By Invitation Only: Dance, Confederation and Reconciliation exhibit

Added 18th Mar 2022 by Amy Bowring / Last update 18th Mar 2022

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By Invitation Only: Dance, Confederation and Reconciliation exhibit

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By Invitation Only: Dance, Confederation and Reconciliation exhibit photos
Curators: Amy Bowring, Troy Emery Twigg

1. Brown wool leotard worn in Bettina Byers’s production of Pocahontas, Eaton Auditorium, April 17, 1953. The brown leotard was used to change the colour of the dancer’s skin and was accompanied by brown tights worn beneath the costume.
Bettina Byers Costume Collection, Dance Collection Danse

2. Photographs of Bettina Byers’s production of Pocahontas, Eaton Auditorium, April 17, 1953
Linda Stearns Portfolio, Dance Collection Danse, 695.2016-1-1

3. Papier-maché mask designed by Sheila Wherry for Boris Volkoff’s work Mala, 1936. Mala was based on an Inuit story and was performed at the International Tanzwettspiele (International Dance Festival) at the Berlin Olympics. The costume design is based on a Rockwell Kent lithograph titled Mala (Danseuse) from 1933.
Boris Volkoff Portfolio, Dance Collection Danse
Photos: DCD
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DANCE COLLECTION PRESENTS DANSE BY INVITATION ONLY Dance , Confederation and Reconciliation Catatanum . Gal Catania I DANCE , BUT DON'T DANCE he banning of sacred ceremonies , dances and songs were an at tempt through assimilation tactics to rid the Indian and con triated by the work of our elders . With the loss of many sacred items , a lot of sacred songs and dances that accompanied them in ceremony were lost . as " self - sufficient " members of society . Without any clear indication of the significance of this way of life or context for the role of cer emonies , dances and songs in Indigenous society , Europeans regarded these activities as having fun partying and being unproductive . The government issued circulars to its Indian Agents recommending that they sway the interests of the Indigenous people by way of introduc ing track and field and sporting games in the hope their affinity for ceremony would diminish . In many cases , these ceremonial practices went underground and were kept alive in secrecy . The old ones knew that if our ceremonies died we would die as a tribe , society , a people , a nation . These ceremonies are integral to our survival . So many arti facts and sacred bundles have been taken and sold to foreign museums and private collections for over a century and are finally being repa On the other hand , Indigenous dancers were invited to perform and were essentially used for exhibition in rodeos , the Calgary Stampede and other events ; some were sent overseas to Germany , dressed in re galia and used in display , or at the visits of royalty . When I first came across Ontario artist Barry Ace's work at the Urban Shaman Gallery in Winnipeg , I was immediately drawn to the depiction of this irony in the archival film footage within the installation . In the Anishnaabe custom , these bandolier bags were given to strengthen friendships . As when the chiefs of the treaty signings in the prairies honoured a shar ing of the land to co - exist when smoking the sacred pipe , it was never a surrender of our way of life . However , the colonial goal was to get the railroad through at any cost . DANCE COLLECTION DANSE 13 S www and Beco Bors's production of 1907 of the dancers and to hophores production of Ant She Wher for for er hele The bed