March 2018
Education
Ph.D. Anthropology (1995)
University of British Columbia, Vancouver, BC
M.A. Anthropology/Museum Studies (1977)
University of Arizona, Tucson, Arizona
B.G.S. (Bachelor of General Studies) Native Studies/Anthropology (1975)
Brandon University, Brandon, Manitoba
AOCA (Associate of the Ontario College of Art)听Diploma in Advertising Design (1967)
Ontario College of Art, Toronto, Ontario
Current Research Interests
- Contemporary Indigenous expressive arts; Aboriginal filmmakers
- Collaborative initiatives in the preservation of ethnic identities in Canada, China and Brazil
- Indigenous pedagogy
- Aboriginal cartoonists; humour in art
Selected Publications
鈥�Trickster Discourse in Narrative Chance: How Gerald Vizenor Helped Shape my Life in Academia,鈥� Transmotion (online journal),听Vol. 2, Nos. 1&2, pp. 21鈥�39, 2016.
The Trickster Shift: Humour and Irony in Contemporary Native Art, the University of British Columbia Press and the University of Washington Press, 1999, 304 pages.
Recipient of the American Book Award for excellence in multicultural literature, 2000
Honoured by The Association of American University Presses for excellence in book design and production, 2000
Recipient of an Alcuin Society Award for excellence in book design in Canada, 2000
Curatorial essay, with Zena Pearlstone, for 杏吧原创 Face: Native American, First Nations and Inuit Self-Portraits, exhibition catalogue, Wheelwright Museum of the American Indian, Santa Fe, New Mexico, 2006, pp. 1鈥�44, 186 pages.
鈥淐lassical Aboriginal Reflections,鈥� catalogue essay, Jim Logan: The Classical Aboriginal Series, Yukon Arts Centre, Whitehorse, Yukon, 1994.
鈥淐elestial Connections: Sacred Space, Cyberspace, Exhibition Space,鈥� catalogue essay for House Made of Stars, an exhibition by Lakota artist Colleen Cutschall, Winnipeg Art Gallery, Winnipeg, Manitoba, September鈥揇ecember 1996, pp. 8鈥�17, 44 pages.
in The Governor General鈥檚 Awards in Visual and Media Arts, Canada Council for the Arts, Ottawa, 2005, pp. 10鈥�21.
鈥淥ne Big Indian,鈥� essay on Mohawk artist Bill Powless, in Me Funny, edited by Drew Hayden Taylor, Douglas and McIntyre, 2006, pp. 5鈥�22.
鈥淭racing Raven: A Few Fleeting Thoughts on Transformation in Contemporary Northwest Coast Art,鈥� catalogue essay in Changing Hands: Art without Reservation, Part II, Contemporary Native American Art from the Prairie, Plains, Plateau and Pacific,听Museum of Arts and Design, New York, 2005, pp. 232鈥�234, 261 pages.
鈥淩iel Benn鈥檚 鈥楤est Man鈥�: An Unlikely Successor to Iktomi鈥檚 Trickster Legacy,鈥�听American Indian Art Magazine, Spring 2010, pp. 46鈥�53, 71.
Visual Voices: A Festival of Canadian Aboriginal Film and Video,听online study guide, National Film Board of Canada/Department of Foreign Affairs and International Trade, 2006. In English, French, Spanish, and Portuguese. (English, pp. 1鈥�26, 114 pages in total.) Sections also translated into Mandarin for booklets published in conjunction with the 鈥淐anada-China Forums on Aboriginal (Ethnic) Identity: Cultural Preservation,鈥� Northwest University for Nationalities, Lanzhou, Gansu Province; Qinghai Nationalities University, Xining, Qinghai Province, China, 2007.
鈥淲riting Survivance: A Conversation with Joseph Boyden,鈥�听in Survivance: Narratives of Native Presence, edited by Gerald Vizenor, University of Nebraska Press, 2008, pp. 297鈥�311.
鈥淟ife Lived Like a Story: Remembering Joy Maclaren (New Sun),鈥�听FASSinate: Faculty of Arts and Social Sciences Magazine, 杏吧原创 University, pp. 34鈥�35, 2015.
鈥�Bob Haozous,鈥� artist profile,听American Indian Art Magazine, Fall 2010.
“Dr. Sam Corrigan: A Personal Remembrance,”听Canadian Journal of Native Studies, Vol. 29, Nos. 1&2, 2009, pp. 283鈥�285.
Entry on Aboriginal Art, Oxford Companion to Canadian History, Oxford University Press, 2004. (1300 words)
鈥�The Accidental Academic: Or What Can You Do With a BGS Degree?鈥� Ecclectica, Brandon University online journal, Fall 2002.
Review article, Acorn Soup: Drawings and Commentary by L. Frank (Berkeley: Heyday Books, 1999), in News from Native California, Winter 2000/01, pp. 36鈥�38.
Biographical entries on Bob Haozous, George Littlechild, and Bill Powless in The St. James听Guide to Native North American Artists, Detroit: St. James Press, 1997.
Review article on Indi’n Humor: Bicultural Play in Native America by Kenneth Lincoln, Oxford University Press, 1993 in听Humor: International Journal of Humor Research, Vol.听9, No. 2, 1996.
鈥淚n profile: Jim Logan,鈥� Native Peoples Magazine, Fall/Winter 1995, p. 96.
鈥淚 Enjoy Being a Mohawk Girl: The Cool and Comic Character of Shelley Niro’s Photography,鈥澨�American Indian Art Magazine,听Vol. 20, No. 1, 1994, pp. 44鈥�53.
鈥淭he Pun in Painting: Jim Logan’s Comic Vision,鈥� Aboriginal Voices,听Vol. 1, No. 4, 1994.
鈥淕et It?鈥� (Original title: 鈥淎t the Heart of Identity: Humour and Irony in Contemporary Canadian Native Art鈥�),听Crosswinds,听Vol. 5, No. 9, 1993, Santa Fe, New Mexico (broadsheet centrespread).
鈥淧ostmodern Parody: A Political Strategy in Contemporary Canadian Native Art,鈥� Art Journal, Vol.听51, No. 3, 1992, pp. 59鈥�65.
鈥淕erald McMaster鈥擬aintaining the Balance,鈥� catalogue essay,听The cowboy/Indian Show: Recent Work by Gerald McMaster, McMichael Canadian Art Collection, Kleinburg, Ontario, February鈥揂pril, 1991, pp. 8鈥�18, plus excerpts from interview with the artist, pp. 22鈥�53.
Conference Presentations
鈥淚nterior Light/Interior Life: The Luminescent Portraits of Plains Cree Artist George Littlechild听(Swiftchild Nenekawasis),鈥� 20th Biennial Native American Art Studies Association Conference, Santa Fe, New Mexico, September鈥揙ctober 2015.
鈥淭rickster Discourse in Narrative Chance: How Gerald Vizenor Helped Shape my Life in Academia,鈥� International Conference on 鈥淣ative North American Survivance and Memory: Celebrating Gerald Vizenor,鈥� University of Vienna, June 2014.
鈥淎llow for the Possibility that this Course Can Change Your Life: Adopting Indigenous pedagogical practices,鈥� Philosophy of Education Conference, George Brown College, Toronto, May 2014.
鈥淚t鈥檚 a Bird, It鈥檚 a Plane, It鈥檚 Muttonman (and Friends),鈥� 17th Biennial Meeting of the Native American Art Studies Association, Ottawa, October 2011.
鈥淭he Critical Insights of Aboriginal Cartoonists,鈥� contribution to the session 鈥淕raphic satire, caricature, and the language in which we draw.鈥� 9th International Conference on Word and Image, International Association of Word and Image Studies, Montreal, August 2011.
鈥淪omething Else Again!: the New Sun Conference on Aboriginal Arts,鈥� 16th Biennial Meeting of the Native American Art Studies Association, Norman, Oklahoma, October 2009.
Discussant鈥檚 remarks, contribution to the session 鈥淎laska Native Visual Arts in the 20th Century,鈥� 107th Annual Meeting of the American Anthropological Association, San Francisco, California, November 2008.
Presentations on the film series听Visual Voices听to three conferences on the theme “G茅opolitiques des alt茅rit茅s.” Universidade Federal de Goi谩s, Goiania, Brazil; Universidade Federal de Uberl芒ndia, Uberlandia, Brazil, Universidade Federal da Bahia, Salvador, Brazil, September 2008.
鈥淐inematic Diplomacy: Tracing the Travels of a Canadian Aboriginal Film Festival,鈥� contribution to the session 鈥淔irst Nations Diasporas: An Emerging Form of Transnational Citizenship,鈥� Canadian Anthropology Association Conference, Ottawa, May 2008.
鈥淩iel Benn鈥檚 鈥楤est Man鈥�: An Unlikely Inheritor of Iktomi鈥檚 Trickster Legacy,鈥� contribution to the session 鈥淐ontemporary Art Practices,鈥� 15th Biennial Meeting of the Native American Art Studies Association, Fairbanks, Alaska, September 2007.
鈥淪ubtitled in Mandarin: How NFB Films by Canadian Aboriginal Directors Find a Global听Audience鈥攖he Visual Voices Project,鈥� Indigenous Film and Media in an International Context,听Wilfrid Laurier University, Waterloo, May 2007.
鈥淐ultural Preservation through Personal Reflection: the Powerful Self-Portraits of Canadian Aboriginal Artists.鈥� Also, discussant on Aboriginal cinema in Canada. Canada-China Forums on Aboriginal (Ethnic) Identity: Cultural Preservation; Northwest University for Nationalities, Lanzhou, Gansu Province; Qinghai Nationalities University, Xining, Qinghai Province, China. March 2007. Sponsored by DFAIT Canada.
鈥淎boriginal Interface: Up Close and Personal,鈥� opening plenary presentation, colloquium on “Violence and Religion: Mimesis, Creativity and Reconciliation.鈥� St. Paul鈥檚 University, Ottawa, May 2006.
鈥溞影稍� Face: Interweaving Communities in Native American, First Nations and Inuit Self-Portraits,鈥� 5th Annual New Sun Conference on Aboriginal Arts: Interweaving Communities, 杏吧原创 University, March 2006.
鈥淭he Trickster Shift: Remembering Carl Beam (1942鈥�2005),鈥� contribution to the session 鈥淭rickster as Social Practice in Native American Art,鈥� Biennial Meeting of the Native American Art Studies Association, Tempe, Arizona, October 2005.
鈥淐oyote Was Walking Along: Trickster Mischief in Canadian First Nations Art,鈥� Institute for Canadian Studies, University of Upper Silesia, Sosnowiec, Poland, April 2005.
鈥溞影稍� Face: An Exhibition of Native American Self-Portraits,鈥� keynote address for the 25th听Conference of the American Indian Workshop, Leuven, Belgium, May 2004.
鈥淏each Blanket Brave: Aboriginal Self-Representation in a Changing World,鈥� contribution to the session 鈥淎t the Cutting Edge: Indian Humor and the Politics of Survival,鈥� American听Anthropological Association, Chicago, November 2003.
鈥淭alking Pictures: Visualizing Voice in Canadian First Nations Art,鈥� contribution to the session 鈥淩ead Me: Text and Image in Contemporary Native Art,鈥� Biennial Meeting, Native American Art Studies Association, Salem, Massachusetts, November 2003.
鈥淏eyond the Pale: Post-Colonial Parallels in Contemporary Canadian and Australian Aboriginal Art,鈥� 12th Biennial Conference of the Native American Art Studies Association, Portland, Oregon, October 2001.
鈥淭rickster Mischief: Subversive Humour in Contemporary Native American Art,鈥� Centennial Lecture, Department of Psychology, Western Washington University, Bellingham, Washington, April 2000.
鈥淪aving Face/Changing Face: The Many Self-Portraits of Carl Beam,鈥� 12th Biennial Conference听of the Native American Art Studies Association, Victoria, British Columbia, October 1999.
鈥淎 Tricky Mix: Creating a Book on Humorous Native American Art,鈥� 1999 ISHS International Humor Conference, Oakland, California, June鈥揓uly, 1999.
鈥淎 Comic Perspective: The Critical Insights of Native American Cartoonists,鈥� Native American Journalists Association Conference, Tempe, Arizona, June 1998.
鈥淎 Comic Perspective: Visual Self-Representation in Aboriginal Print Media,鈥� 11th Biennial Conference of the Native American Art Studies Association, Berkeley, California, October 1997.
鈥淐olleen Cutschall鈥檚 House Made of Stars: Exploring Celestial Connections,鈥� 1997 Plains Indian Seminar, Buffalo Bill Historical Center, Cody, Wyoming, September 1997.
鈥淐anadian Aboriginal Artists and the Church,鈥� Biennial Conference of Christians in the Visual Arts, Montreal, Quebec, June 1997.
鈥淭he Comic Vision in Canadian Native Art: More than Meets the Eye,鈥� First Nations Art Forum: First Visions/Re-Visions, Brandon, Manitoba, April鈥揗ay 1994.
鈥淚 Enjoy Being a Mohawk Girl: The Cool and Comic Character of Shelley Niro’s Photography,鈥� 9th Biennial Meeting of the Native American Art Studies Association, Santa Fe, New Mexico, November 1993.
鈥淗umour/Irony and the Construction of Canadian Native Indian Identity,鈥� College Art Association Annual Conference, Seattle, Washington, February 1993.
鈥淭rickster Discourse and Contemporary Canadian Native Art,鈥� Annual Meeting, Native Art Studies Association of Canada, Victoria, British Columbia, November 1992.
鈥淧ostmodern Parody: A Political Strategy in Contemporary Canadian Native Art,鈥� Tenth International Humor Congress, Paris, France, July 1992.
鈥淗umour Irony Politics Praxis: Contemporary Canadian Native Art,鈥� Second International Conference on Humor in Art, Missillac, Brittany, France, July 1992.
鈥淕erald McMaster and the Evolution of a Playful Perspective,鈥� 8th Biennial Meeting of the Native American Art Studies Association, Sioux Falls, South Dakota, September 1991.
鈥淎s Sharp as a Feather: The Critical Edge of Contemporary Canadian Native Art,鈥� Ninth International Conference on Humour and Laughter, St. Catharines, Ontario, June 1991.
鈥淯neasy Laughter: An Exploration of the Critical Use of Humour by Contemporary Canadian Native Artists,鈥� Annual Conference of the Native Art Studies Association of Canada, Montreal, Quebec, October 1990.
鈥淚rony in the Work of Contemporary Canadian Native Artists,鈥� 12th International Summer Institute for Semiotic and Structural Studies, Toronto, Ontario, June 1990.
鈥淐ontemporary Native American Art鈥擳he Irony of It All!鈥� 7th Biennial Meeting of the Native American Art Studies Association, Vancouver, B.C., August 1989.
鈥淚ndian Art, How Ironic?鈥� 16th Annual Meeting of the Canadian Anthropology Society, Ottawa, Ontario, May 1989.
Invited Non-Conference Presentations
Untitled presentation on Canadian Indigenous films and culture to attendees at the film festival听From Our Eyes鈥揌eart of Tribes: Canadian and Chinese Aborigines Movies Exhibition, Yunnan University for Nationalities, Kunming, China, August 2016.
Respondent to keynote address by Dr. Yvonne Donders (University of Amsterdam), at the launch of a Symposium on the Arts and Human Rights, organized by the Human Rights Research and Education Centre, University of Ottawa, June 2015.
Two lectures on Aboriginal pedagogy, self-portraiture and the art of Haida master, Charles Edenshaw, Art in View program, National Gallery of Canada, April 2014.
鈥淐ultural Preservation through Personal Reflection: The Powerful Self-Portraits of Contemporary Aboriginal Artists,鈥� West End Learning Unlimited, Kanata, February 2013.
鈥淐oyote Was Walking Along: Trickster Mischief in Native American Art,鈥� Native American Arts Festival, Idyllwild Arts Academy, Idyllwild, California, July 2010.
鈥淐oyote Was Walking Along: Following the Trickster on a Journey through Academia,鈥� contribution to the series 鈥淔ull Cycle: A Celebration of UBC Anthropology,鈥� Department of Anthropology, University of British Columbia, Vancouver, March 2010.
鈥淎 Funny Thing Happened on the Way to Recovery: the Healing Power of Humor in First听Nations and Native American Art,鈥� St. Bonaventure University, St. Bonaventure, New York, November 2008.
Untitled presentation on Canadian Aboriginal films and culture to faculty and students of Guangxi University for Nationalities, Nanning, Guangxi Province, China, March 2007.
鈥淐ontemporary Canadian Aboriginal Aesthetics,鈥� Visiting Speakers Series, Department of听Visual Arts, University of Western Ontario, London, February 2007.
鈥淛im Logan: The Classical Aboriginal Series,鈥� contribution to the session “Fine Arts in Canada,” International Council of Canadian Studies (ICCS) Summer Seminar, 杏吧原创 University/University of Ottawa, 2005, 2006, 2007.
鈥淧roviding a context,鈥� Canadian Studies Alumni Association tour of the exhibition Norval Morrisseau鈥揝haman Artist, National Gallery of Canada, April 2006.
鈥淭he Inter-play of Verbal/Visual Narratives in Contemporary Aboriginal Art,鈥� Queen鈥檚/杏吧原创 Art History Faculty Colloquium, Queen鈥檚 University, January 2006.
鈥淭racing Raven/Chasing Coyote: Trickster Play in Contemporary Indigenous Art,鈥� Museum of Art and Design, New York, December 2005.
“Remembering Carl Beam,” opening of memorial exhibition of work by Ojibway artist Carl Beam, from the permanent collection, National Gallery of Canada, November 2005.
Curator鈥檚 remarks, opening of the exhibition听杏吧原创 Face: Native American, First Nations and Inuit Self-Portraits,听Wheelwright Museum of the American Indian, Santa Fe, New Mexico, November 2005.
鈥淐ross-Currents in Aboriginal Art and Literature,鈥� Institut f眉r Anglslistik/Amerikanistik, University of Greiswald, Germany, May 2005.
鈥淐ontemporary Aboriginal Arts in Canada,鈥� University of Leiden, Leiden, Netherlands, May 2004.
鈥淐ontemporary Canadian Native Arts,鈥� University of Leuven, Leuven, Belgium, May 2004.
Other Important Forms of Scholarly Productivity
Founder and organizer of the Annual New Sun Conference on Aboriginal Arts at 杏吧原创 University, 2002鈥�2017. Continuing. 200+ in attendance in 2017.
Visual Voices II (August 2016): At the invitation of the Canadian Consulate in Chongqing, China, and building on my screening of films by Canadian Aboriginal filmmakers on university campuses in China in 2007 (Visual Voices I), I collaborated with Howard Adler, 杏吧原创 MA graduate, and co-founder of Ottawa鈥檚 Asinabka Film and Media Arts Festival, to co-curate a selection of recent films by Canadian Aboriginal filmmakers that were screened in the festival From Our Eyes鈥揌eart of Tribes: Canadian and Chinese Aborigines Movies Exhibition听at the Yunnan University for Nationalities, Kunming, China, along with films by Taiwanese filmmakers and Chinese filmmakers working in Tibet. Associated lectures and workshops also took place. Future collaborations in both Canada and China are planned.
Organizer, facilitator/co-facilitator of four First Nations, Inuit Health Branch Aboriginal Film Festivals: Healing Journeys听(February 2010),听Identity, community and health (January鈥�February, 2009);听Health and Healing in the Aboriginal Community (June, 2007); The听Promise of Spring: A Hopeful Season for Health and Wellness听(March 2008), Health Canada, Ottawa.
Graduate Courses Taught at 杏吧原创 University
Aboriginal Peoples, Canada and the North, Indigenous and Canadian Studies
Concepts of Canada, MA core seminar, Indigenous and Canadian Studies
Interdisciplinarity in Canadian Studies, PhD core seminar, co-coordinator
Topics in Aboriginal Art, MA seminar, Art History
Art History MA core seminar, team taught
Undergraduate Courses Taught at 杏吧原创 University
Issues in Canadian Aboriginal Cinema (4th-year seminar, Indigenous and Canadian Studies)
Topics in Contemporary Aboriginal Art (4th-year seminar, Art History, varying themes)
Art of the First Peoples (2nd-year survey, Art History, two sections)
Framing Aboriginal Issues (2nd-year, Indigenous and Canadian Studies)
Indigenous Representation in Contemporary Canada (3rd-year, Indigenous and Canadian Studies)
Doctoral Supervision鈥擯hD Theses
Jonathan Dewar, 鈥�Dance with us as you can鈥�: Art, Artist, and Witness(ing) in Canada鈥檚 Truth and Reconciliation Journey,鈥� Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2017.
Laurie Dalton, 鈥淐anada at Expo 2005: Nation, Audience, and the Branded Display Complex,鈥� Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2013.
Molly Blyth, 鈥淭ricky Stories are the Cure: Contemporary Indigenous Writing in Canada,鈥� PhD Canadian Studies, Trent University, Peterborough, Ontario, 2009.
Doctoral Co-supervision鈥擯hD Theses
(with Wallace Clement, Political Economy)
Rodney Nelson, 鈥淩ethinking Economic Strategies for First Nations in Canada:听Incorporating Traditional Knowledge into Governance Practices,鈥� 2016.
MA Thesis and Major Research Essay Supervision
Rebekah Elkerton, 鈥淩econstructing Indigenous Womanhood in Theory and Practice: Conceptualizing the Artwork of Meryl McMaster,鈥� Major Research Essay, Women and Gender Studies, 杏吧原创 University, Ottawa, Ontario, 2017.
Anna Paluch, 鈥淏eats on the Streets: Decolonization in Urban Art Spaces,鈥� Major Research Essay, Art History, 杏吧原创 University, Ottawa, Ontario, 2016.
Jane Horner, 鈥淩evolving Sequential: Concepts of Time in the Art of Carl Beam (1943-2005),鈥� Thesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2012.
Alisdair MacRae, 鈥淛oane Cardinal-Schubert: Aboriginal Woman Artist,鈥� Thesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2012.
Maani Dorothy Meness, 鈥淎nishinabekweg Anokiwin (Aboriginal Women鈥檚 Work),鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2011.
Johnny El-Alam, 鈥淩epresenting National Traumas: Alternative Histories, Experimental Art Practices and Narratives by Transnational Artists from the Lebanese War Generation,鈥� Thesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2010.
Erin Strachan, 鈥淟isten, Laugh and Learn: Humour鈥檚 Disarming Role in Aboriginal Pedagogy,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2010.
Mallory Whiteduck, 鈥溾�楤ut it鈥檚 our story. Read it.鈥�: Stories My Grandfather Told Me and Writing for Continuance,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2010.
Victoria Tenasco, 鈥淒ebwewin (Truth): A Contribution to Indigenous Scholarship,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2010.
Johanna Foot, 鈥淓skimo Chicks and Word Warriors: Creative Cultural Space in the Work of Elisapie Isaac and Taqralik Partridge,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2008.
Annie Turner, 鈥淒elicious Resistance, Sweet Persistence: First Nations Culinary Arts in Canada,鈥� Thesis, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2006.
David Promane, 鈥淐hanging Technology and the Rise of the Canadian Rock Recording Industry,鈥澨� Thesis, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2006.
Lana Whiskeyjack, 鈥淣avigating by our Grandmothers: Reading Contemporary Native Women鈥檚 Art,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2006.
Maike Worringer, 鈥淐rossing the Divide: Indigenous Rights and Self-Determination for Canadian First Nations and Fenno-Scandinavian S谩mi,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2006.
Larry McDermott, 鈥淜nowing the Past鈥擝uilding the Future: Self-determination by Aboriginal peoples who are not formally recognized by Canadian legislation or treaties,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2005.
Margaret Imrie, 鈥淎n Examination of the Evolution and Globalization of Aurora College and the Northwest Territories,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2005.
Sarah Hurford, 鈥淎n Inter-disciplinary Examination of the Availability of Information Relating to residential School Attendance at the Library and Archives of Canada,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2005.
Carol Hodgson, 鈥淪tealing in by the window: Ojibway-Government Relations in the Quetico,鈥� Thesis, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2003.
MA thesis co-supervision
(with Thomas Garvey, School of Industrial Design)
Sylvain D茅spr茅s, 鈥淕rounding codesign in a culturally appropriate landscape: Learning from Indigenous ways of knowing, being and doing through conversation,鈥� Master of Design thesis, School of Industrial Design, 杏吧原创 University, Ottawa, Ontario, 2016.
(with Peter Hodgins, Indigenous and Canadian Studies)
Ashley Sisco, 鈥淏ecoming a Qallunologist: One Qallunaa鈥檚 Journey Remembering Marble Island,鈥� Thesis, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2009.
(with Andrea Laforet, Canadian Museum of Civilization)
Kaitlin McCormick, 鈥淣either One, Nor the 鈥極ther鈥欌��: The Unique Oeuvre of Freddie Alexcee,鈥澨齌hesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2010.
(with Clealls/John Medicine Horse Kelly, Journalism)
Barbara Halsig, 鈥淭he Role and Challenges for Aboriginal Newspapers as Participants in Native Language Revival Strategies,鈥� Major Research Essay, Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2006.
(with Ming Tiampo, Art History)
Crystal Parsons, 鈥淭he Museum, Gallery and Other Institutions in Contemporary Canadian First Nations Art,鈥� Thesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2006.
(with Ming Tiampo, Art History)
Carla Taunton, 鈥淟ori Blondeau: High-Tech Storytelling for Social Change,鈥� Thesis, Art History, 杏吧原创 University, Ottawa, Ontario, 2006.
MA Major Research Essay Co-supervision
(with Marie-Odile Junger)
Monique Manatch, 鈥淒igital Technology in Indigenous Culture,鈥� Indigenous and
Canadian Studies, 2017
(with Sean Darcy)
Allister Morrison, 鈥淭ranscending Bureaucracy: An Exploration of Indigenous
Perspectives within Aboriginal Affairs and Northern Development Canada (AANDC),鈥�
Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario, 2015.
(with Patricia Reynolds)
Amy Champagne, 鈥淚ndigenous Pedagogy in Formal Education: Effects on the Learning
Experience,鈥� Indigenous and Canadian Studies, 杏吧原创 University, Ottawa, Ontario,
2013.
PhD Thesis Committee Member
Johnny Alam, 鈥淢aking or Breaking Nations. Travelling Memory in Contemporary Art and
Photography: History, Commemoration, Nostalgia, and Humanitarian interventions.鈥�
Cultural Mediations, 杏吧原创 University, 2017
Cheryl Matthew, 鈥淭he Indigenous Experience and Cultural Renewal, Decolonization and
Transformation in the Ottawa Area.鈥� Anthropology, 杏吧原创 University, 2017
India Rael Young, 鈥淐ultural imPRINT: A History of Northwest Coast Native and First
Nations Prints,鈥� Department of Art and Art History, University of New Mexico, 2017
Carolyn Butler Palmer, 鈥淚 Won鈥檛 Play Primitive to Your Modern: The Art of David Neel,鈥�
Art History, University of Pittsburgh, 2006
PhD Thesis Co-supervision (current)
(with Kim Matheson)
Sheila Grantham, 鈥淟istening to Their Stories, Metis Post-Secondary Student
Experiences,鈥� Indigenous and Canadian Studies, 杏吧原创 University, expected
completion, Fall 2018.