 |
|
A Cree from
Lac Les Isles is typical in
physiognomy. [Lac les Isles
is in
west-central Saskatchewan near
the Alberta border] PA-039702 |
|
The Golden Age
of the Plains Cree
During the late 18th and early 19th centuries,
the North Saskatchewan River served as the
backdrop for a dramatic shift in aboriginal
territory and cultural dominance, as the
deer-hunting, forest-dwelling Woodland Cree
of the East followed the fur trade west
and adopted a buffalo-hunting, plains-dwelling
lifestyle. The waterway became the artery
along which this cultural phenomenon took
place; its upper reaches, near modern-day
Edmonton, marked the westernmost penetration
of the one of Canadian history's greatest
cultural expansions.
|
Visit
Edmonton's Syncrude Gallery
of Aboriginal Culture
Marvel at the spectacular headdress
that once belonged to Fine Day,
a 19th century ceremonial leader
of the Plains Cree. Witness
a re-creation of explorer Anthony
Henday's first meeting with
Cree and Blackfoot leaders in
1754, a 9,000 year-old encounter
between 2 hunters and an ancient
form of bison, and a 1,000 year-old
fishing camp. See stone, bone,
antler and shell tools, a 9,500
year-old spear point, rock paintings,
medicine wheels, vision quest
sites, buffalo jumps and antelope
pits. Meet Saukamappee, a Cree
living among the Blackfoot in
the time of David Thompson,
and experience the energy of
a Blackfoot Giveaway ceremony,
as a young boy receives special
gifts during an 1880 Sundance
Ceremony. Hear the sound of
the land as it changes through
the seasons, the songs and stories
of northern trappers as they
gather to celebrate New Year's
Eve under the Northern Lights,
and the voices of contemporary
aboriginal people from throughout
the West. In the Learning Circle
of a massive tipi, find out
more about traditional Cree,
Blackfoot, Dene, Métis
and Nakoda spiritual practices,
and the painful years of government
residential schools. The
Syncrude Gallery of Aboriginal
Culture in Edmonton, Alberta,
one of Canada's newest and most
comprehensive exhibits of Canadian
aboriginal life, portrays 11,000
years of aboriginal culture
and 500 generations of history.
The permanent display occupies
a quarter of the Provincial
Museum of Alberta and
features 3,000 artifacts within
a dramatic, innovative multi-media
framework.
|
|
Cultural Displacement: Before the
advent of the fur trade, and the consequent
westward movement of the Cree, the geographic
distribution of First Nations in the North
Saskatchewan watershed placed the Athapaskan
tribes - the Chippewan, Beaver - to the
north of the river, the Gros Ventre and
the Assiniboine to the south, and the members
of the Blackfoot Confederacy - the Blackfoot,
Blood and Peigan - at its western end. A
nomadic lifestyle meant that territories
often overlapped and shifted, but no shift
was as great as the rapid takeover of western
lands by the Cree during the period of 1740
- 1820. Armed with guns and skilled in trade
- all the result of a 100-year head start
provided by European contact - the eastern
Cree pushed ever westward in search of fresh
fur territory and new trading partners.
As they advanced into the Qu'Appelle Valley,
along the lower South Saskatchewan and Battle
Rivers, and finally, up the North Saskatchewan,
they forced the Athapaskans further to the
north, the Gros Ventre and Assiniboine further
to the south, and the Blackfoot further
to the west. As they penetrated the territory
of the west, the Cree quickly adapted to
its lifestyle; by the mid-1800's, the former
forest dwellers had become bona fide horse-riding,
buffalo-hunting people of the Plains.
Detailed historical and ethnographic studies
of the Plains Cree, carried out by Yale
ethnographer David G. Mandelbaum in the
1930's, concluded that by the late 1600's,
the eastern Cree had acquired several advantages
that enabled them to expand rapidly to the
west. They were among the first native tribes
to establish a fur trading relationship
with the Europeans, first at York Factory
on Hudson Bay in the 17th century, and then
further inland, with the French, on Lake
Winnipeg and the lower Saskatchewan in the
mid 1700's. They were the first to acquire
guns, and, as people of the woodlands, they
were adept at building canoes, and using
them to travel long distances on an intricate
network of inland waterways. Unlike the
traditional Plains tribes, with a highly
specialized dependence on the buffalo, they
used a wide variety of natural tools and
materials, and were accustomed to a diverse
diet that included not only meat, but fish.
As the Cree trapped and traded their way
to the west, they operated from a favoured
position of economic power and technological
superiority.
|
The
Luxton Museum of the Plains
Indian
Learn more about the First Nations
of the Northern Plains and Canadian
Rockies at Luxton Museum of
the Plains Indian, located in
Banff, Alberta, just
south of the Saskatchewan Glacier
source of the North Saskatchewan
River. The museum, inspired
by the collections of Banff
businessman, journalist and
adventurer Norman Luxton, is
now operated by the Buffalo
Nations Cultural Society, with
representation from members
of the Cree, Siksika, Pegian,
Blood, Tsuu T'ina and Stoney
Nations. Visitors to the museum
can see displays and life-size
exhibits that portray the life
of the buffalo hunters, and
the effects of contact with
Europeans. Demonstrations of
pemmican-making, tipi construction,
ceremonial songs and dances,
legends of the spirit world,
musical instruments, beadwork
and quillwork demonstrate the
rich culture of the people of
the Plains. |
|
Westward March: As the western Cree
made their transition from Woodland to Plains,
several distinct geographical groupings,
or bands, developed in north-central and
central Saskatchewan and Alberta. In 1690,
when Henry Kelsey made his historically
precocious journey through the west, he
noted the beginnings of the Cree's westward
drift. The journals of La Vérendrye,
the great French trader-explorer of the
1730's and 1740's, suggest that the Cree
had already reached the lower stretches
of the Saskatchewan River, and by the time
Anthony Henday reached the vicinity of modern-day
Edmonton in 1772, the Cree had begun to
infiltrate the western territories of the
Blackfoot. According to information gathered
by Dr. David Mandelbaum, there were 3 distinct
groups of Cree on the North Saskatchewan
River by the early 19th century:
The "House People," named
for their tendency to cluster around the
fur trading posts of the Hudson's Bay Company,
congregated in the area of Fort Carlton,
near modern-day Prince Albert, Saskatchewan.
The "River People" lived
between the North Saskatchewan and Battle
Rivers, but hunted as far north and west
as Edmonton, and travelled as far south
and east as the Forks of the North and South
Saskatchewan Rivers.
The "Upstream People" were
the westernmost band of the Plains Cree,
living along the north side of the North
Saskatchewan near Edmonton, and extending
into the Beaver Hills. This tribe experienced
the most conflict with the western-dwelling
Blackfoot.
|
Cree
Art at the Allen Sapp Gallery
of North Battleford, Saskatchewan
The work of one of Canada's
most eminent aboriginal artists
is displayed in the Gonor Collection
of the Allen Sapp Gallery in
North Battleford, Saskatchewan,
on the North Saskatchewan River
southwest of Prince Albert.
The Gallery, which opened in
1989, contains the private collection
of Allen Sapp's long-time friend
and patron, Dr. Allan Gonor.
Sapp, whose paintings of Northern
Plains Cree culture have been
exhibited throughout North America,
including the Mendel Art Gallery
in Saskatoon, the Winnipeg Art
Gallery in Winnipeg and the
Canadian Museum of Civilization
in Hull, has been the recipient
of many professional honours,
including membership in the
Royal Canadian Academy of Art
and the Order of Canada, and
recognition as one of the Senior
Native Artists of Canada. Sapp
was born in 1928 on the Red
Pheasant Reserve in north central
Saskatchewan, and survived a
difficult childhood to become
a celebrated and highly respected
painter. The Allen Sapp Gallery
in North Battleford has been
expanded to include the works
of other Canadian First Nations
artists. |
|
The century between the years of 1770 and
1870, marking the first appearance of the
Cree on the Saskatchewan River, the end
of the buffalo hunt, and the beginning of
the era of treaties and reserves, is sometimes
referred to as the "Golden Age"
of the Plains Cree. Although the economic
monopoly of the Cree as fur traders and
middlemen disappeared as other First Nations
came in direct contact with Europeans, the
buffalo hunt - and the pemmican provisioning
trade that accompanied it - was enough to
sustain their prosperity. Despite frequent
clashes with many of the tribes that they
displaced, the Cree succeeded in forming
several native alliances; co-operation and
inter-marriage with the Assiniboine, to
the south, was not uncommon, and cultural
blending with both Athapaskan and Blackfoot
tribes sometimes occurred. Disease - notably
smallpox and tuberculosis - was the greatest
scourge of the Plains Cree during the 1800's,
reducing the population by almost half.
In just 1 generation, the ancient lifestyle
of an entire people was dramatically altered,
and the cultural profile of a vast western
area was forever changed. But anthropologists
have observed that despite adaptations to
the horse-riding, buffalo-hunting ways of
the west, and an increased emphasis on group
activities (made possible by a reliable
source of food and other supplies), the
essential culture of the Plains Cree remained
the same as that of the Woodland Cree. Although
they had severed themselves from the life
of the forest, the Plains Cree did not abandon
the social and religious organization of
their eastern heritage.
Today, the Plains Cree of the North Saskatchewan
area are part of the Treaty Six and Treaty
Seven First Nations of Alberta and Saskatchewan.
|
Edmonton
Heritage Festival: The World's Largest
Celebration of Cultural Diversity
From Croatian to Chilean, Ecuadorian
to Ethiopian, and Nepalese to Nigerian,
the food, art, music, dance and theatre
of more than half of the worlds' cultures
are presented at the Edmonton Heritage
Festival, the city of Edmonton's annual
celebration of cultural diversity
and harmony. Join more than 350,000
people in celebrating the Festival's
"multiculturalism in action"
mandate, each year in early August.
The family-oriented event features
more than 50 ethnic pavilions, and
represents more than 80 Edmonton cultural
groups.
|
Multicultural Edmonton
A quick glance through the list of more
than 60 ethno-cultural associations in Edmonton,
Alberta, the largest metropolis on the North
Saskatchewan River, will confirm the international
origins of the city's population of almost
1 million people. The Borneo Cultural Association
of Alberta, Ghana Friendship Association,
Nicaraguan Cultural Association, Alberta
Thai Association, Council of Edmonton Filipino
Association and the Sikh Federation of Edmonton
are just some of the city's organized cultural
groups joining native and European-origin
organizations such as the Dutch Canadian
Club, the German Canadian Association of
Alberta, the Irish Sports and Social Society,
the Canadian Polish Congress, The Edmonton
Métis Cultural Dance Society, the
Canadian Native Friendship Centre and the
Scandinavian Heritage Society of Edmonton.
Each year in August, the city is the site
of the Cariwest Caribbean Arts Festival,
a Mardi-Gras style street celebration of
music, dance and spectacular costumes.
Uniquely Ukrainian: In the 1890's
and early 1900's, Edmonton and its surrounding
rural areas became a focus of Ukrainian
immigration to western Canada. By 1909,
4% of the city's population was of Ukrainian
background, and by 1912, the Ukrainian Bookstore,
Edmonton's first bookstore, had been established.
A re-creation of the Ukrainian Bookstore,
circa 1919, can be seen at Fort Edmonton
Park, the city's theme-style living history
complex. Today, Edmonton's Ukrainian
population numbers about 70,000; at least
15 Ukrainian cultural groups, including
the Alberta Council for the Ukrainian Arts,
Alberta Ukraine Dance Association, Canadian
Institute for Ukrainian Studies, Ukrainian
Male Chorus of Edmonton, and the Volya Ukrainian
Dance Ensemble, are part of the city's vibrant
cultural profile. |