By Invitation Only: Dance, Confederation and Reconciliation exhibit

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

BIO Panel 04.jpg
BIO Panel 04.jpg
(No description added)

By Invitation Only: Dance, Confederation and Reconciliation exhibit

Discover Placeholder
Description
The description of this Item
By Invitation Only: Dance, Confederation and Reconciliation exhibit didactic panels
Curators: Amy Bowring, Troy Emery Twigg
Design: Michael Ripley
Beaded flowers: Barry Ace
Embroidered flowers: Amy Bowring
Collections
The collections that this item appears in.
By Invitation Only: Dance, Confederation and Reconciliation exhibit
Tags
Tag descriptions added by humans
Identified Objects
Description of the objects in this Item

Auto-generated content

Auto Tags
Tag descriptions added automatically
text design graphic abstract photo poster screenshot
Auto Objects
Auto-generated identification of objects in this Item
plant
Auto Description
An autogenerated description of this Item
Text
Face count
Auto-generated number of faces in the Item
0
Accession Number
DCD's accession number for this Item. It is the unique identifier.
Original Filename
Extracted text
DANCE COLLECTION DANSE PRESENTS BY INVITATION ONLY Dance , Confederation and Reconciliation G MATRIARCHAL SOCIETIES BEFORE CONFEDERATION AND WOMEN'S RESILIENCY THROUGH CONTEMPORARY WORK he role of women in several First Nations societies was matri archal in ceremony , creation stories , healing dances , and was held with a deep reverence for history , the cosmos , earth and animals . T The Blackfoot dress that had been repatriated from Scotland , and is now housed within the collection at the Royal Alberta Museum in Edmonton , was brought home to Blackfoot territory through the efforts of the late Dr. Joane Cardinal - Schubert , Blackfoot elders , the Glenbow Museum , and several community members . The dress was temporarily displayed at the Glenbow Museum in Calgary / Mohkiinstsis , which is traditional Blackfoot territory . A welcome cer A emony that included songs composed by Olivia Tailfeathers and sung by her group , the Kainaiwa Grassland Singers , paid tribute to the dress . In a display of rich history that flowed into contemporary work , it was fitting to showcase the resiliency of women . Cardinal - Schubert later created a painting inspired by her observations of the young Blackfoot girls of the Kainaiwa Grassland Singers ' attraction to this dress and called it When We Saw Our Grandmother's Dress . I've listened to many creation stories and the role of women in many other First Nations communities as well as in contemporary work , and most operated this way before colonialism and confederation . Singer / Songwriter Olivia Tailfeathers still utilizes the protocol of tradition when creating mu sic and songs . This type of resiliency is evident in many contemporary artdisciplines , particular to that of songs and dances that were tools used in preservation of a nation through ceremony , songs and sacred dancing I recently heard one of the elders say that the design across the yoke of the Blackfoot dress represents the Milky Way . DANCE COLLECTION DANSE