically, or up and down, and the weft threads run horizontally, or from side to side. To weave, you move the weft threads over and under the warp threads to form a fabric or cloth. WORLDVIEW A collection of attitudes, values, stories and expectations about the world around us, which inform our every thought and action. 7 THE EXHIBITION ROOTED HERE: WOVEN FROM THE LAND Rooted Here: Woven from the Land celebrates the work of The exhibition also offers a rare glimpse into the significant four prominent local Salish weavers: qʷənat, Angela George roles these artists have played as collaborators in the design (səlilwətaɬ/Tsleil-Waututh); Chepximiya Siyam’ Chief Janice of the Vancouver Art Gallery’s new building. Their creative George (Sḵwx̱wú7mesh/Squamish); Skwetsimeltxw Willard input extends to the woven facade of the new Gallery’s “Buddy” Joseph (Sḵwx̱wú7mesh/Squamish); and Qwasen, design, contributing to a rich and meaningful narrative that Debra Sparrow (xʷməθkʷəy̓əm/Musqueam). connects the architecture with the cultural heritage of the land. Recognized as masters of their craft, these artists have been instrumental in the revival and perpetuation of weaving in Rooted Here: Woven from the Land is organized by the their communities. The rich selection of works on display Vancouver Art Gallery and curated by Richard Hill, Smith demonstrate both their connections to tradition and their Jarislowsky Senior Curator of Canadian Art. aptitude for innovation. Through their art—and the artist’s own voices—this exhibition makes clear the vital integration of weaving throughout traditional and contemporary Salish cultures. It also establishes important contexts for understanding each artist’s career. These contexts include the long history of Salish weaving; the rootedness of these traditions in the land and its resources; the interruption of Salish weaving by colonialism; and the artists’ significant roles in its contemporary revival and renewal. 8 TEACHER STUDY GUIDE | ROOTED HERE 9 A BRIEF INTRODUCTION The Coast Salish region extends from the northern For the Coast Salish peoples, the earth is the ultimate Vancouver Island and Lower Mainland areas to western source of nourishment and knowledge. Earth provides Washington state. gifts of food, shelter, clothing and medicine. There are dozens of Coast Salish First Nations groups in First Foods ceremonies are one way the Coast Salish BC and Washington State. celebrate respect for the earth. These ceremonies honour traditional foods such as water, clams, duck, elk, Archaeological evidence shows that Indigenous Peoples salmon, sprouts and berries. have inhabited the region since at least 9000 BC. Coast Salish people refer to the Western Red Cedar as The term “Coast Salish” was coined by linguists to refer “the tree of life” because it provides materials for canoes, to one branch of the vast Salishan language family. longhouses, clothing, tools and basketry. There are many distinct Coast Salish languages. Despite the changes to traditional ways of life during the Considerable efforts have been made within Indigenous nineteeth and twentieth centuries, contemporary Coast communities to keep these languages alive. Salish artists have nurtured a vital sense of identity through renewed art forms. In the Salish worldview, Elders are amongst the most precious of gifts. The connection between Coast Salish people and the land and water of the Pacific Northwest is at the centre of cultural beliefs and practices. EXPLORE THESE VIDEOS Coast Salish Weaving - The Fabric of Canada Weaving the path | Explore Canada 10 TEACHER STUDY GUIDE | ROOTED HERE 11 PRE-TOUR ACTIVITIES ALL AGES 1. GRADES 4-12 WHO ARE THE ARTISTS? Pre-Tour Activity 2. ALL AGES WEAVING NATURE Pre-Tour Activity qʷənat, Angela George, Rivers Have Mouths, 2021, wool blend, Collection of Artists for Kids and Gordon Smith Gallery, Photo: Khim Mata Hipol, Courtesy of Artists for Kids and Gordon Smith Gallery 12 TEACHER STUDY GUIDE | ROOTED HERE  3. ALL AGES GEOMETRIC DESIGN COLLAGE Pre-Tour Activity 4. ALL AGES UNDERSTANDING Post-Tour Activity Above: Qwasen, Debra Sparrow, swəwqʷaʔɬ (Blanket), 2018, wool fibre, dye, Courtesy of the Museum of Anthropology, The University of British Columbia, Vancouver, Canada, Purchase funded by the Michael O’Brian Family Foundation Below: Chepximiya Siyam’ Chief Janice George and Skwetsimeltxw Willard “Buddy” Joseph, Smenalh Welhmiynexw, 2009, sheep wool, Courtesy of Squamish Lil’wat Cultural Centre 13 GRADES 4-12 | WHO ARE THE ARTISTS? PRE-TOUR ACTIVITY OBJECTIVE Find and describe a piece of work by the artist, then add it into the space provided on the Student To connect with the life, artistic processes and works of Worksheet. (p. 18) the four artists featured in the exhibition. Once your students have completed their worksheets, have each group present their MATERIALS information while the rest of the class fills in their Writing materials Student Worksheets (p. 18). Access to the internet Artist Information Sheet (p. 17) and the Student CONCLUSION Worksheet (p. 18) Discuss the following questions with your class: What were some of the most interesting things that PROCESS you learned or discovered? Divide your class into four groups. Which Salish weavings are you curious about seeing Assign one of the artists from the Artist Information in the exhibition? Sheet (p. 17) to each group. Do the Salish weavings connect or resonate with Provide each student with a copy of the Student your life? Why or why not? Worksheet (p. 18). Consider what they will need to What else are you interested in finding out about the complete their section. artists? Instruct students to conduct research using the internet, either at home or at school. 14 TEACHER STUDY GUIDE | ROOTED HERE GRADES 4-12 | WHO ARE THE ARTISTS? PRE-TOUR ACTIVITY Chepximiya Siyam’ CHIEF JANICE GEORGE Sḵwx̱wú7mesh | Squamish “I am a weaver. I teach weaving and the history of weaving because it brings pride to Salish people to see the genius of our ancestors.” —Chief Janice George Chief Janice George of the Squamish Nation is a master weaver and textile artist. Her ancestral name is Chepximiya Siyam, and she comes from a prominent Squamish family. As a hereditary chief, she participates in numerous ceremonial and cultural responsibilities in her community. Chief George learned to weave from Coast Salish weaver Susan Pavel and Subiyay-t Bruce Miller of Skokomish in 2003. She integrates Squamish teachings passed down from her late grandmother Kwitelut-t Lena Jacobs and other Squamish ancestors into her work. Chief George co-founded the L’hen Awtxw Weaving House with her husband and fellow weaver, Skwetsimeltxw Willard “Buddy” Joseph, to share the teachings and practice of traditional Coast Salish wool weaving. She has visited many museums that house Salish blankets in their collections and has spent countless hours analyzing them and developing resources that have helped to revive Salish weaving. Chief George views her contributions to the perpetuation of weaving as a responsibility and is passionate about reclaiming the art. Chief George graduated from Capilano University in North Vancouver, BC, and the Institute of American Indian Arts in Santa Fe, New Mexico. She has also interned at the Canadian Museum of History in Gatineau, Quebec. She co-authored the book, Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth. Skwetsimeltxw WILLARD “BUDDY” JOSEPH Sḵwx̱wú7mesh | Squamish “Weaving is about educating.” “As soon as we learned the basic techniques, we came home and started teaching right away.” —Skwetsimeltxw Willard “Buddy” Joseph An artist, master weaver and educator, Willard “Buddy” Joseph grew up on Squamish Nation lands. His traditional ancestral name is Skwetsimeltxw. He is the former Director of Housing and Capital Projects for the Squamish Nation. Joseph co- authored the book Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth and co-founded the L’hen Awtxw Weaving House to share the teachings and practice of traditional Coast Salish wool weaving. He also co-founded the M̓i tel’nexw Leadership Transformation, an online seminar to share teachings of Indigenous resilience. Joseph has played an important role in the revival of Coast Salish weaving, learning Coast Salish weaving techniques from Susan Pavel and Elder Subiyay-t Bruce Miller of the Skokomish Nation in Washington State in 2003. He is also the first Elder in Residence at the Vancouver Art Gallery. GRADES 4-12 | WHO ARE THE ARTISTS? PRE-TOUR ACTIVITY qʷənat, ANGELA GEORGE səlilwətaɬ | Tsleil-Waututh “We are artists who weave together a story that is held in these weavings- these holders of knowledge. They reflect not only the laws of the land and place, but they bring together the community.” —qʷənat, Angela George qʷənat, Angela George lives and works in the səlilwətaɬ (Tsleil-Waututh) Nation in North Vancouver. She has a passion for traditional canoe racing, weaving and cultural singing and dancing. George has dedicated her career to the betterment of First Nations people and communities. Well versed in traditional teachings, George has a strong understanding of her culture, spiritual teachings and the impacts of colonization and barriers that plague First Nations communities. She believes that practicing traditions, having a strong sense of identity and connection to ancestry is vital to community wellness, development and sustainability. George completed the Master of Business Administration program at Simon Fraser University, with a final capstone project called “Weaving Governance,” highlighting Tsleil-Waututh traditional law and governance. She is humbled by the gift of traditional weaving, holding this connection to her late mother, Cookie Thomas, from Swxwú7mesh, and Squamish ancestry dearly. She loves to learn and teach weaving and strives to carry this sacred practice with the utmost integrity. Qwasen DEBRA SPARROW xʷməθkʷəy̓əm | Musqueam “And when I stand in front of my loom, and I’m working and creating, I’m with them. I’m not here anymore. I’m back in time, and I’m thinking of the women, and they’re whispering to me and guiding me.” —Qwasen, Debra Sparrow Debra Sparrow is a Musqueam weaver, artist and knowledge keeper. Her ancestral name is Qwasen. She is self-taught in Salish design, weaving and jewellery making. Her contemporary work combines textile and Salish design, and she creates geometric, hand-spun blankets and wall hangings. Sparrow was born and raised on the Musqueam Indian Reserve, and she credits her grandfather, Ed Sparrow—who lived to be 100 years old and remembered the forcible removal of the Musqueam people from Stanley Park—with giving her 300 years of stories that have grounded her in her heritage and enabled her to hear the voices of her ancestors. When Sparrow was a child, the techniques of Salish weaving were lost to the Musqueam Nation. There were no living weavers to teach a new generation; the last known weaver before the revival was her great-grandmother. Sparrow attended a weaving course at the Vancouver Indian Centre (now the Vancouver Aboriginal Friendship Centre) in 1986, and then co-founded a group of women weavers in the 1980s, who rejuvenated the Salish weaving tradition. They were able to reconstruct the lost weaving techniques through books by examining blankets handed down in their families and by doing research in museums. Sparrow’s work can be found in the collections of the Burke Museum, the Canadian Museum of History, the Heard Museum and the Royal British Columbia Museum. In 2017, Sparrow participated in the exhibition The Fabric of Our Land: Salish Weaving at the UBC Museum of Anthropology, which brought together some of the oldest Salish weavings in existence from collections around the world. Sparrow’s weaving highlights the knowledge, skills and aesthetic forms of her ancestors and returns them to her community. placeholder for image credit where needed. 16 TEACHER STUDY GUIDE | ROOTED HERE GRADES 4-12 | WHO ARE THE ARTISTS? PRE-TOUR ACTIVITY ARTIST INFORMATION SHEET Chepximiya Siyan’ CHIEF JANICE GEORGE Hereditary Chief of the Squamish Nation An artist, master weaver and educator Passionate about reclaiming the art of Salish weaving Integrates Squamish teachings into her work from her late grandmother, Kwitelut-t Lena Co-founded the L’hen Awtxw Weaving House and co-authored the book Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth Views her contributions to the revival of weaving as a responsibility Skwetsimeltxw WILLARD “BUDDY” JOSEPH An artist, master weaver and educator Former Director of Housing and Capital Projects for the Squamish Nation. Has played an important role in the revival of Coast Salish wool weaving The first Elder in Residence at the Vancouver Art Gallery Co-founded the L’hen Awtxw Weaving House and co-authored the book Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth Co-founded the M̓i tel’nexw Leadership Transformation, an online seminar to share teachings of Indigenous resilience qʷənat, ANGELA GEORGE Lives and works in the səlilwətaɬ (Tsleil-Waututh) Nation in North Vancouver Has a passion for traditional canoe racing, weaving and cultural singing and dancing Dedicated her career to the betterment of First Nations people and communities Believes that practicing traditions, having a strong sense of identity and connection to ancestry is vital to community wellness Weaving holds a connection to her late mother, Cookie Thomas, and to her Squamish ancestry Completed the Master of Business Administration program at Simon Fraser University, with a final capstone project called “Weaving Governance,” highlighting Tsleil-Waututh traditional law and governance Qwasen, DEBRA SPARROW Self-taught in Salish design, weaving and jewellery making Credits grandfather, Ed Sparrow, for stories that grounded her in her heritage Reconstructed lost weaving techniques by studying books and travelling to museums Co-founded a group of women weavers who rejuvenated Salish wool weaving Her weaving highlights the knowledge, skills and aesthetic forms of her ancestors 17 GRADES 4-12 | WHO ARE THE ARTISTS? PRE-TOUR ACTIVITY STUDENT WORKSHEET (FILL IN THE CHART WITH THE FOLLOWING) PERSONAL INTERESTING INFLUENCE AN ARTWORK INFORMATION FACT Chepximiya Siyam’ CHIEF JANICE GEORGE Skwetsimeltxw WILLARD “BUDDY” JOSEPH qʷənat, ANGELA GEORGE Qwasen, DEBRA SPARROW 18 TEACHER STUDY GUIDE | ROOTED HERE ALL AGES | WEAVING NATURE INSPIRED BY qʷənat, ANGELA GEORGE “Our responsibility here in the present is to maintain the The River teaches us about strength and resilience in the integrity and the knowledge and the wisdom of seven face of adversity and change. Despite erosion, environmental generations back so that it will sustain itself for seven impacts and barriers in its way, the River is resilient- flowing generations to come.” continuously, persevering, manoeuvring and carving a new —qʷənat, ANGELA GEORGE path when necessary. Despite the erosion and degradation of our languages and traditional customs, The First People of OBJECTIVE these lands continue to restore traditional laws, ceremonies To create a weaving with materials found from nature and languages of the lands and waters. DISCUSSION The River’s currents and ripples create influence, reminding us “Rivers have flowed over this land since time out of mind, to be intentional with our words and actions to create positive giving life to the people and all living things. Rivers hold ripples in our communities. Our relationship with the River can ancient knowledge and wisdom and they will speak these to connect us to the rich knowledge, ancient wisdom and laws of us, if we listen. our land and waters. The River has an important role and set of responsibilities to cleanse and sustain life. qʷənat, Angela George, Rivers Have Mouths, 2021, wool blend, Collection of Artists for Kids and Gordon Smith Gallery, Photo: Khim Mata Hipol, Courtesy of Artists for Kids and Gordon Smith Gallery 19 ALL AGES | WEAVING NATURE INSPIRED BY qʷənat, ANGELA GEORGE The River reminds us to listen with our hearts and minds, to Questions to consider: Where do you see representations strengthen ourselves so that we too can uphold our roles and of nature? What shapes do you see that make you say responsibilities, to fulfill our vital role in sustaining knowledge that? What other shapes and patterns can you find from one generation to the next. We learn from the River to representing nature? Does colour play an important role? uphold the ancient wisdom going back seven generations in Why or why not? How do the design elements convey the order to sustain the vital knowledge for seven generations to story, knowledge and lessons George has shared with us come. The rock, sediment, the salmon and all the life within about the river? the River represent wealth and interdependence, reminding us of a time when our survival depended on sharing and living In Coast Salish culture, a special link exists between in harmony. The tree design in the weaving features roots and the past, present and future. One example is branches, living in harmony. The tree design in the weaving connecting seven generations past with those seven features roots and branches, demonstrating that all life is generations in the future. The connection between interconnected and highlighting the importance of reciprocity. the past and future rests with those of us living today, in the present. Why do you think this is important in Like the River, we must persevere, cleanse and go deep within Coast Salish culture and to the artist? Can Salish wool to heal and restore balance and harmony within ourselves and weavings play an important role in connecting the past with all living things. This weaving and its intricate designs and and the future? Why or why not? patterns weave our paths together with the journey and ancient knowledge of the River. Rivers have mouths, and they will Go on a walk to collect leaves, twigs, flowers, feathers, speak to us, if we listen.” grass and other natural materials that you want to use for this project. Think about your own stories, —qʷənat, ANGELA GEORGE experiences or lessons. How can you share what’s important to you with the materials you find in nature? MATERIALS What materials from nature can represent these things to you? 3–4 fallen twigs (about 6” to 10” long), or find a twig that already has a “V” shape. Make a simple shape with the twigs that you found. For Yarn or twine example, a triangle. This shape will be your base on which you will wrap the yarn for your weaving. Scissors Tie the twigs together at the points where they meet Found natural materials (such as pine needles, grass, flowers using a 4-inch piece of yarn. You can do this by winding and/or leaves) the yarn or twine around the two twigs and knotting once it is securely fastened. PROCESS Cut a piece of yarn or twine about 2 feet in length. As a class, read and discuss the story Angela George has Tie one end of the yarn onto one of the twig connection shared about her weaving, Rivers Have Mouths (2021). points. Questions to consider: What is she asking us to think about? Wrap the yarn horizontally around the twig base from What lessons can we learn if we listen to the river? Where can the top to bottom, looping the yarn around twice before you find examples of how we are interconnected with nature? going back to the other side each time. Do this until Discuss the artwork(p. 19). Angela George has said many the yarn is about 4’ from its end. Tie this short tail in times that what you will see in the design of her weavings is place onto one of the twigs. reflections of the land and water. 20 TEACHER STUDY GUIDE | ROOTED HERE ALL AGES | WEAVING NATURE INSPIRED BY qʷənat, ANGELA GEORGE Weave or tuck the grass, pine needles, flowers and/ or leaves through the yarn or twine that’s horizontally wrapped around the base. Think of the pattern and shape designs you can create weaving your natural materials. Title your work. If you want, share the story you were thinking about while weaving. Display your works in your classroom. OPTION FOR YOUNGER STUDENTS: Educators can hot glue the twigs together to create the frame. CONCLUSION What elements did you consider from Angela George’s work? What similarities and differences do you notice in the finished class projects? Discuss the process. How easy or hard was it to create the work? What are some of the techniques you discovered? What patterns or other unique characteristics do you see in each other’s work? Were you able to make connections to nature to tell a story or share a lesson? Why or why not? If you were to do this project again, what would you do the same and what would you do differently? Student examples 21 ALL AGES | GEOMETRIC DESIGN COLLAGE INSPIRED BY Qwasen, DEBRA SPARROW MATERIALS Construction paper in a variety of colours Scissors Glue Large sheet of white or black paper DISCUSSION “I understand that people recognize the status and success of the weaving, but it is more than just the success of the weaving. What is truly important is the knowledge and the integrity of the people from which the weavings come.” —Qwasen, Debra Sparrow Debra Sparrow is a master weaver whose work has been collected and exhibited nationally and internationally. She has said: “I understand that people recognize the status and success of the weaving, but it is more than just the success of the weaving. What is truly important is the knowledge and the integrity of the people from which the weavings come.” Ancestral Indigenous knowledge is vital to Sparrow because the work she is doing as a weaver today wasn’t even part of her community when she was growing up. When she was young, the techniques of Salish weaving were lost to “Our responsibility here in the present is to maintain the the Musqueam Nation due to the interruption caused by integrity and the knowledge and the wisdom of seven residential schools and colonialism. Residential schools generations back so that it will sustain itself for seven and the potlatch ban prevented the ancestral knowledge of generations to come.” weaving from being passed on from one generation to the —QʷƏNAT, ANGELA GEORGE next, so it was an absent practice in the community. In her teens, Sparrow spent five years living in Alert Bay and OBJECTIVE was inspired by the Northern people. Even though they were Using collage techniques, geometric shapes and repeated not allowed to practice their culture because of residential patterns and colours, create a design for a weaving which has schools and colonialism, they went underground, defying the personal connections to the land. interruption residential schools and colonialism were trying to impose: “They kept dancing, singing when no one was around.” She attended feasts there in what was at the time the only big house on the coast, and when Sparrow went to her first potlatch in ‘Namgis territory, she was taken aback by the beauty and power. She was in awe of them. Qwasen, Debra Sparrow, swəwqʷaʔɬ (Blanket), 2018, wool fibre, dye, Courtesy of the Museum of Anthropology, The University of British Columbia, Vancouver, Canada, Purchase funded by the Michael O’Brian Family Foundation 22 TEACHER STUDY GUIDE | ROOTED HERE ALL AGES | GEOMETRIC DESIGN COLLAGE INSPIRED BY Qwasen, DEBRA SPARROW When she came back to Musqueam territory, Sparrow felt a need to find her roots. She wanted to know what her EXPLORE THIS VIDEO place was in the world. She began to do her own research - poem by Qwasen, DEBRA SPARROW by asking questions of her grandfather, Ed Sparrow, who had witnessed the forcible removal of the Musqueam people from Stanley Park. He told her “300 years of PROCESS stories,” and Sparrow remembers: “He would show me our Discuss why Coast Salish weaving was interrupted. old village sites. He would tell me what was valuable to Why do you think it has been important to Debra our people.” His stories grounded her and enabled her to Sparrow and other Coast Salish artists to revive their hear the voices of her ancestors. cultural weaving practices? With no living weavers to teach a new generation, Why is her grandfather’s advice(“Know who you are, Sparrow attended a Salish weaving course at the know where you come from”) important? Vancouver Indian Centre (now the Vancouver Aboriginal Look closely at Debra Sparrows’ work, swəwqʷaʔɬ Friendship Centre). She then co-founded a group of (Blanket) (2018). Consider these questions: What do women weavers in the 1980s, who rejuvenated the Salish you notice? What shapes do you see? Do you see any weaving tradition using research to reconstruct the patterns in this weaving? What colours do you see in lost weaving techniques. Sparrow studied Salish wool the work? What connections can you make to the land? weavings in museums, looking closely at the form, line What shapes do you see that make you say that? and techniques of her ancestors, which led her to stories Discuss connections you have to the land. Consider about her people and past. As she learned about the these questions: Where is a special place on the land materials her people used to make blankets, she learned you feel most comfortable? Maybe you like to swim in about the animals, plants, medicines and the knowledge lakes, hike in the forest or climb mountains? Maybe her people carried through time and space. It became you connect to nature through a desire to protect the a journey to reconnect with her roots and find purpose environment or through an interest in the animals living through the weaving of her ancestors. on the land? Maybe your story is in the cityscapes built on the land or in the sky above looking at the clouds? Her grandfather had told her, “Know who you are, know Maybe you connect to the land through the activities where you came from.” While she weaves, Sparrow thinks you enjoy on it? of her ancestors. Sparrow explains: “when I stand in front of my loom, and I’m working and creating, I’m with them. Salish weavers use geometric shapes, repeated I’m not here anymore. I’m back in time, and I’m thinking patterns and symbolic colours when thinking about of the women, and they’re whispering to me and guiding their designs. How can you tell your story using me.” geometric shapes and patterns in your own design for a weaving? Today, Sparrow is known for her pivotal role in the ongoing Place a large sheet of white or black paper on your revival of Musqueam weaving. Her work is connected to desk. This paper is the base on which you will build her heritage, and her hope is to educate others about the your composition. A composition is how you place the beauty and integrity of her people’s history through her elements on your paper. art. As for her own success, she says: “To me, success is Pick a few sheets of coloured construction paper that standing on my blankets, and knowing who I am.” you think will help tell the story of your connection to the land. 23 ALL AGES | GEOMETRIC DESIGN COLLAGE INSPIRED BY Qwasen, DEBRA SPARROW With your scissors, cut out geometric shapes that represent elements of your landscape and story. Place the shapes on your large paper, and then move them around to create a pattern. Continue to add elements until you are satisfied with the composition. Once you are satisfied with your design, glue the elements in place. Title your work. Optional: write a story to go with your work. Display your finished work in the classroom. CONCLUSION What elements from Debra Sparrow’s weaving did you consider in your design? Look at all the artworks your class has created. How are they similar and different? Discuss the process. How easy or hard was it to create the work? What are some of the techniques you discovered? If you were to do this project again, what would you do the same and what would you do differently? Student examples 24 TEACHER STUDY GUIDE | ROOTED HERE ALL AGES | UNDERSTANDING INSPIRED BY Chepximiya Siyam’ CHIEF JANICE GEORGE AND Skwetsimeltxw WILLARD “BUDDY” JOSEPH “My Grandmother gave me the teachings that came village. These ancestral remains were between 4,000 to along with the weavings. I don’t want anyone to 8,000 years old. They knew this man and woman were forget this story. I worry there is not enough time to important people because their heads were slanted by a pass along this history and knowledge to my child practice of traditional head binding. Chief George notified and grandchildren. These stories are more than just the leaders of the Squamish Nation about these stories. This is our history, our culture, and teachings. , and they said, “Bring them home.” The Elders were To pass them on to our children is so important.” consulted as well since this event was the first - Chepximiya Siyam’ Chief Janice George repatriation for the Squamish Nation. It was decided that they would do every ceremony that the Squamish Nation has ever practiced, including a viewing and a burial. A group of spiritual leaders, Elders and youth travelled to EXPLORE THIS VIDEO Quebec to bring their ancestors home to X̱wáýx̱way. They TEDxWhistler talk by Chepximiya Siyam’ Chief Janice George had weavings made for the ancestors, wrapping their remains and conducting a spiritual ceremony before the flight back to Vancouver. Because the early morning flight OBJECTIVE left before the museum opened, Chief George ended up Watch Chepximiya Siyam’ Chief Janice George’s in the hotel room with her ancestors overnight. “Before TEDxWhistler talk, “The spirit moves like a storm” I went to bed, I told them, I’m honoured to be here with (starting at the 5:59 mark), or read the story below. you. If you have anything to say to me, please give me the You will learn about George’s role in the return of her message now before I go to sleep.” ancestors, the storms that followed and how each weaving tells a story. When remembering bringing home her ancestors, Chief George says: “It was a life-changing moment. I DISCUSSION was taking care of my ancestors. The same ancestors who thousands of years ago, took care of the land and In 2003, Chepximiya Siyam’ Chief Janice George and her my people. And in doing so, took care of me. It was so husband Skwetsimeltxw Willard “Buddy” Joseph learned powerful and beautiful, a feeling I will never, ever forget.” the traditional weaving of the Squamish people. At that time there was only one weaver in their Squamish Nation, On the day the ancestors were to be buried, there was an and they were determined to teach as many people as unexpected snowstorm. they could so that weaving would never slip into history. Chief George explains, “Learning to weave and the George remembers: “The ceremony and the snow was experience afterwards truly changed me.” magical. It was so quiet. An eagle and a raven came and they circled above as we laid those ancestors to rest. In 2005, Chief George was chosen to do an internship at They were home.” George’s grandmother had told her the Canadian Museum of History in Quebec. While there, that, whenever a Chief dies, there is a major storm, so the she discovered the museum had the remains of two storm was not surprising to her. ancestors. These remains were taken from X̱wáýx̱way, also known as Stanley Park in Vancouver. For thousands of years, X̱wáýx̱way was the Squamish Nation’s largest 25 ALL AGES | UNDERSTANDING INSPIRED BY Chepximiya Siyam’ CHIEF JANICE GEORGE AND Skwetsimeltxw WILLARD “BUDDY” JOSEPH and the windstorm. The red ochre colour columns represent the ancestors. The trees on the top, they’re green triangles, represent the fallen trees in X̱wáýx̱way. The white going across represents the snowstorm that happened in Squamish. The yellow represents the storm as well, and the white [diagonals] represent the wind blowing across.” There are people who still thank Chief George for bringing their ancestors home. It is very special to her:“A Chief is someone who is a servant of the people, represents their family and people when needed.” And through this experience, Chief George feels she has had the privilege and honour to do that: “That time was a time of huge growth for me. I learned how it felt to contribute to my people. It changed my life.” PROCESS In small groups, answer the following questions about the memories that Chief Janice George shared. Another storm occurred after the ceremonies in 1. What experiences did Chief Janice George say changed December of 2006. An historic windstorm ripped through her life? Stanley Park. It knocked down thousands of trees, and 2. Why were these experiences so significant to her X̱wáýx̱way was one of the most affected areas. While personally and to her Squamish community? the news was presenting the storm as a tragedy, George thought back to her grandmother’s words, and looked 3. How did Chief Janice George’s perspective of the Stanley Park windstorm differ from the media’s? at the windstorm from another perspective: “Many of us only see a windstorm as destructive, nature’s wrath, 4. What are the different parts of the storms shown in the something to hunker down from and wait to blow weaving? over. But what if a windstorm also holds an important 5. How does this story show the importance of Coast meaning? What if it teaches us something? What if from Salish weaving tradition? that destruction comes renewal?” She saw the windstorm 6. Chief Janice George and Willard “Buddy” Joseph are as a renewal, instead of destruction. “The presence determined to teach weaving to as many people as of my ancestors was reasserted. A balance restored. they can so that it will never slip into history. Why is this That experience and reviving our weaving changed me. important? Bringing the ancestors and the weaving back to my 7. Chief Janice George and Willard “Buddy” Joseph gave people was so important to me.” permission for students to draw from their weavings as a way to learn from them. Use coloured pencil and paper When describing the weaving she created with her to look closely and make a sketch of this weaving, paying husband, Willard “Buddy” Joseph, Chief George shares: special attention to the details that Chief Janice George “This weaving tells the story of my ancestors’ journey described in her talk. Chepximiya Siyam’ Chief Janice George and Skwetsimeltxw Willard “Buddy” Joseph, Smenalh Welhmiynexw, 2009, sheep wool, Courtesy of Squamish Lil’wat Cultural Centre 26 TEACHER STUDY GUIDE | ROOTED HERE FURTHER LEARNING TEACHER AND STUDENT RESOURCES WEBSITES https://www.thecanadianencyclopedia.ca/en/article/residential-schools https://skwalwen.com/blogs/news/chief-janice-george-on-what-feeds-her-spirit https://www.sfu.ca/sfunews/stories/2023/06/artist-s-weaving-honours-spirit-of-indigenous-business-program. html https://salishseasentinel.ca/2020/01/artist-weaves-tsleil-waututh-governance-model/ https://epe.lac-bac.gc.ca/100/205/301/ic/cdc/musqueam/debra_sparrow.html https://royalbcmuseum.bc.ca/assets/2009-11-17-Coast-Salish-Fast-Facts.pdf VIDEO https://www.ted.com/talks/chief_janice_george_the_spirit_moves_like_a_storm BOOKS Baird, Jill Rachel; Johnson, Elizabeth Lominska, Musqueam Weavers Source Book, 2002. Vancouver, BC: Museum of Anthropology at University of British Columbia. Leslie H. Tepper, Janice George and Willard Joseph, Salish Blankets: Robes of Protection and Transformation, Symbols of Wealth, 2017. Lincoln, NE: University of Nebraska Press.L 27 THANK YOU TO OUR SCHOOL PROGRAMS SPONSORS Visionary Partner for Community Access: Generous Support from: The Richardson Family Jessica Yan Macintosh and George Macintosh Corporate Partners: Foundation Partners: Organized by Vancouver Art Gallery and curated by Richard Hill, Smith Jarislowsky Senior Curator of Canadian Art Presenting Sponsor: Generously Supported by: Indigenous Cultures Benefactor: Program Partners: Larry and Maureen Lunn June Harrison via West Vancouver Foundation