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A Century of Coast Salish History at Lummi
produced by Gregory Fields, fl. 2016 (Lincoln, NE: University of Nebraska Press, 2016), 51 mins
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed...
Sample
produced by Gregory Fields, fl. 2016 (Lincoln, NE: University of Nebraska Press, 2016), 51 mins
Description
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed in 2003, and an audio interview, recorded in 2011. The 2011 audio interview forms the soundtrack of an oral history narration accompan...
The video, “A Century of Coast Salish History,” is a digital complement to the published book, Rights Remembered: A Salish Grandmother Speaks on American Indian History and the Future (University of Nebraska Press, 2016). Material in the video alternates between an interview with Pauline Hillaire, videographed in 2003, and an audio interview, recorded in 2011. The 2011 audio interview forms the soundtrack of an oral history narration accompanied by images of life at Lummi over the course of a century, beginning in 1911. The images were selected from Hillaire’s personal archives and from several institutional archives. They offer a glimpse into the changes –and the continuity– of life on the Lummi Reservation throughout the twentieth century. Hillaire opens the video singing “Red Cedar Tree Song,” and she discusses her family life. Other topics include language loss, Chinuk Wawa (Chinook Jargon), the North Pacific Coastal region, Joseph Hillaire (Joe Hillaire), Edna Hillaire (Edna Price Hillaire Scott), marriage customs, motherhood, native regalia, the Setting Sun Dancers, Frank Hillaire (Haeteluk), U.S. Indian policy, Children of the Setting Sun Dancers, Benjamin Covington (Cuth Sells), Emma Balch, longhouses, Duwamish et al. v. U.S. (1927), Lummi Tribes of Indians v. U.S. (1951, affirmed 1972), repression of ceremonial gatherings, shovelnose canoe, food, seafood, salmon, fishing, reefnet canoes, smokehouses, sacred sxwaixwe masks, Mary Ellen Hillaire, education, Longhouse Education and Cultural Center, Evergreen State College, deer, xexmein, Indian Consumption Plant, Wild Celery, colonialism, the Lummi flag, Scott Kadach’āak’u Jensen, Deborah Covington Paul (Hae’til’wit II), Western Washington University, the Iraq War (2003-2011), WWII, U.S. armed services, veterans, alcohol, prohibition, trade, rum, cotton, silk, velvet, fish, furs, survival, Indian-white relations, and the environment. Persons who appear in the photographs include Rebecca Chamberlain of Evergreen State College, Robin Wright of the Burke Museum at the University of Washington, Anna Halla (Tlingit), Mary Wagner (Saanich), Gregory Fields of Southern Illinois University Edwardsville, carver Scott Jensen of Bellingham, artist Courtney Jensen of Bellingham, and Barbara Brotherton of the Seattle Art Museum. Among the final images are the Children of the Setting Sun, dancing in Pauline's honor in Washington, D.C. in 2013, when she was named the Bess Lomax Hawes National Heritage Fellow.
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Collection
Women and Social Movements, Modern Empires Since 1820
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Gregory Fields, fl. 2016
Date Published / Released
2016
Publisher
University of Nebraska Press
Speaker / Narrator
Pauline R. Hillaire, fl. 1992
Person Discussed
Pauline R. Hillaire, fl. 1992, Joe Hillaire, fl. 1963
Topic / Theme
Political and Human Rights, Family Rights, Social and Cultural Rights, Salish, Lummi, 21st Century in World History (2001– ), 20th Century in World History (1914--2000)
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International Women's Year Tribune: Mexico City, June 19-July 3, 1975
written by Vicki J. Semler, fl. 1985, International Women's Tribune Centre (New York, NY: International Women's Tribune Centre, 1976), 13 mins
Sample
written by Vicki J. Semler, fl. 1985, International Women's Tribune Centre (New York, NY: International Women's Tribune Centre, 1976), 13 mins
Collection
Women and Social Movements, International
Field of Study
Women and Social Movements
Content Type
Documentary
Author / Creator
Vicki J. Semler, fl. 1985, International Women's Tribune Centre
Date Published / Released
1976
Publisher
International Women's Tribune Centre
Topic / Theme
Women of Color, Social Reform and Political Activism, Political and Human Rights, Peace, International Governance, and International Law, Race Discrimination, Gender Discrimination, Political Parties and Other Male Dominated Organizations, Social and Cultural Rights, Human Rights, Equal Rights for Women, Disarmament
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Interpretation of the Totem Poles of Joe Hillaire
directed by Pauline R. Hillaire, fl. 1992; produced by Gregory Fields, fl. 2016 (Edwardsville, IL: WoRKS Group, 2013), 51 mins
The video, "Interpreting the Totem Poles of Joe Hillaire," is a digital complement to the published book, A Totem Pole History: The Work of Lummi Carver Joe Hillaire (University of Nebraska Press, 2013). The Lummi Reservation is the northernmost of the Coast Salish reservations, and it is the only U.S. Native comm...
Sample
directed by Pauline R. Hillaire, fl. 1992; produced by Gregory Fields, fl. 2016 (Edwardsville, IL: WoRKS Group, 2013), 51 mins
Description
The video, "Interpreting the Totem Poles of Joe Hillaire," is a digital complement to the published book, A Totem Pole History: The Work of Lummi Carver Joe Hillaire (University of Nebraska Press, 2013). The Lummi Reservation is the northernmost of the Coast Salish reservations, and it is the only U.S. Native community south of Alaska where totem pole carving is significant. At the beginning of the twenty-first century, there are few carving hous...
The video, "Interpreting the Totem Poles of Joe Hillaire," is a digital complement to the published book, A Totem Pole History: The Work of Lummi Carver Joe Hillaire (University of Nebraska Press, 2013). The Lummi Reservation is the northernmost of the Coast Salish reservations, and it is the only U.S. Native community south of Alaska where totem pole carving is significant. At the beginning of the twenty-first century, there are few carving houses at Lummi. So Lummi totem pole carving truly was, and remains, a rare form of art. Pauline Hillaire’s father was one of three major carvers in the early twentieth century, along with Al Charles and Morrie Alexander, who perpetuated the art of totem carving in the Lummi Coast Salish style. The first of the totem poles that Pauline interprets is a story pole called Halibut Fisherman. The pole was likely carved by her brother Lewis Hillaire, with the assistance of their father. Pauline first explains the cultural practice of her tradition in regards to how to read a story pole: from the bottom up to the top on the front; then down the back of the pole, from the top to the bottom. The second pole discussed is Joe Hillaire’s best known carving, "The Land in the Sky." It was carved for the 1962 World’s Fair in Seattle: Century 21. Pauline explains some of the most significant features of the pole and the story that it tells. Next, the Bellingham Centennial History Pole represents a history pole, as distinct from a story pole. Joe carved this pole in 1952 to commemorate the 1852 arrival in Bellingham of the settlers Henry Roeder and Russell Peabody, who founded a sawmill there, and initiated industry and an era of ongoing Indian-white interaction in the region. The Bellingham Centennial History Pole contains many symbols of Lummi culture and identity. Some whimsical elements are evident in the carving, along with the solemn events of history that the pole records. The pole was restored in 2007 and installed at the Whatcom County Courthouse. Joe Hillaire’s international efforts for intercultural reconciliation took place in connection with the aftermath of WWII. The Kobe-Seattle Sister-Cities Pole was presented to the people of Kobe, Japan, on behalf of the people of Seattle in 1961. Joe began carving the pole in Seattle's Pioneer Square, where residents and visitors could watch him carve, and learn of the Sister-Cities initiative. He traveled to Kobe for the installation, where he addressed school and community groups. Joe carved the Schelangen/Mobil Pole in 1954 for the General Petroleum Refinery in Ferndale, WA. The pole was commissioned to represent the relationship between the Lummi Tribe, industry, and the local community. This pole is also known as the Mobil Pole and the Ferndale Pole, but the original name given by the carver was the Schelangen pole. Schelangen refers to the Lummi way of life and all that must be preserved, protected, and taught. The Man in Transition Pole was initially carved for the 1962 World’s Fair in Seattle and was later installed at the Northwest Indian College in Bellingham. The pole represents growing in maturity, whether by means of the spiritual discipline of the smokehouse way of life, or growing to be an adult with competence in a profession, as occurs when one conquers one’s lower self and ascends to mastery by completing one’s higher education. In the final segment of the video, Pauline explains that the word “tribe” was not used by the Coast Salish; rather the people identified themselves by house. Pauline closes with the Star Song: an important song in her family, then and now. The song accompanies a photomontage of historical images of her family. The video concludes with a fifteen-minute segment of Pauline telling the mythic story “Land in the Sky,” illustrated with imagery and photographs of her father’s masterwork: The Land the Sky Pole.
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Collection
Women and Social Movements, Modern Empires Since 1820
Field of Study
Women and Social Movements
Content Type
Documentary
Contributor
Gregory Fields, fl. 2016
Author / Creator
Pauline R. Hillaire, fl. 1992
Date Published / Released
2013
Publisher
WoRKS Group
Speaker / Narrator
Pauline R. Hillaire, fl. 1992
Person Discussed
Pauline R. Hillaire, fl. 1992, Joe Hillaire, fl. 1963
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Coast Salish, Lummi, 20th Century in World History (1914--2000)
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Interview 1 with Johnny Arlee (Bitterroot Salish, Confederated Salish and Kootenai tribes), Arlee, MT. (July 6, 2008)
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 27 mins
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained tract...
Sample
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 27 mins
Description
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained traction, began learning from elders and reclaiming his tribal heritage. Wrote and produced a pageant about Lewis and Clark’s encounters w...
Johnny Arlee is a spiritual leader and keeper of traditional knowledge for his tribe. Was raised by his grandparents, who taught him the old ways and songs. Rode the rails to California in his youth, served in the U.S. armed forces, returned to the Flathead reservation during the period when Red Power gained traction, began learning from elders and reclaiming his tribal heritage. Wrote and produced a pageant about Lewis and Clark’s encounters with the Salish in Montana that demonstrated and celebrated elements of Salish history and tradtion. Performed during the Lewis & Clark Centennial in 2003-04. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-07-06
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Johnny Arlee, fl. 2010, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Johnny Arlee, fl. 2010
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview 1 with Kenneth Charles Eaglespeaker (Blackfeet, Kainah), Browning, MT (November 17, 2008)
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 37 mins
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transf...
Sample
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 37 mins
Description
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transferred across several plains tribes to the Blackfeet. Adopted his grand-nephew whose mother struggled with alcohol, taught him Blackfeet...
Kenny’s ancestry includes Kainah (Blood division of the Blackfeet Confederacy), plus Sioux, two tribes that he jokes “were at war with each other.” His baby name, Asan, means the dark, holy red paint used on faces for ceremonies. Recounts origins of powwow dance in Grass Dance, a warrior society dance transferred across several plains tribes to the Blackfeet. Adopted his grand-nephew whose mother struggled with alcohol, taught him Blackfeet culture, including drum songs and Grass Dance. Tradition of dances honoring warriors morphed into honoring veterans who fought in U.S. forces. His uncle served in Vietnam, saw much that was wrong with US involvement in southeast Asia. Later adopted his grandson and raised him as a son also. Taught him Blackfeet culture and practices, including drum songs and Grass Dance. Tells story of his ancestor, Running Eagle, a woman warrior. She wanted to go on war trail, but men told her women cannot do this. She followed war party out one day, so they let her tend the horses. During battle, she saved the life of another, and became accepted, respected as a warrior. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-17
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Kenneth Charles Eaglespeaker, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Kenneth Charles Eaglespeaker, fl. 2008
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Blackfoot, Kainah, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview 2 with Johnny Arlee (Bitterroot Salish, Confederated Salish and Kootenai tribes), Arlee, MT. (November 21, 2008)
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 57 mins
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed...
Sample
written by Johnny Arlee, fl. 2010; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 57 mins
Description
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as comm...
Explains elements of Salish language and culture, and pre-contact lifeways. Dances in powwows for those who can no longer dance. Powwows are a community event, a celebration. Adults adopt and raise children who are in need of parenting, “not a big deal, it’s what we do.” This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-21
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Johnny Arlee, fl. 2010, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Johnny Arlee, fl. 2010
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview 2 with Kenneth Charles Eaglespeaker (Blackfeet, Kainah), Browning, MT (March 27, 2009)
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 18 mins
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the B...
Sample
written by Kenneth Charles Eaglespeaker, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 18 mins
Description
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the Blackfeet Reserve was a symbol of hope and renewal. Describes politics around it. Tells traditional stories; Learned from his mother and...
Blackfeet culture is not static, always innovating, bringing values and practices forward in new venues, new forms. “New ideas get adopted and become tradition really fast.” In 1990s, The Kainah, or Blood division of the Blackfeet Confederacy in Alberta, Canada bought a herd of bison. Returning bison to the Blackfeet Reserve was a symbol of hope and renewal. Describes politics around it. Tells traditional stories; Learned from his mother and grandmother. Painted tipi and rights to it. Crazy Dog society and its role. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities. [Original video cuts out a few minutes past the 1-hour mark]
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-03-27
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Kenneth Charles Eaglespeaker, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Kenneth Charles Eaglespeaker, fl. 2008
Topic / Theme
Political and Human Rights, Social and Cultural Rights, Blackfoot, Kainah, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview with Alberta Yazzee (Northern Arapaho/Navajo), Rigby, ID (June 1, 2009)
written by Alberta Yazzee, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 58 mins
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to...
Sample
written by Alberta Yazzee, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 58 mins
Description
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative per...
Dancing at powwows teaches discipline and responsibility. Her father had a drum group at home, but they had four daughters and only one son, so the girls learned to sing too. Father is Navajo, taught them Navajo songs, wrote down Navajo words – 'singing papers.' This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-06-01
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Alberta Yazzee, fl. 2009, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Alberta Yazzee, fl. 2009
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Navajo, Northern Arapaho, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview with Amorette Ground (Blackfeet, Amskapi Pikuni), Browning, MT (November 16, 2008)
written by Amorette Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 31 mins
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wres...
Sample
written by Amorette Ground, fl. 2008; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 31 mins
Description
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wrestling/boxing, tried to push her out but she persisted. Became pregnant while on cross-country team, didn’t know at first, wondered wh...
An athlete, Amorette was “like one of the boys” in middle school, got teased a lot, and it bothered her. In high school, Amorette ran cross-country, joined the boys wrestling team, and the Blackfeet boxing club. She likes the physical/mental challenge of these sports. Boys told her she didn’t belong in wrestling/boxing, tried to push her out but she persisted. Became pregnant while on cross-country team, didn’t know at first, wondered why she was slowing down. She is raising her baby son Landon at home, with her father and mother’s help. Developed confidence, self-respect as result of persisting in wrestling and boxing, less bothered now by kids’ teasing. Also briefly talks about dancing at powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2008-11-16
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Amorette Ground, fl. 2008, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Amorette Ground, fl. 2008
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Blackfoot, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
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Interview with Dolly (Mary L.) Linesbigler (Pend D’Oreille, Confederated Salish & Kootenai Tribes), St. Ignatius, MT (May 19, 2009)
written by Dolly Linesbigler, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 51 mins
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as...
Sample
written by Dolly Linesbigler, fl. 2009; directed by Dee Garceau, fl. 1995-2016; produced by Dee Garceau, fl. 1995-2016; interview by Dee Garceau, fl. 1995-2016 (Memphis, TN: Dance River Productions), 1 hour 51 mins
Description
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as at social events like powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Danc...
Sings at drum, loves music, sang in church choir when young, learned drum songs within her family. As a child, would ride in car with her father, and “he’d be singin” and she learned songs from him that way. As an elder, she is a “song keeper,” called on to sing at Salish ceremonial occasions as well as at social events like powwows. This interview is one of many filmed from 2008 to 2013 for a documentary, We Sing Where I’m From (Dance River Productions, 2016). The documentary explores powwows as commemorative performances that integrate past and present, affirm tribal values, and that express individual, tribal, and intertribal identities.
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Collection
Women and Social Movements, Modern Empires Since 1820
Date Written / Recorded
2009-05-19
Field of Study
Women and Social Movements
Content Type
Interview
Contributor
Dee Garceau, fl. 1995-2016
Author / Creator
Dolly Linesbigler, fl. 2009, Dee Garceau, fl. 1995-2016
Publisher
Dance River Productions
Person Discussed
Dolly Linesbigler, fl. 2009
Topic / Theme
Indigenous Women, Political and Human Rights, Social and Political Leadership, Social and Cultural Rights, Salish, 21st Century in World History (2001– )
Copyright Message
Copyright (c) Dee Garceau, Producer/Director, Dance River Productions, LLC
×
