December 2015 Newsletter - Métis Commission for Children and

Enn letr di noovel
M é t i s C o m m i s s i o n f o r C h i l d r e n a n d Fa m i l i e s o f B C
Letter from the President
December 2015
Greetings everyone,
I would like to wish everyone a happy holiday season; this is a time to Inside this issue:
enjoy spending time with your families. The Commission has been very
busy this year revamping the budget to reflect reasonable spending and
accountability. Our CEO, Eva Coles has worked hard this year to ensure
that the Commission has healthy relationships in the Métis community.
Eva has travelled throughout the province and connected with Métis Letter from the President
Service providers hearing their concerns and helping them advocate for
the Métis communities.
Our cultural worker attended a conference on the Family Finders
Program and learned how to work with social workers to connect
children in foster care with their families or other meaningful adults in
their lives. We are very excited to see what the future holds for Métis
children when this program is implemented.
November was adoption awareness month; there are a lot of children in
the province who require forever homes. Adoption has changed a lot;
there are now openness agreements with family members and any other
significant person in the child’s life. There are many sibling groups that
have special needs that are available for adoption in the province. I
speak from experience when I say adoption can change your life forever
in a positive way.
The Commission has developed cultural packages for Métis children of
varies ages. We have been sending these out to the Métis service
providers and Social Workers to provide to foster families. The Métis
service providers are working hard throughout the province to ensure
families have support to overcome the struggles in their lives.
In closing I would like to say that we encourage any feedback from the
Métis community to help make us better serve families involved with the
child welfare system.
Sincerely,
Ferne Strain
1
From the Desk of the CEO
2
New Board Members
3
Métis Role Models: Interview with
Tanis Parenteau
4-9
Métis Legends
10
Learn Michif
10
Métis Role Models
10
Métis Historic Traditions
11-12
Community Events
13-17
Recipes/Service Providers/Change
of Address
18
Find us on Facebook.
18
From the desk of the CEO
It’s getting to be that time of year to say GAYAYR NWEL (Merry Christmas).
Here at the Métis Commission for Children and Families we have had a busy fall.
Across Canada fall is busy with child protection concerns for children. This is
mostly due to kids returning to school where issues are often brought to the
surface. We have been working hard to ensure that BC social workers remember
to place children first within the care of their extended family as well as with
their cultural communities in times of difficulty.
Lately, we have been working on two areas of focus. One is educating our social
work colleagues on Métis culture and issues. We are doing this through cultural
kits, webinar series, newsletters and talks. Our second area of focus is on Métis
children who are 5 years old and younger who are in permanent foster care. We
are working with the government to review these children’s files to see if we can
get them back home with supports, place them with family or find an adoption
placement for them. Unfortunately, too many of our children are lingering in
care for far too long without a plan for their future permanent home.
The board of Directors of working has been working hard too. The new board
offered their first AGM as a team in October in Surrey. Although turnout was on
the low side it went very well. They have also been working on governance,
recruitment of new members and setting up strategy sessions for the new year.
Ashley has been working with families and social workers ensuring that cultural
planning is being offered to children in foster care. She attended her first Family
Finder training in Ontario this fall and is busy making appointments
throughout the province to make new connections for the Métis Commission.
Lesley has been keeping our statistics in order so that we can be ready for a new
database in 2016. We are hopeful that our statistics and tracking systems will be
much more efficient and user friendly in the years to come.
I have been busy working at the provincial level to ensure that there is a Métis
voice at the table when new systems are being rolled out from MCFD. There is a
new Aboriginal framework that is being formed by the government and new
methods being tried for screening child protection intakes. We want to make sure
that Métis people’s needs are being considered in the these new projects.
The Métis are a strong proud people who have a tradition of humour, music and
dancing at holiday times. We here at the Métis Commission wish you and your
family a holiday season full of fun and laughter and the joy of being together.
GAYAYR NWEl
Eva Coles
Page 2
Introducing the Métis Commission’s Newest Board Members
Stephanie Konefall:
Tanshii everyone,
I have attended several board meetings
and am impressed with what I am
learning in regards to the Métis
Commission’s work and in particular the
professionalism and pride that the board
members exhibit. I joined the Métis
Commission board hoping to bring
change about by offering my strengths in
child welfare policy, legislation and the
law. As a proud Métis woman I am honoured to have the chance to be part of the Métis community that offers Métis children
and families hope for a better future.
When I am not volunteering with MCCFBC I am a Team Leader with Nuu-chah-nulth
USMA Child and Family Services (Port Alberni) and a Trainer with Indigenous
Perspectives Society. My most important job to date however is being the mom of two
brilliant teenagers who each brings me great pride.
I am looking forward to the next few years and what we can bring to Métis families as a
team.
Sherri Wildman:
Hello my name is Sheri Wildman and I am from
the
Métis and Cree Nations. My grandmother
was Violet Dumont who was from the Big Stone
Cree Nation and my grandfather was Alec
Paquette who was from the Saulteau First
Nations. I have worked in the field of social
services for 13 years and have specialized in
Aboriginal child protection since 2005. I have
been honoured to meet and work with youth and
families in Surrey, Vancouver and now in
Kamloops, BC. In addition to my full time work, I
have devoted much of my time to volunteer work
with inner city Aboriginal youth through
mentorship and cultural programs. I am honored
to be involved with the Métis Commission and I
am motivated to continue my lifelong commitment to ensuring Métis children and
families are safe and supported.
Page 3
Métis Role Models
Tanis Parenteau– Métis/Cree Actress
“Tanis was born and raised in
Peace River, Alberta, Canada.
She is a member of the Métis
Nation of Alberta and is of Cree
and Sioux descent.
In 2003 Tanis moved to
Vancouver, BC to further pursue
her career. With a principal role
on "The Twilight Zone" with
Jeremy Sisto and Alicia Witt,
playing Corb Lund's girlfriend in
"Hank William's First Nation"
and a string of roles in
independent film under her belt, Tanis's career was continuing to develop. In 2008
Tanis decided to tackle New York City and immerse herself in serious training. She
completed her Master of Fine Arts degree in Acting in 2011 and has been working
steadily ever since. She has starred in countless Off Broadway shows, worked with the
famed Sheila Tousey at the William Inge Center for the Arts in "What Would Crazy
Horse Do?", starred in "Manahatta" at the prestigious Public Theater in NYC and also
originated the lead role of Bonnie Red Bird in "Pow Wow Highway" the first play
adaptation of the novel.
Tanis is best known for her role as Tammy on "House of Cards" opposite Michael Kelly
and Gil Birmingham, along with Kevin Spacey and Robin Wright. She is also delving
into producing and writing and her first short film "A Big Black Space" will be released
in October 2015” (http://www.tanisparenteau.com/bio.html).
Tanis was kind enough to allow our Cultural Safety Worker to interview her for our
Newsletter!
What was it like for you growing up as a Métis/Cree person? Did it play a
prominent role in shaping your identity as youth?
Actually not so much. Only because I wasn’t aware of my identity as a Métis person. I
knew I was Métis because my family told me so I was aware it was a part of my identity
but I didn’t really understand what that meant yet, or what that meant to me yet as an
Aboriginal person. I would say not really as a youth. I wasn’t really exposed to specific
Métis culture or any Aboriginal culture growing up. If you’re treaty or non status First
Nation and you’re not living on a reservation you can possibly not be exposed to that
as a youth as well. It was always just something I knew; it was important to know I was
told. To me growing up, it just meant my connection to my family and where I came
from. That was important to my family and became important to me as well, and it still
is. Now I understand why it is important to know where you come from, as an
Aboriginal person.
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Is there anything you know now about your culture that you wish you had known
when you were younger?
I wish I had learned to dance, I wish I had learned to jig, specifically. I will learn! It’s
hard being away from home now and not having access to that, but any kind of dance.
Even now, I didn’t really start to discover who I was in my own Aboriginal identity until I
actually moved to New York and I became involved in the community here. I’ve since
learned how to jingle dress dance, well I’m still learning- I should say I’m just starting
out. That made me think I wish I had learned other dances growing up too and definitely the jig. We kind of fake it at family reunions because nobody really knows how
(laughs).
Does your Aboriginal culture play in your day to day life?
It does, I guess, in my identity in my work. There aren’t any sort of cultural things I do
on a daily basis, but it sort of crosses over with part of what I decided to play a role in
the performing arts and the roles that I choose and the work that I do is largely Native
roles and working with other Native artists in theatre and in film. It kind of is this
amalgamation of the two. It’s about my work as an actor, it’s sort of the business
aspect of it, of trying to get roles, but a lot of the roles are tied in with the Native
community. It is in that way. But as far as on a cultural day to day basis, personally, I
don’t know if I can separate the two because it’s a really big part of my life. I wear my
moccasins pretty day every much. That’s actually something, I’ve always had
moccasins. I even have little tiny ones I had when I was a baby and I still have them
today. That’s actually something I’ve had in my life forever. And I have mukluks that
have been passed down to my dad and grandpa. They’re really neat. It’s interesting to
see handmade versions from 50 years ago to the handmade versions now. I wasn’t
exposed to any sorts of any specific Aboriginal traditions growing up, but now that I’m
part of the community here and I’ve been exposed to some of the cultures and
traditions, I do, personally, not every day, but I do have sage and sweetgrass that I’ll
incorporate into my day when I feel I need it. That’s not specifically Métis, but it is part
of who I am as an Aboriginal person. I’ve started to incorporate that into my life a little
bit.
As we’re coming up to the Christmas season, did you and your family have any
special Christmas traditions?
My family for as long as I can remember have been together at Christmas. That’s one
of the times of the year I go back to Alberta. I’m going back again this year. It’s nice
being back in the cold during the Christmas. My dad’s side of the family gets together
on Christmas Eve, we used to go to my Grandpa’s, but now it’s actually hosted at my
parents’ house. We have a huge extended family and a lot of the family comes. We
have twenty people who come over for dinner and we’ll do a fun gift exchange, one of
the ones you make a game out of, so we give gifts that way. And then in the morning,
on Christmas day we always go to my mum’s side of the family. I get all the family in
two days.
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When did you first get into acting?
Tanis and actor Gil Birbingham
I didn’t get into acting really until my last year
of undergrad at U of A in Edmonton. I never
really took it as a kid in school. I think I took
the drama option in grade nine, and then
again in high school. I was in the Sound of
Music in Peace River when I was 6 or 8. I
sang in it. I remember it was really fun but I
was terrified of singing. In my last year at U of
A I was taking Physical Education and
focusing on athletic therapy, but there was
certain electives required out of your faculty
and I had one requirement left and I was
looking at classes and so Drama 101 and
thought that it looked fun so I took that, and
then that was the turning point. It just opened
up something in me I had never felt before. I
think it had a lot to do with the ability to express myself and it was fun and I just fell head over heels in love with it. Then I got an
agent, and started taking lessons for TV and film, and that’s how it happened for me.
Do you have any advice for kids who might be interested in getting into this
field?
Definitely training, taking classes, getting into the local theatre community. Wherever
you can find acting classes in your community, really learning the craft of acting is
definitely the first step. And then there are things that come along with the business
aspect that you need after you’re ready to start working and auditioning. You need to
find an agent, get head shots done- but definitely training, and learning, and playing
and having fun, and taking improv classes and just seeing if you like it. Exploring in
class is definitely the first step. And then if you feel you want to keep going with it think
about getting an agent and the business side of getting headshots. I definitely stress
training as the first step.
How large of a role does your heritage play in your professional life?
It plays a very very large role. Working as an actor off and on in Vancouver for a few
years, I kind of focused on it but didn’t take it seriously. I decided I wanted to really
take it seriously and wanted to get some serious training, so I moved to New York to
get my MFA. Since I’ve been working in New York and involved with the Native
community here, I’ve been lucky enough to say with my work on stage, 90% of it has
been with other Native artists, either with Native playwrights, or Native theatre
companies, or the roles that I play. So it definitely is a huge, huge part. And even with
film and TV. My biggest role was playing a Native character on House of Cards. I still
audition a lot for Native roles, but I do audition for non-Native roles too.
Page 6
It’s definitely a large, large part and I’m happy that it is. I found it’s almost impossible to
be Native and to not be political; it just goes hand and hand. It gets you to care about
rights and issues going on with Aboriginal people in North America, it’s hard to
separate those two. I’ve found with my work, what I can do, to give back to the
community, is to use my voice to help tell the stories that need to be told and bring
awareness to the issues that need awareness, that people might not know about. So if
I can use my exposure to bring awareness to any of these issues, I’m happy to do it
because I think it’s really important. All the plays that I do that have other Native artists
involved, it’s always about an issue that a Native person faces or is currently
happening. Any piece that I’m doing is about any given issue that might be happening
in this moment or many years past, since colonization. It’s huge. I’m happy to take this
work when it comes along, because I feel it’s my way to help.
Do you feel as if Hollywood is making space for Aboriginal actors to play Aboriginal roles? Or is there still quite a bit of ‘white-washing’ (i.e. Johnny Depp/
Rooney Mara in their roles as Tonto and Tiger Lily)?
I don’t think Hollywood is, specifically Hollywood and big studios that are making big
blockbuster movies, I don’t think that they are, except for maybe the Revenant,
whoever made that movie. But as far as like, the Lone Ranger and Peter Pan, then
definitely not, there’s still a lot of whitewashing going on. But that being said, there are
other artists who are making space, there are a lot of original series, like on Netflix,
Hulu, and Amazon, and even on some networks, there are more opportunities for
actual Native actors. But I don’t think it’s in Hollywood specifically. There are a lot of
independent film makers who are, too. I was just in California last month for a couple
weeks because my film (A Big Black Space) got into some film festivals down there.
There were two American Indian Film Festivals. It’s nice that there are film festivals
that are specifically about or involve Native American film making. It’s a wonderful
opportunity to show your work and bring awareness to that. It’s getting better, but...still.
Although there are certain TV shows that do make space for Aboriginal actors,
sometimes those TV shows still hire non-Native actors to play Native roles. This is very
unfortunate and really frustrating. I can’t imagine how that must feel like for the
Aboriginal actors having to act beside non-Native actors playing Native roles. There is
a show, Banshee, it has great roles for great Native actors, I think Gil Birmingham is in
it, and Chaske Spencer is in it, but for one of the big female Native roles, they hired an
East Indian actress for it. There are some steps forward and some space made, but
they’re still closing the door on some of that availability.
Page 7
I was doing some research, and came across one of your latest productions
entitled A Big Black Space. Can you tell us more about this project and why it
was important to you?
My film A Big Black Space, it’s a drama, it’s a nine minute short. The reason I wrote it,
I produced it, I starred in it is that I wanted to start producing, the last couple of years
I’ve been thinking about it. I have other people’s scripts that I want to produce, but I’ve
never produced before, so I didn’t want my first go at it to be other people’s material- I
wanted to just make something and finish it and move on so I could have a practice
one out of the way. But I’m not a writer, so I didn’t know what to write. Through some of
my work I’ve worked with a Native theatre company, they are three sisters, called
Spiderwoman who were born and raised in Brooklyn and they’ve been around since
the 70’s. I’ve been working with them recently on a play they’re developing about
women and violence in and out of our communities. The way they work is that you
have to get up and tell a story in rehearsal about something you’ve experienced,
something someone you know has experienced. I didn’t think I had experienced or
been exposed to violence growing up, like physical violence. It wasn't until working with
them that I realized there were many more forms of violence other than physical, even
as far as verbal, mental abuse and sexual abuse, and so many different kinds of
abuse. I got up and I told a story, and then it dawned on me later when I was thinking
about producing something that I could just turn this story into a short film. So I just sat
down and wrote it into screenplay format, and that’s where A Big Black Space came
from. It’s important to me, because in the US, the statistic is, and I’m sure it’s similar in
Canada, that Native women are 2.5 times more likely than the National average to be
raped or sexually abused. That’s very problematic and a lot of the general population
don’t know that, or if they hear it they don’t believe it because they don’t see it. Or
think, oh well, compared to what? I’ve seen and met women, who’ve been exposed to
this type of violence, and I’m someone who has experienced sexual assault, and I just
feel it is something that needs more awareness. It’s one of the many important issues
that face our people that needs more awareness brought to it. That’s what I was doing
with this film. Another one of my goals is the problem with the hyper-sexualisation of
Native women in the media. Victoria secret models wearing buckskin bikinis and
wearing a headdress and walking down the runway. Gwen Steffani dressing up and
playing cowboy and Indians and being the sexy tied up Indian girl in her video. There
are so many celebrities playing that sexy Pocahontas. And just regular people who
dress up, the costumes in the store that are called sexy squaw and reservation royalty,
and all of that. My goal with this film is to show a connection to how those images and
sort of Pocahontas fantasy I call it, is a problem for real Native women. That’s kind of
what the film has turned into.
Page 8
Do you think projects like A Big Black Space will bring greater awareness to the
mainstream the issues Aboriginal women face?
I don’t know. I hope so, I don’t know as far as mainstream goes. Even with this film, it
didn’t get into a lot of film festivals we were hoping to get into, the bigger ones where
the type of exposure could really help bring awareness to the statistic and the situation.
I don’t know, it could be for a variety of reasons, maybe they didn’t think the filmmaking
quality was good enough, or they could also not want to take on that sort of an issue
because it’s heavy, and to include a film like this, in a nutshell, it’s about a racially
motivated sexual assault. Because of the subject matter, we’re talking about rape;
people sometimes want to avoid talking about issues like that. I feel like sometimes
there are doors that don’t open because it’s such a heavy topic which is really
unfortunate, because it just perpetuates the rape culture we live in even more. I feel
like I have an opportunity to, maybe not bring it mainstream, but definitely it’s being
welcomed in our own communities. There’s a bit of a crossover I see possible in
colleges and universities, I’ve shown the film at two universities so far, one was at
American University in Washington DC and at NYU, here. We were invited by Native
students at each school, but it also brought in other students who were non-Native, as
it happened at the school, so they got to see the film and learn about the issue. I’m
hoping that I can do this at other schools and bring awareness that way. That will be
my strategy over the next little while- to reach out to schools and community.
Any last words of wisdom to share?
Go for what you want, if you don’t know what it is yet, give yourself time to figure it out.
I didn’t really know what I wanted to do growing up. I wasn’t always super focused, but
I kept trying new things to see if there was something I might like eventually. Definitely
be open to new experiences and trying different things. If you do have an idea about
what you want to do, go for it! A lot of youth now are a lot more focused than I was
back then. Be brave about standing up for yourself and things and issues you want to
stand up and speak out for. Don’t silence yourself. Speak up if you want to speak up.
Find like-minded people. And also learn about your culture and where you come from
and explore who you are as an Aboriginal person and what that means to you.
Page 9
Métis Legends
How the People Hunted the Moose:
A family of moose was sitting in the lodge when a pipe came floating in through the
door, passing close to each of the Moose People until it reached the youngest of the
young bull moose. He took the pipe and started to smoke it. The old moose knew that
it was a pipe the human beings were smoking to ask for success in their hunt. "Now,
tomorrow, they will find us," he said. But the young moose was not afraid, for he
thought he could outrun them.
When the Moose People reached the edge of the forest the next day, they caught the
scent of the hunters. The thin crust on the snow made it hard for the moose to move
quickly. The young moose was still sure he could outrun the hunters, but the hunters
were wearing snowshoes. They followed him until he tired, and then they killed him.
They thanked him for giving himself to them so they could survive. They treated his
body with care, soothing his spirit.
When the young moose woke up in his bed that night, he said to the others, "Those
hunters treated me with respect. It is right for us to allow the human beings to catch
us." And so it is to this day. Those hunters who show respect for the moose are always
the ones who are successful when they hunt.
Learn Michif
Michif is the indigenous language of the Métis people of Canada. Michif emerged over
two hundred years ago as a mixed language, combining Cree and French, with some
additional borrowing from English and First Nation languages such as Ojibwa and
Assiniboine. In general, Michif nouns (and their associated grammar) are French, while
verbs (and their associated grammar) are Cree.
The Michif language is unusual among contact languages, in that rather than choosing
to simplify its grammar, it chose the most complex and demanding elements of the
chief languages that went into it. This suggests that, instead of haltingly using words
from another’s tongue, the people who devised Michif were fully fluent in both French
and Cree. (http://www.cumfi.org/?q=node/8)
Useful Phrases:
How did you make this?
tawnshi gowshtayaen
Thank you for dinner.
Marsi pour dinnay.
This is a good dinner.
Un bon dinnay oma.
You are a good cook.
ki nitaawotaypoon.
This is good meat.
la bon viaan oma.
What sort of meat is this?
kel sorte de viaan oma
Are you hungry.
kee noohteh gatawn chee.
I am hungry.
noohteh gataan.
Are you Thirsty.
ki noohteh awpawgwan chee.
I am thirsty.
noohteh awpawgwaL.
Lets eat!
meetsho taak
Page 10
Historic Métis Christmas Season Festivities by George and Terry Goulet
Whenever an opportune occasion presented itself, and many did, the historical
Western Métis people loved to party, feast and celebrate. Like the people themselves,
these activities were an amalgam of French, Scottish, Irish and Indian roots. Festivities
consisting of good food and drink, rousing music, energetic dancing, lively singing and
jovial socializing would usually start in the early evening and continue until the morning
hours. During this merrymaking, and continuing to this day, the Red River Jig and the
fiddle were at the core of Métis identity. The primary source of this music came from
the Scottish winterers of the North West Company.
In the 19th century the Christmas and New Year period was the main festive season in
the Red River with activities extending over ten days to two weeks. Those away from
Red River on the winter buffalo hunt didn’t miss out on the celebrations. An example is
given by Norbert Welsh in The Last Buffalo Hunter. In his narrative, Welsh said that at
New Year’s (1865) they had a good time:
“We would dance the old-time dances and the Red River Jig, reel of four, reel of eight,
double jig, strip the willow, rabbit chase, Tucker circle, drops of brandy, and all the
half-breed dances. There were always lots of fiddlers. Nearly every man could play the
fiddle. Then we would go to another family. I tell you, we had a regular good time. We
had lots to eat and drink …. This feasting lasted about ten days.”
The prominent Métis entrepreneur James McKay (who was born at Edmonton House
in 1828 and died in 1879 at St. James, Manitoba) invariably gave a fun-filled New
Year’s Party at his home in the Red River Settlement. His home was called Deer
Lodge and was a frequent gathering place for the Métis, Indians and other residents in
the area.
His New Year’s Day festivities consisted of dancing, music, songs, eating and socializing, and began in the late afternoon. The young men were gussied up in their best
homespun, while the young ladies wore their finest dresses and close-fitting bodices.
All wore moccasins, making fast-foot shuffling easy while dancing.
In an article titled “Red River New Year”, historian Margaret A. MacLeod wrote that
when the dance at McKay’s home began “Four fiddlers played in relays of two to give
the exhausted ones a chance to recover. Four sets for the square dance formed in that
big room and to the music of ‘The Buffalo Girl’ or ‘Soldiers’ Joy’, they were off at the
dancing in earnest.” A late supper was served while the spirited dancing carried on
long into the night.
Food served at the New Year’s party held by McKay included such items as buffalo
tongues and hump, smoked deer, beaver tail, roasted ducks and geese, hot joints of
beef and pork, pemmican, bannock, and strong black tea.
There were other convivial happenings during the Christmas – New Year Holidays. Joseph James Hargrave wrote in his 1871 book Red River:
Page 11
“Much driving about and visiting take place, and balls, family parties and celebrations
of a kindred nature are set on foot…. One of the principal events in the holidays is the
celebration of a midnight mass in the cathedral of St. Boniface, on Christmas eve.”
Weddings were very common at this time of year and lasted several days with much
feasting, dancing and drinking. The son of Cuthbert Grant was married to a Métis girl at
St. François Xavier in 1843. As quoted in the Spring 1961 issue of Beaver Magazine,
Robert Clouston a guest at the wedding wrote in an 1843 letter that:
“We reached Mr. Grant’s about 12 o’clock and found them all dancing; and Mr. G. himself, in that happy state, which is sometimes called glorious; we had something to eat,
and then joined the dance …. We had dancing all day and till 4 o’clock next morning –
and by 9 the following day left them – heartily tired of the scene, but thinking the
bridegroom a very happy fellow.” In the morning a breakfast was served. It was a
custom that one had to sing a song to the bride to receive a piece of the wedding cake.
Another event held on New Year’s Day witnessed horse-racing on the Red River.
Woolen-capped men in carrioles galloped their ribbon-adorned steeds along the frozen
river, with many spectators cheering on their favorite team.
In his book Homeland to Hinterland, Gerhard Ens gives a brief description of “The
Social and Seasonal Round” of the Red River Métis. This account includes the winter
festive season, a Christmas dinner, a dance, and New Year’s Day.
In his Memoirs Louis Goulet gave a verbal picture of a Métis feast in the 19th century.
He stated that everyone tried to surpass all others in preparing the tastiest dinner.
During the festivities, a singing competition was held. This was followed by exhilarated
dancing to the music of fiddles, guitars, drums, mouth organs, and other rhythmic
instruments at hand. Each dancer, each musician and each singer animatedly tried to
outshine the others while the onlookers watched the joyous rivalry with enthusiasm. An
event such as this carried on for many hours and the most energetic jiggers might find
at the end of the festivities that the soles of their moccasins had seen their last days.
The Métis in other communities carried on the same festive tradition. Goulet mentioned
a house dance in the Judith Basin. This was an enclave on the Missouri River in
present day Montana where many Métis people reside today. He mentioned that men
pounded on a drum “to the rhythm of the Red River Jig ….The dancers kept time by
clapping and snapping their fingers over their heads.”
Fort Langley, British Columbia was established in 1827 by the Hudson’s Bay Company
with the help of, among others, the Métis. Members of the Métis community
participated in dances at this Fort. Although Christmas was a holiday there, the major
festivities for this season of the year occurred on New Year’s Day as was the custom in
the Métis settlement of Red River.
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Métis Commission for
Children and Families of BC
COUREUR DE BOIS CASSEROLE
INGREDIENTS:
-1 1/2 to 2 lbs of wild game suitable for roasting - caribou,
moose, deer or hare
-1/4 lb salted fatty lard
-2 medium onions cut in pieces
-2 cups of cold water
-Make some grandfather's dough based on the bannock
recipe
#10—111 Oriole Road
Kamloops, BC V2C 4N7
Phone—(250) 372-8688
Fax—(250) 372-9111
Toll Free—1-877-606-3847
METHOD:
-Preheat the oven to 325.
“Advancing transformative change for
the well-being of Métis children, youth
and families.”
Check us out on the internet:
www.Métis commission.com
-On the stove, in an ovenproof casserole - melt thin slices of
the salted lard - add the pieces of onion and brown them
lightly - add the pieces of meat- add the water - it should be
very cold to that the meat retains its juice.
-Cover the casserole and put in the oven. Cook at 325 F half
an hour, then lower the temperature to 225F and cook for
between 3 to 6 hours, depending on the meat chosen.
-Half an hour before the end of the cooking time, add some
sliced potatoes and spoonfuls of dough (see the bannock
recipe) to the cooking broth all around the meat.
The purpose of this newsletter is to connect individuals from across the province who promote the health and well-being of our Métis children and
families.
If you have any stories, events, photos or newsworthy items that you would like to share, please email:
Ashley (Cultural Safety Worker) [email protected]
Find Us Online!
The Métis Commission for
Children and Families of BC
now has a facebook page!
You can find us on facebook
at:
Métis Commission for Children
and Families of BC
Or
https://www.facebook.com/
pages/Metis-Commission-forChildren-and-Families-ofBC/887078191352768?ref=hl
Métis Service
Providers
in British Columbia
Lii Michif Otipemisiwak Family
and Community Services
707 Tranquille Road
Kamloops, BC V2B 3J1
(250) 554-9486
Island Métis Family & Com. Services
345 Wale Road
Victoria, BC V9B 6X2
(250) 391-9924
Métis Family Services
13639—108th Ave.
Surrey, BC V3T 2K4
604-584-6621
Kikino Métis Children & Family Services
Métis Community Services Society of BC 369 Victoria Street
#201-2949 Pandosy Street
Prince George, BC V2L 2J6
Kelowna, BC V1Y 1W1
(250) 563-1661
(250) 868-0351
Ktunaxa-Kinbasket Children & Family
Cariboo Chilcotin Métis Association
7472 Mission Road
#6-160 Oliver Street
Cranbrook, BC V1C 7E5
Williams Lake, BC V2G 1L8
(250) 489-4563
(250) 392-4428
Dawson Creek Aboriginal & Family
North Cariboo Métis Association
Services
668 Doherty Drive
#14-1405 102nd Avenue
Quesnel, BC V2J 1B9
Dawson Creek, BC V1G 2E1
(250) 992-9722
(250) 782-1169
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