Knowing the Past, Facing the Future: Indigenous Education in Canada edited by Sheila Carr-Stewart, is comprised of three parts: Part one, First Promises and Colonial Practices, explores the colonial aspects of education through treaty rights and the establishment of residential and day schools.
I'm Finding My Talk by Rebecca Thomas (Mi’kmaw) is a response poem to I Lost My Talk, which is one of Rita Joe's most influential poems and tells this Mi'kmaw Elder's story of losing her Mi’kmaw language while at residential school in Shubenacadie, Nova Scotia. The vivid and colour illustrations are by Mi'kmaw artist Pauline Young and compliment the poem beautifully again.
I Lost My Talk is one of Rita Joe's most influential poems and tells this Mi'kmaw Elder's story of losing her Mi’kmaw language while at residential school in Shubenacadie, Nova Scotia. The vivid and colour illustrations are by Mi'kmaw artist Pauline Young and compliment the poem beautifully. This poem is directed at those who took Rita Joe’s talk away when she was a little girl replacing her language with their own and in asking to find her talk again this acclaimed poem is created. A short history of residential schools and a brief note about Rita Joe is included.
Buffy Sainte-Marie, the Authorized Biography by Andrea Warner includes a foreword by Joni Mitchell who like Buffy Sainte-Marie (Cree) has ties to Saskatchewan and writes songs with emotion and a message, both walking their own paths. In this 298-page book, the prologue describes Buffy Sainte-Marie’s early interactions with the music scene that included the likes of Bob Dylan and Joan Baez, her blacklisting, touring, show business perspective with Vanguard and other artists singing or using her songs like Elvis Presley, and the power and intrinsic value of music, resistance and protest.
Spirit Bear : pêcher le savoir, attraper des rêves / Spirit Bear: Fishing for Knowledge, Catching Dreams, written by Cindy Blackstock and illustrated by Amanda Strong, is based on the story of Shannen Koostachin and her dream for safe and comfy schools for every First Nations student in Canada.
Indigenous Life in Canada: Past, Present, Future, Residenital Schools is part of a set of 32-page books produced by Red Line Editorial for Beech Street Books and edited by Marie Pearson. Designed for elementary students from grades 4 to 7 the books offer introductions to the history of Indigenous Peoples in the story of Canada. Residential School by Heather Hudak has six chapters. Chapter one defines residential schools by discussing culture, false stereotypes, missionaries and government action.
Performing Turtle Island: Indigenous Theatre on the World Stage is edited by Jesse Rae Archibald-Barber (Metis/Cree), Kathleen Irwin, and Moira J. Day. Performing Turtle Island cites the TRC Call to Action 83 for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process. Acting on this call the two main parts of this work refer to Critical Self-Representation in Production and Training in part I: and, part II Performance in Dialogue with the Text.
Toward What Justice? Describing Diverse Dreams of Justice in Education is edited by Eve Tuck (Unangax an enrolled member of the Aleut Community of St. Paul Island, Alaska) and K. Wayne Yang. Toward What Justice? includes a contribution by Christi Belcourt Michif (Metis) on reconciliation; Deanna Del Vecchio, Michael J. Dumas; Nirmala Erevelles; Sandy Grande; Crystal T. Laura on prisons; Leigh Patel; Sam Spady; Nisha Toomey; and, Rinaldo Walcott.
The Train is written by Jodie Callaghan, a Mi’gmaq woman from Listuguj First Nation in Gespegewa’gi near Quebec. The Train is illustrated by Georgia Lesley. This is story of a young girl, Ashley who is slowly walking back from school when she meets her Uncle. He is sad. He tells Ashley his story of first going to residential school and the important lesson of knowing where you come from. This story is colourfully illustrated yet invokes the sadness that Ashley and her Uncle feel. It is also descriptive with a short glossary of Mig’maq words.