Tag Archives: Indigenous history

Pidji-ijashig – Anamikàge – Pee-piihtikweek – Tunngasugit – ᑐᙵᓱᒋᑦ – Welcome

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On the left, Tatânga Mânî [Chief Walking Buffalo] [George McLean] is in his traditional First Nation regalia on a horse. In the centre, Iggi and a girl engage in a “kunik,” a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide, holds a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

This blog is part of our Nations to Nations: Indigenous Voices at Library and Archives Canada series.

By Karyne Holmes

This article contains historical language and content that some may consider offensive, such as language used to refer to racial, ethnic and cultural groups. Please see our historical language advisory for more information.

Nations to Nations: Indigenous Voices at Library and Archives Canada is a multilingual and interactive e-book that features hundreds of items in the care of Library and Archives Canada (LAC) through the perspectives of First Nations, Inuit and Métis Nation staff. The first stages of developing the e-book began in 2018, shortly after I had joined LAC as a researcher for We Are Here: Sharing Stories (WAHSS), LAC’s initiative in researching, digitizing and describing Indigenous-related records to make them more accessible. I was honoured to be invited as one of the co-authors for the e-book and have the task of writing the e-book’s introductory text, “Pidji-ijashig – Anamikàge – Pee-piihtikweek – Tunngasugit – ᑐᙵᓱᒋᑦ – Welcome.” In writing the introduction, I reflected on how finding historical family documents has been personally significant and why the research and access work of WAHSS is so meaningful. I wanted to communicate the value behind projects like the e-book and WAHSS. The introductory message also highlights how the e-book celebrates language knowledge and language reclamation.

Black-and-white photograph of two women and a girl standing outdoors in front of a stretched moosehide laced onto a wooden frame. The girl is carrying an infant, and the woman on the left is holding the hand of a small child. They are on grassy vegetation, and there is a row of tall deciduous trees without leaves in the background.

Dëne Sųłiné women and children standing in front of a moosehide tanning frame, Christina Lake, Alberta, 1918 (a017946). This photo is featured in “Traditional Caribou and Moosehide Tanning in Northern Dene Communities” by Angela Code.

The Steering Committee on Canada’s Archives recently released a Reconciliation Framework as a response to Call to Action 70 issued by the Truth and Reconciliation Commission of Canada. The report acknowledges that the “colonial archival record has significantly contributed to the formation of a Canadian historical narrative that privileges the accomplishments of Eurocentric settler society at the expense of First Nations, Inuit, and Métis identities, experiences, and histories.” A fundamental message of the framework is that archives must respect Indigenous peoples’ intellectual sovereignty over materials created by or about them, and they must integrate Indigenous perspectives, knowledge, languages, histories, place names and interpretations into Indigenous-related archives.

The framework outlines ways that we can incorporate reconciliation into archival practices that reflect the work that has started at LAC. Our collaborative Nations to Nations publication is a valuable educational resource that shows the importance of re-contextualizing archival records to bring awareness to the diversity within First Nations, Inuit and Métis Nation perspectives and lived experiences.

“Pidji-ijashig – Anamikàge – Pee-piihtikweek – Tunngasugit – ᑐᙵᓱᒋᑦ – Welcome” in Nations to Nations: Indigenous Voices at Library and Archives Canada

To read the following text in Anishinabemowin, see the e-book. Nations to Nations: Indigenous Voices at Library and Archives Canada is free of charge and can be downloaded from Apple Books (iBooks format) or from LAC’s website (EPUB format). An online version can be viewed on a desktop, tablet or mobile web browser without requiring a plug-in.

 Archives and library collections provide a glimpse into the lives and experiences of our ancestors. This is true for all people, but they have special significance to Indigenous peoples. Ongoing colonial policies and actions have separated our families, thus cutting our connections and access to culture, community, knowledge and stories. Archival records and publications can facilitate the discovery of family and community history. They can also ignite memories and restore knowledge. For many, these have been partially lost through the residential school era and the ongoing forced removal of Indigenous children from their families. Historical records can recover missing pieces and unearth new information about our personal and community histories. They can allow us to share our stories with the world, in our own words.

Husband and wife standing outside a building with their daughter standing next to her mother and their son and second daughter sitting in front of them.

Michel Wakegijig and his family outside their home at Wiikwemkoong First Nation, ca. 1916 (e011310537-040_s1).

Although the value held within historical records is recognized, the majority of documents at Library and Archives Canada (LAC) were created, collected and interpreted through a colonial lens. As a result, many records pertaining to Indigenous communities are marred by missing details and inaccurate portrayals, and they are often described with a focus on what the record creator perceived to be of interest and importance. It is crucial to apply Indigenous insight, to contextualize and interpret records that pertain to First Nations, Inuit and the Métis Nation.

Textual form with typed questions and handwritten responses.

Page from the declaration of Lucie Bellerose on her scrip application, signed at St. Albert in 1885. Digitized scrip records contain biographical information on Métis Nation ancestors (e011358921).

Current initiatives at LAC are working toward prioritizing First Nations, Inuit and Métis Nation stewardship of Indigenous content. We Are Here: Sharing Stories is modifying archival record descriptions through a decolonizing lens. We are incorporating place names, community names, persons’ names and cultural terms into descriptions so that they accurately represent the record. Listen, Hear Our Voices is providing support to communities who wish to control and preserve the language-specific materials created and housed within their own communities.

Photograph of a woman standing outside on snow-covered ground. She is wearing a red parka with a fur-trimmed hood covering her head, and knee-high boots with fur and embroidered polar bears. She is holding a brown leather purse with her left arm.

Young Inuk woman from Kinngait (formerly Cape Dorset) in red qilapaaq (straight-hemmed) style parka and kamiik (boots) with polar bears embroidered on the duffel liners, Iqaluit, Nunavut (formerly Frobisher Bay, Northwest Territories), 1968 (e011212600). The description of this photo was provided through the We Are Here: Sharing Stories project.

This e-book features a collection of archival documents and published material held at LAC that was selected by LAC team members who identify as First Nations, Inuk or Métis Nation. The records we chose are drawn from transcripts, photographs, maps, audiovisual material and publications. They highlight the importance of our cultural identity, and they reflect personal experiences in learning and knowing about our own histories. The essays feature different voices, multiple perspectives and personal interpretations of records.

Watercolour of a group of people with two dogs standing on a frozen river in the lower-left corner. Several hold fishing spears. Another dog is running toward the group. In the background on the river are a number of smaller groups of people, several dogs and a horse. There is a wooden fort on the embankment on the left side, and some smaller wooden structures on the opposite embankment in the distance.

Winter fishing on the Assiniboine and Red rivers, with a fort in the background (present-day Winnipeg), Manitoba, 1821 (e011161354). This artwork is featured in “Fishing on the Red River for 3,000 Years” by William Benoit.

Where possible, translations are provided in the Indigenous language spoken by the people represented in each essay. For Indigenous peoples, language is inextricably tied to culture. Indigenous languages are exceptionally descriptive of objects, experience and emotion, which cannot be wholly explained or translated into English or French. Languages of First Nations, Inuit and the Métis Nation have been learned intergenerationally through stories, songs and land-based experiences. Language is largely influenced by the physical landscape and its resources; these have shaped Indigenous vocabularies that hold unique representations and values distinct to each culture. First Nations, Inuit and the Métis Nation across Canada are reclaiming their languages to connect to their history, to secure cultural continuity, and to honour their ancestors by knowing the languages through which they understood the world.

We respect the wishes of First Nations, Inuit and the Métis Nation about how they would like their languages and identities expressed in English and French. This may mean that some conventional rules of grammar are not applied.

Additional resources

Karyne Holmes is a curator in the Exhibitions and Loans Division and was an archivist for We Are Here: Sharing Stories, an initiative to digitize and describe Indigenous content at Library and Archives Canada.

Improving your online experience: What to expect at LAC’s new online home

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Image of fingers on a keyboard

By Andrea Eidinger

Here at Library and Archives Canada (LAC), we take user feedback very seriously. Over the years, one point has come through loud and clear: our existing website is not meeting the needs of the public. This is why we are proud to announce that we will be launching a completely new website later this summer—library-archives.canada.ca. In this blog post, I will go over what LAC’s new web presence will involve and how these changes will impact your experience.

New website

So, what does this mean in practical terms? We spent a lot of time gathering feedback from members of the public, expert researchers and members of our staff to make our website user-centric. This involved creating several working groups as well as user-testing different possibilities for the new website. We also incorporated the latest research on how people actually use websites.

A major part of this work has been to ensure that all our users can easily find and understand the information on our website. Two very important components of the new website are consistent web navigation and plain language. All our new web content is organized in the same way so that users always know where to go, and the language has been simplified to make it clearer and easy to understand, no matter your skill level.

Finally, our website is dynamic. Our goal was to create a website that lives and breathes. Gone are the days of web pages being posted and then never touched again. Part of renewing our web presence is a commitment to continually update the website with new material and make improvements based on user feedback. We are also taking what is called an “iterative approach.” Essentially, we will start with a scaled-back version of the new website. This will be a launching pad for us. Our work will build on this initial version to develop the new website.

Screenshot of the Rare Book Collection webpage on the LAC website.

An example of the new template for subject guides for the new LAC website.

New structure

One of the biggest changes users will notice is the look and feel of the website. To make the information on the website more easily accessible to the public, we have developed a new structure for the website based on tasks, topics and themes that align with our users’ needs. In other words, we looked closely at how members of the public were using our existing website and what they were looking for (tasks). We then grouped those tasks into broad categories (topics). Finally, we grouped these topics into themes.

These themes are the basis for the website’s new structure and align with the Government of Canada’s design system. This system provides a more practical, consistent and reliable online experience for people who access Government of Canada digital services.

The first theme, Corporate, contains all of the institutional information relating to LAC. This includes information about our mandates, policies, initiatives and partners. This is where you will also find information about transparency at LAC and be able to read reports and plans about our activities.

The second theme, Services, is self-explanatory. It is where users can access our services or complete a task related to one of our programs. Under this theme, users will find information on how to visit us, how to order material, how to apply for ISBN numbers, how to make an ATIP request, and more. Also under this theme is information about the various services that we offer for gallery, library, archives and museum (GLAM) professionals, publishers, public servants, and Indigenous communities and individuals. This section will also contain information about our different funding programs.

Finally, there is the Collection theme. Our goal in rethinking how we present the Collection theme was to build user autonomy and discovery. This section will be home to all kinds of materials that will help Canadians access the documentary heritage under LAC’s care. In this section, you will find our databases, guides on researching various topics, publications, and podcast episodes, as well as a basic introduction to research. This section also includes many of LAC’s more interactive features, such as Co-Lab, our transcription program.

New navigation

One of the biggest challenge that users faced on our website was finding the information they were looking for. This was a problem particularly for material included under the Collection theme. Often, users would travel down rabbit holes and never be able to find their way back again. We have corrected this problem with a completely new navigational system based on tables. The new navigational table will include all pages listed by topic, sub-topic and type. For example, a web page on the First World War personnel files we have available would be appear as follows:

First World War Personnel Files – Military History – First World War (1914-1919) – subject guide

Even more important: this table will be filterable and searchable. This means users can easily see all of the resources that we have on a particular topic and find their way back without difficulty.

New content

The last exciting change to tell you about is the new content on our website. The existing site is enormous: it consists of 7,000 pages. Much of the information it contains is no longer up to current web and historical standards. We also know that many of the pages are hard to read, especially for beginners, and sometimes confusing. In preparation for our new website, we have systematically reviewed every single one of those 7,000 pages. Anything outdated or no longer up to current standards was archived (and will be available to the public), and the rest of the pages were reworked. All of the information on LAC’s new website is presented in plain language and is therefore clear and easy to understand. We hope this approach will attract an entire new wave of users interested in learning about Canada’s documentary heritage.

Since there is so much content, we focused on preparing material for the three most popular and most consulted topics for the launch: genealogy and family history, Indigenous history, and military history. Please note that, in the weeks and months ahead, we will add more material to these and other topics. We will be updating our material regularly in response to user feedback and to reflect the latest available information.

We’re so excited to show you all of the new material we’ve been working on! So, while this does mean that your URLs will change, we’re hoping that these changes will make your online experience at LAC a more positive one. Since this work is only beginning, the best is yet to come!

We look forward to your feedback. Please send us your comments and thoughts when we go live.

Andrea Eidinger is a team lead in the Online Experience Division at Library and Archives Canada.

Judith-Pauline White, Nunatsiavut photographer

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On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.By Heather Campbell

A black-and-white photograph of an Inuk girl facing the camera. The young girl is wearing a white amauti (a girl’s or woman’s coat with a large hood) and stands in front of a building as a woman peeks out from a window behind her.

An Inuk girl stands as a woman peeks out from a building behind her, circa 1900–1950 (e011307844)

Judith-Pauline White (née Hunter) was an Inuk woman born in 1905 in Hebron, Newfoundland (now Newfoundland and Labrador), about 200 kilometres north of Nain in Labrador. She married a well-known trading post owner, Richard White, in 1922 and became stepmother to his daughter; the couple would have five children together. The Richard (Dick) White Trading Post (now a heritage building) is located in Kauk, approximately 4 kilometres south of Nain and 34 kilometres north of Voisey’s Bay. Ms. White, an amateur photographer, took photos in the area starting in the 1920s. In the 1950s, she met anthropologist Alika Podolinsky Webber, who travelled to Labrador to conduct research for her thesis about the art of the Mushuau Innu (of the Innu Nation). Podolinsky Webber went to Kauk because she was aware that the trading post was a hub for Innu and Inuit along the north coast of Labrador. Ms. White sent a shipment of material to Podolinsky Webber after Mr. White died in 1960. The material included photographs and negatives for over 200 images of daily life in and around the trading post. White’s photographs (see lower levels) feature both Innu and Inuit, and are a visual documentary of life in Labrador from the 1920s to the 1950s. This wealth of knowledge, which was tucked away for decades before being donated to Library and Archives Canada in 2007, is now accessible to everyone.

A black-and-white photograph of an Innu man staring at the camera, wearing traditional clothing and sitting on a pile of supplies. In the background, many other people are standing in front of a dark-coloured house with two small windows.

Innu on the move, circa 1925–1940 (e011305800)

As an Inuk woman from Nunatsiavut, an artist and a former curator, I am interested in the life and work of this early photographer. I cannot help but think of the well-known Inuk photographer Peter Pitseolak from Cape Dorset. His snapshots of Inuit life in the 1940s and 1950s are some of the earliest examples of Inuit individuals turning the camera on their own communities, rather than being the topic of ethnographic study by others. Unbeknownst to Pitseolak and those who followed his work, an Inuk woman in Nunatsiavut was also taking photos of everyday life. Why have we not heard of her? As Inuk scholar Dr. Heather Igloliorte writes in the Fall/Winter 2015 issue of the Inuit Art Quarterly, the Indian Act excluded Inuit in Nunatsiavut when Newfoundland joined Confederation in 1949:

Labrador Inuit artists were unfortunately omitted from virtually all of the developments that emerged from the concerted efforts of [James Houston (who “discovered” modern Inuit art)], the government, the Canadian Guild of Crafts, the Hudson’s Bay Company, and others, because the federal government did not officially recognize that there were Inuit in Labrador until decades later. We did not establish studios, form co-operatives, build relationships with the southern Canadian art world, and develop national or international markets for our work. We were not even permitted to use the ubiquitous “Igloo Tag” for authentification until 1991.

A black-and-white photograph of a woman standing in a window of a wooden building, wearing a dress with a white collar and a necklace with a large cross. In the left-hand corner of the window frame, a child is peeking out, looking toward the camera.

Woman standing in a window, circa 1900–1950 (e011307849)

When Newfoundland joined Confederation, White was still taking photographs, but galleries and exhibitions at the time did not feature Nunatsiavut Inuit artists. Instead, these artists sold their works door to door, at local craft shops or to the occasional visitor. We can only imagine how the Inuit art world would have reacted to White’s work had the contemporary provincial or federal governments given support and recognition to Nunatsiavut Inuit artists. We are thankful to the Alika Podolinsky Webber estate for its valuable gift. It is a visual reminder of Judith-Pauline White’s passion for photography and her recording of Labrador Innu and Inuit culture, which is now available online for all to enjoy.

A black-and-white photograph of an Innu man and three members of his family. The men and young boy are dressed in fur jackets and mittens. A tent and trees are in the background.

Innu man Pasna and his family, circa 1920–1940 (e008299593)

Visit Flickr to see more of Judith-Pauline White’s photographs.

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.

Heather Campbell is an archivist in the Public Services Branch at Library and Archives Canada.