Along the way he's followed by Manitous, spirits of the forest who comment on his plight, cajoling, taunting, and ultimately offering him a type of comfort on his difficult journey back to the place he was so brutally removed from.Written by Scotiabank Giller Prize-winning author Joseph Boyden and beautifully illustrated by acclaimed artist Kent Monkman, Wenjack is a powerful and poignant look into the world of a residential school runaway trying to find his way home.

    They review the current state of land claims. They tackle the persistence of racism among non-Indigenous people and institutions. They celebrate Indigenous Rights Movements while decrying the role of government-funded organizations like the Assembly of First Nations. They document the federal government's disregard for the substance of the United Nations Declaration on the Rights of Indigenous Peoples while claiming to implement it. These circumstances amount to what they see as a false reconciliation between Indigenous and non-Indigenous Canadians.Instead, Manuel and Derrickson offer an illuminating vision of what Canada and Canadians need for true reconciliation.In this book, which Arthur Manuel and Ron Derrickson completed in the months before Manuel's death in January 2017, readers will recognize their profound understanding of the country, of its past, present, and potential future.Expressed with quiet but firm resolve, humour, and piercing intellect The Reconciliation Manifesto will appeal to both Indigenous and non-Indigenous people who are open and willing to look at the real problems and find real solutions.

    Lloyd, who lives with Mae, spends his time caring a little too much for the farm animals; he scorns to learn from a book, and treats Mae with angry disrespect. When Lloyd becomes ill, Mae goes searching for a diagnosis, and brings their simple, yet eloquent, neighbor Henry home with her, in order to help her read the difficult medical language. The ensuing love / hate triangle that brews between the three creates a toxic environment, and Mae, whose love and respect for Henry turn to impatience and resentment after an accident renders him helpless, determines that to escape the ill-luck of her life, she must escape the men who depend upon her.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    As perhaps the best-known contemporary Canadian play and a poetic drama of enormous theatrical power, The Ecstasy of Rita Joe had a major influence in awakening consciousness to the “Indian problem” both in whites and Natives themselves.Cast of five women and 15 men. With a preface by Chief Dan George.The Ecstasy of Rita Joe premiered November 23, 1967 at the Vancouver Playhouse.

    These eleven stories continue the adventures of Silas Ermineskin and his sidekick Frank Fencepost, as Kinsella returns to the Cree Indian reserve in Hobbema, Alberta, where his cast of zany characters, last seen in The Fencepost Chronicles and The Miss Hobbema Pageant, is at its wry best.Here Frank Fencepost, true to form as a fast-talking con artist, outwits the Alberta Supreme Court in a hilarious cattle-insemination case in "Bull." In the title story he becomes an evangelizing Robin Hood, turning the government-sponsored K-U-G-H radio show into a scheme to use listeners' donations to fund listeners' wishes (and incidentally line his pockets), and in "Miracle on Manitoba Street" he visits a Montana reserve where he carves a picture of the Virgin Mary on a derelict Frigidaire and convinces the local medicine woman it's a miracle—one worthy of an admission charge.Not all the stories are humorous: "Dream Catcher" grapples with sexual violence when Silas's twelve-year-old sister is assaulted and Mad Etta, the community's four-hundred-pound medicine woman, provides a nightmare "cure" for the would-be rapist; "Ice Man" depicts gender discrimination, as Jason Twelve Trees fights to participate in a cooking competition despite his father's wish for him to become a mechanic; and "The Rain Birds" shows the consequences of the government's computer-driven corporate farms riding roughshod over the human and natural environment in western Canada.

    

    But one day at the local community center, following the sound of drums, he stumbles into an Indigenous dance class. Before he knows what's happening, John finds himself stumbling through beginner classes with a bunch of little girls, skipping soccer practice and letting his other responsibilities slide. When he attends a pow wow and witnesses a powerful performance, he realizes that he wants to be a dancer more than anything. But the nearest class for boys is at the Native Cultural Center in the city, and he still hasn't told his family or friends about his new passion. If he wants to dance, he will have to stop hiding. Between the mocking of his teammates and the hostility of the boys in his dance class, John must find a way to balance and embrace both the Irish and Cree sides of his heritage.

    This one-person play works through bold juxtapositions and satiric reference points: Simón Bolívar and Speedy Gonzales; Columbus and Fodor’s travel guides; Ricky Ricardo and the Latin Lover; �La Bamba’ and Placido Domingo; Carlos Fuentes and American made-for-TV drug-wars movies. Verdecchia twirls stereotypes and clichés, offers comparative histories, examines myths and mysticism, and provides lessons in language and dancing.Cast of one man.

    In 1956, an arbitrary government decision to relocate them catapulted the Sayisi Dene into the 20th century. It replaced their traditional nomadic life of hunting and fishing with a slum settlement on the outskirts of Churchill, Manitoba. Inadequately housed, without jobs, unfamiliar with the language or the culture, their independence and self-determination deteriorated into a tragic cycle of discrimination, poverty, alcoholism and violent death.     By the early 1970s, the band realized they had to take their future into their own hands again. After searching for a suitable location, they set up a new community at Tadoule Lake, 250 miles north of Churchill. Today they run their own health, education and community programs. But the scars of the relocation will take years to heal, and Tadoule Lake is grappling with the problems of a people whose ties to the land, and to one another, have been tragically severed.     In Night Spirits, the survivors, including those who were children at the time of the move, as well as the few remaining elders, recount their stories. They offer a stark and brutally honest account of the near-destruction of the Sayisi Dene, and their struggle to reclaim their lives. It is a dark story, told in hope.

    This play, first staged at the Leicester Haymarket Theatre, is based on a tenth-century Jain myth about a king who finds his queen involved with an elephant-keeper.

    The many highlights include Lee Maracle's creation story, Salish style; Tomson Highway explaining why Cree is the sexiest of all languages; Joseph Boyden asking the eternal question, "Do Native people have less (or more) pubic hair?"; Marius P. Tungilik looking at the dark side of Inuit sex; and Marissa Crazytrain discussing her year as a stripper in Toronto, and how it shaped her life back in Saskatchewan.

    Lyrically and lovingly written, this visually stunning book is infused with the Inuit values of love and respect for the land and its animal inhabitants.

    The term “recognition” shapes debates over Indigenous cultural distinctiveness, Indigenous rights to land and self-government, and Indigenous peoples’ right to benefit from the development of their lands and resources.In a work of critically engaged political theory, Glen Sean Coulthard challenges recognition as a method of organizing difference and identity in liberal politics, questioning the assumption that contemporary difference and past histories of destructive colonialism between the state and Indigenous peoples can be reconciled through a process of acknowledgment. Beyond this, Coulthard examines an alternative politics—one that seeks to revalue, reconstruct, and redeploy Indigenous cultural practices based on self-recognition rather than on seeking appreciation from the very agents of colonialism.Coulthard demonstrates how a “place-based” modification of Karl Marx’s theory of “primitive accumulation” throws light on Indigenous–state relations in settler-colonial contexts and how Frantz Fanon’s critique of colonial recognition shows that this relationship reproduces itself over time. This framework strengthens his exploration of the ways that the politics of recognition has come to serve the interests of settler-colonial power.In addressing the core tenets of Indigenous resistance movements, like Red Power and Idle No More, Coulthard offers fresh insights into the politics of active decolonization.

    According to the Aboriginal Healing Foundation, these are a result of intergenerational trauma: the unresolved terror, anger, fear, and grief created in Indigenous communities by the painful experiences of colonialism, passed down from generation to generation.How are we to turn this desperate tide? With passionate argumentation and chillingly clear prose, author and educator Suzanne Methot uses her own and others' stories to trace the roots of colonial trauma and the mechanisms by which trauma has become intergenerational, and she explores the Indigenous ways of knowing that can lead us toward change.