NS Module 12, NS 201 Module 11, NS 201 Module 9
And 10 Exam With Complete Solutions
Indigenous expressions in pop culture and art have been spaces of - ANSWER de-
colonial struggle and showcase the ways in which Indigenous people seek to
indigenize, rename, and reclaim histories, cultures, and language
The 1491s - ANSWER - a group of Indigenous comics who use sketch comedy to
comment on social and political issues going on in Indian Country.
- Utilizing a wry wit and often dark satirical humour
The 1491s have pushed the boundaries of - ANSWER stereotypical understandings of
Indigenous culture.
- Their performances exaggerate and poke fun at the one dimensional, romanticized,
and clichéd representations of Indigenous people.
1491s are just one excellent example of - ANSWER how current Indigenous writers,
artists, and performers are infusing their contemporary artistic visions into the popular
mainstream. Indigenous people continue to thrive and flourish despite colonial attempts
to appropriate, assimilate, and colonize.
From technology to theatre, Indigenous writers, artists, musicians, playwrights, and
designers are - ANSWER taking back control of their images and stories—and doing so
in powerful, transformative, and brilliant ways.
Across North America, all Indigenous societies participated in - ANSWER various
artistic traditions and created culturally distinct works of art.
The extensive trading networks allowed artists to - ANSWER explore new and
innovative materials.
- For thousands of years on North America, there were vast highways of trade and
commerce that linked communities and enabled intertribal and intratribal trade
-these well-established networks of trade had routes carrying items like Coast Salish
shell beads and dried fish from the coast into the prairies.
These trade networks also helped to maintain - ANSWER political alliances while
fulfilling material needs and wants. - Sometimes material wants included items for
artistic endeavours.
- Artists would utilize the materials and technologies as they became accessible and
readily available.
,trading systems allowed inland artists to access - ANSWER novel paint colours made
from shells on the coast. In fact, dentalium shells from the Pacific Northwest and
catlinite from Minnesota were traded widely all throughout the plains from more than
2000 years
Geographical location, breadth of trading networks, and the distinct worldviews of each
nation influenced - ANSWER the type of art that flourished in any given area
- e.g: settled communities like the Iroquoian or Northwest Coast peoples had clan
systems that facilitated permanent villages.
Unlike many of the Plains Indigenous peoples, these settled communities like the the
Iroquoian or Northwest Coast peoples - ANSWER did not have housing structures that
were easily transportable.
-The large longhouses were permanent structures and consequently could have
substantial, permanently installed monumental sculptures and carvings.
Migratory cultures of the Nehiyawak and other Plains cultures did create art as well.
Often art was - ANSWER functional, small, and easily portable. Items like personal
adornments, clothing, weapons, and tools were decorated and infused with cultural
meanings.
- e.g: decorated footwear in the form of moccasins or boots known as mukluks had very
specific designs connected to each family or tribal group.
examples of art of the migratory culture - ANSWER The beadwork, quillwork, or
embroidery could indicate the person's spirit, their spiritual colours, the clan they
belonged to, or any creatures that may have spiritual significance to them.
From the gorgeous bentwood cedar boxes of the Haida or the intricately woven baleen
baskets of the Inupiat, Indigenous art could be - ANSWER as practically functional as
they were spiritual and ceremonial
Indigenous arts are a potent way of presenting, representing, and passing - ANSWER
on knowledge. With contemporary Indigenous art, we understand that the past is always
present.
- Indigenous artists today push the boundaries with new art practices and materials
while still retaining and passing on cultural, spiritual, and historical knowledge.
The idea in Indigenous art, the past is always present, is exemplified in - ANSWER
beadwork and beading. This art medium, still practiced today, has been around for
thousands of years on North America in
the oldest known bead from North America was found at - ANSWER an archaeological
site at Tule Springs, Nevada.
- This bead, made of white caliche - a sedimentary rock made of hardened calcium
carbonate - is believed to date back to 11,000 BCE
,Although each Indigenous group created and decorated objects that were specific to
their beliefs and customs, each had a great appreciation for - ANSWER beads
- While the majority of beads they used were made from the materials found locally,
Indigenous people sought out imported stones, shells, and bone to make rare beads - In
some tribes, fashioning and working with beads was a sacred task.
Long before glass beads arrived on North America, Indigenous peoples used both -
ANSWER non-glass beads and porcupine quills, either plain or dyed
Quill and beadwork - ANSWER were the primary way that many Indigenous peoples of
the Plains, Woodlands, and West Coast decorated every day and special occasion
items such as cradles, log carriers, chair seats, clothing, and boxes
Quillwork is especially - ANSWER time consuming and requires great patience and
meticulousness.
- Usually quills are collected from porcupines during the first months of the year. In fact,
one porcupine can provide 30,000 to 40,000 quills.
Porcupine quills are gathered in 3 ways: - ANSWER 1. From ones that are killed for
food
2. Harvested by throwing a blanket on the back of a slow-moving porcupine
3. And today quills are sometimes harvested from porcupines killed on the road by
vehicles.
Examples of quillwork have been found from Newfoundland to the Yukon territory. The
earliest known quillwork was found in - ANSWER Newfoundland to the Yukon territory.
- The earliest was found in Alberta and dates back to the 6th century.
The Mi'kmaq were often referred to as - ANSWER the Porcupine People due to their
skilled and intricate quillwork
Both traditions of quillwork and beadwork continue today in a multitude of creative and
imaginative forms. - ANSWER Yvonne Walker Keshick, an Odawa artist uses
knowledge passed down through the generations to create porcupine quills and birch
bark boxes.
Many people see Indigenous quill and beadwork as beautiful works of art, and yet not
many people know that - ANSWER beadwork often functions as a means of
communication.
- Bead and quillwork often told a story and could be deciphered in the materials and
designs used.
Generation to generation, parents and grandparents used beadwork to - ANSWER
illustrate stories and pass on knowledge
, - This ongoing collective consists of the language and cultures of past generations and
acts at the communal language and memory that is shared within each of our
communities
Teri Greeves, like Yvonne Walker Keshick, is a - ANSWER contemporary artist who
uses traditional materials but employs a contemporary flair
- A Kiowa Indian raised on the Shoshone and Northern Arapaho Winder River
Reservation in Wyoming, she began beading at eight years old.
With encouragement and support from her mother and the women in her family, Teri
has - ANSWER has taken beadwork to another level. Like many artists, she brings the
past and the present together with her lived experiences.
While some artist's work like Greeves and Walker Keshick relay critical cultural
knowledge and ensure the continued vitality of traditional arts, artists like Nadia Myre
demonstrate - ANSWER how some beadwork functions as a way to comment on
current social realities and events
- She is of Algonquin ancestry and a member of the Kitigan Zibi reserve in Maniwaki
Quebec.
Nadia Myre's work entitled Indian Act consists of all 56 pages of the Federal
Government's Indian Act mounted on - ANSWER stroud cloth and sewn over with red
and white glass beads
- Each white bead is sewn on the stroud cloth and replaces one letter in one word, while
the red beads replace the negative space.
Over 4 years, between 1999 and 2002 Nadia Myre - ANSWER asked over 200 friends,
family, colleagues, and even some strangers to help her bead over the Indian Act. Not
only were others enlisted to help bead, but workshops, beading bees, and presentations
were also organized.
This shared community of work speaks to the realities of - ANSWER colonization and to
the lasting effects of the Indian Act policies.
- Enlisting others to help and attaching workshops and presentations to the work speaks
to the idea of the power of community.
The practice of beading becomes politicized as - ANSWER an art form. These beading
and quill working artists continue to celebrate traditional forms of Indigenous art, but
also manage to incorporate contemporary materials and ideas.
Indigenous art has gone through incredible transformations since the arrival of settlers
over 500 years ago. - ANSWER Not only have Indigenous artists managed to maintain
culturally distinct art forms and content, but Indigenous art has also become a site
where Indigenous resistance flourishes
And 10 Exam With Complete Solutions
Indigenous expressions in pop culture and art have been spaces of - ANSWER de-
colonial struggle and showcase the ways in which Indigenous people seek to
indigenize, rename, and reclaim histories, cultures, and language
The 1491s - ANSWER - a group of Indigenous comics who use sketch comedy to
comment on social and political issues going on in Indian Country.
- Utilizing a wry wit and often dark satirical humour
The 1491s have pushed the boundaries of - ANSWER stereotypical understandings of
Indigenous culture.
- Their performances exaggerate and poke fun at the one dimensional, romanticized,
and clichéd representations of Indigenous people.
1491s are just one excellent example of - ANSWER how current Indigenous writers,
artists, and performers are infusing their contemporary artistic visions into the popular
mainstream. Indigenous people continue to thrive and flourish despite colonial attempts
to appropriate, assimilate, and colonize.
From technology to theatre, Indigenous writers, artists, musicians, playwrights, and
designers are - ANSWER taking back control of their images and stories—and doing so
in powerful, transformative, and brilliant ways.
Across North America, all Indigenous societies participated in - ANSWER various
artistic traditions and created culturally distinct works of art.
The extensive trading networks allowed artists to - ANSWER explore new and
innovative materials.
- For thousands of years on North America, there were vast highways of trade and
commerce that linked communities and enabled intertribal and intratribal trade
-these well-established networks of trade had routes carrying items like Coast Salish
shell beads and dried fish from the coast into the prairies.
These trade networks also helped to maintain - ANSWER political alliances while
fulfilling material needs and wants. - Sometimes material wants included items for
artistic endeavours.
- Artists would utilize the materials and technologies as they became accessible and
readily available.
,trading systems allowed inland artists to access - ANSWER novel paint colours made
from shells on the coast. In fact, dentalium shells from the Pacific Northwest and
catlinite from Minnesota were traded widely all throughout the plains from more than
2000 years
Geographical location, breadth of trading networks, and the distinct worldviews of each
nation influenced - ANSWER the type of art that flourished in any given area
- e.g: settled communities like the Iroquoian or Northwest Coast peoples had clan
systems that facilitated permanent villages.
Unlike many of the Plains Indigenous peoples, these settled communities like the the
Iroquoian or Northwest Coast peoples - ANSWER did not have housing structures that
were easily transportable.
-The large longhouses were permanent structures and consequently could have
substantial, permanently installed monumental sculptures and carvings.
Migratory cultures of the Nehiyawak and other Plains cultures did create art as well.
Often art was - ANSWER functional, small, and easily portable. Items like personal
adornments, clothing, weapons, and tools were decorated and infused with cultural
meanings.
- e.g: decorated footwear in the form of moccasins or boots known as mukluks had very
specific designs connected to each family or tribal group.
examples of art of the migratory culture - ANSWER The beadwork, quillwork, or
embroidery could indicate the person's spirit, their spiritual colours, the clan they
belonged to, or any creatures that may have spiritual significance to them.
From the gorgeous bentwood cedar boxes of the Haida or the intricately woven baleen
baskets of the Inupiat, Indigenous art could be - ANSWER as practically functional as
they were spiritual and ceremonial
Indigenous arts are a potent way of presenting, representing, and passing - ANSWER
on knowledge. With contemporary Indigenous art, we understand that the past is always
present.
- Indigenous artists today push the boundaries with new art practices and materials
while still retaining and passing on cultural, spiritual, and historical knowledge.
The idea in Indigenous art, the past is always present, is exemplified in - ANSWER
beadwork and beading. This art medium, still practiced today, has been around for
thousands of years on North America in
the oldest known bead from North America was found at - ANSWER an archaeological
site at Tule Springs, Nevada.
- This bead, made of white caliche - a sedimentary rock made of hardened calcium
carbonate - is believed to date back to 11,000 BCE
,Although each Indigenous group created and decorated objects that were specific to
their beliefs and customs, each had a great appreciation for - ANSWER beads
- While the majority of beads they used were made from the materials found locally,
Indigenous people sought out imported stones, shells, and bone to make rare beads - In
some tribes, fashioning and working with beads was a sacred task.
Long before glass beads arrived on North America, Indigenous peoples used both -
ANSWER non-glass beads and porcupine quills, either plain or dyed
Quill and beadwork - ANSWER were the primary way that many Indigenous peoples of
the Plains, Woodlands, and West Coast decorated every day and special occasion
items such as cradles, log carriers, chair seats, clothing, and boxes
Quillwork is especially - ANSWER time consuming and requires great patience and
meticulousness.
- Usually quills are collected from porcupines during the first months of the year. In fact,
one porcupine can provide 30,000 to 40,000 quills.
Porcupine quills are gathered in 3 ways: - ANSWER 1. From ones that are killed for
food
2. Harvested by throwing a blanket on the back of a slow-moving porcupine
3. And today quills are sometimes harvested from porcupines killed on the road by
vehicles.
Examples of quillwork have been found from Newfoundland to the Yukon territory. The
earliest known quillwork was found in - ANSWER Newfoundland to the Yukon territory.
- The earliest was found in Alberta and dates back to the 6th century.
The Mi'kmaq were often referred to as - ANSWER the Porcupine People due to their
skilled and intricate quillwork
Both traditions of quillwork and beadwork continue today in a multitude of creative and
imaginative forms. - ANSWER Yvonne Walker Keshick, an Odawa artist uses
knowledge passed down through the generations to create porcupine quills and birch
bark boxes.
Many people see Indigenous quill and beadwork as beautiful works of art, and yet not
many people know that - ANSWER beadwork often functions as a means of
communication.
- Bead and quillwork often told a story and could be deciphered in the materials and
designs used.
Generation to generation, parents and grandparents used beadwork to - ANSWER
illustrate stories and pass on knowledge
, - This ongoing collective consists of the language and cultures of past generations and
acts at the communal language and memory that is shared within each of our
communities
Teri Greeves, like Yvonne Walker Keshick, is a - ANSWER contemporary artist who
uses traditional materials but employs a contemporary flair
- A Kiowa Indian raised on the Shoshone and Northern Arapaho Winder River
Reservation in Wyoming, she began beading at eight years old.
With encouragement and support from her mother and the women in her family, Teri
has - ANSWER has taken beadwork to another level. Like many artists, she brings the
past and the present together with her lived experiences.
While some artist's work like Greeves and Walker Keshick relay critical cultural
knowledge and ensure the continued vitality of traditional arts, artists like Nadia Myre
demonstrate - ANSWER how some beadwork functions as a way to comment on
current social realities and events
- She is of Algonquin ancestry and a member of the Kitigan Zibi reserve in Maniwaki
Quebec.
Nadia Myre's work entitled Indian Act consists of all 56 pages of the Federal
Government's Indian Act mounted on - ANSWER stroud cloth and sewn over with red
and white glass beads
- Each white bead is sewn on the stroud cloth and replaces one letter in one word, while
the red beads replace the negative space.
Over 4 years, between 1999 and 2002 Nadia Myre - ANSWER asked over 200 friends,
family, colleagues, and even some strangers to help her bead over the Indian Act. Not
only were others enlisted to help bead, but workshops, beading bees, and presentations
were also organized.
This shared community of work speaks to the realities of - ANSWER colonization and to
the lasting effects of the Indian Act policies.
- Enlisting others to help and attaching workshops and presentations to the work speaks
to the idea of the power of community.
The practice of beading becomes politicized as - ANSWER an art form. These beading
and quill working artists continue to celebrate traditional forms of Indigenous art, but
also manage to incorporate contemporary materials and ideas.
Indigenous art has gone through incredible transformations since the arrival of settlers
over 500 years ago. - ANSWER Not only have Indigenous artists managed to maintain
culturally distinct art forms and content, but Indigenous art has also become a site
where Indigenous resistance flourishes
