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hello my name is sarah florence davidson
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and i'm going to be talking to you today
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about making meaningful stories and i'll
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be using the scada story series as an
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example
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i am recording this presentation on the
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traditional ancestral and unseated
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territory of the stalo peoples and i am
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incredibly grateful to be able to do
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this work on this territory
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just as a brief introduction uh my
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hidden name is anja gusandlance which
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means killer whale woman of the dawn
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uh i belong to the yakuza nas
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yakutlana's clan
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which is a raven clan from the haida
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and
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my father is robert davidson
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he belongs to the off plan which is an
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eagle clan and he
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his haida name is ozan lance which means
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beloved the dawn
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my mother is susan davidson and she
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identifies as a colonizer and she
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was adopted by my great grandmother into
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the yakut janasiyakulama's clan
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because i had her matrilineal so in
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order for my brother and i to have a
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place in the haida community
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it was important that that adoption take
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place
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and uh i am a haida settler assistant
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professor in the faculty of education at
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simon fraser university
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in 2018 my father and i published a book
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called potlatch's pedagogy learning
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through ceremony
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and just this past september we uh
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released two books from the scada story
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series and their picture books and so my
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father and i collaborated on those with
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janine gibbons who is the illustrator
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and i have a phd in literacy education
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from ubc and i have about nine years
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experience teaching grades 6 to 12 and
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also adult learners in rural bc and
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yukon
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i am super passionate about literacy and
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specifically indigenous stories and
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storytelling so if you're interested in
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connecting with me more about that
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my website is sarahflorence.canoh
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and twitter and instagram you can find
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me at sarah f davidson twitter tends to
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be more articles and books and instagram
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tends to be more books and photos you
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get the occasional photo of my my puppy
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so
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there's that added bonus
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i'm having some technical difficulties
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so there's maybe going to be a little
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pause between changing the slides but i
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hope that it will change soon there we
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go
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to situate ourselves a little bit um
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uh the books all take place so there are
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actually four books in the series and
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they all take place on the territory of
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bahadur nation and that includes the
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waters surrounding haida gwaii
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um and you'll notice that there's a
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little bit of southern alaska there
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heidelberg alaska is also a haida
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village
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and so um i just wanted to share this
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map in case uh there was uh just
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some interest in in where
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where the stories take place and so
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heidegg you can see is off the northwest
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coast of what is currently known as
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british columbia and
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um
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so just in terms of thinking about where
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we're going to be situated for these
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books that is the location
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um and you'll see you you can
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in the in the actual books there are
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math so you can take a little more time
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with them if if you are specifically
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interested in the geography of the
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stories
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i wanted to acknowledge that these books
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were a collaboration and so i did write
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them with my father hida artist robert
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davidson and janine gibbons who is a
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multi-disciplinary artist and she is
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also haida uh
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helped and she she really worked with
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the illustrations and bringing the
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stories to life visually
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so my father and i worked together on
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these books and um there's a it's a
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series of four learning stories and the
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stories are based on our family stories
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and so the first two in the series were
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written from my father's perspective
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and the second two were written from my
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perspective and those ones will be
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released in september of 2022
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and
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the the idea behind the books is that
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they sort of follow my father along and
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so they in the first book my father is a
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grandson in the second book he's a son
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in the third book he's a
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father and in the fourth book he's a
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grandfather and
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um in books one and two they focus more
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on my father's learning and in books
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three and four it focuses a little more
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on my learning and my father teaching so
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there's that element of
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intergenerational teaching that also
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takes place in the books
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and
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they're really they were really intended
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to
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explore indigenous pedagogies and just
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provide some examples and thinking about
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indigenous pedagogies and so books one
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and three focus on more land-based
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teachings and specifically fishing and
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books two and four focus on the sharing
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and transmission of art and cultural
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knowledge in uh book two it's focused on
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archeolite carving and book four is
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focusing on a haida latch
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the first three books in the series
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could be considered somewhat fictional
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in that they are imagine days so uh
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they're based on interviews but i had to
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kind of put them together in in one day
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so that that they would that they would
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work as a story
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and so those first three stories are
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based on those interviews but then put
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together in an imagine day and then the
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fourth book is actually the the um guess
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or the potlatch took place on one day
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and so it's it would be more kind of
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what we think traditionally of
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non-fiction
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um to write all four of the books i did
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interviews with my father and then for
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book three which focuses on my brother
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and i
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i also did interviews with my brother
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um and that was to really make sure that
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the information i was sharing in the
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stories was accurate
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and i really wanted to be sure that i
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was capturing the the the story that my
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father was sharing with me in the case
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of the first two um and making sure that
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i was capturing the learning experiences
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as my father remembered them
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and so
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uh though my father's contributions were
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primarily oral it's really really
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important to me to acknowledge him as a
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co-author because they are in the
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example of the first two they're his
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stories
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and it's really important to me also in
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the work that i do to make sure that we
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are not privileging only text-based
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stories or stories that have been
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written and so
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um
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in in kind of honoring that work or as
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an extension of that work it's really
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important to me to acknowledge my father
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as a co-author for these stories
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so
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briefly i just wanted to introduce you
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to the stories um so as an introduction
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here
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in the first book uh jigging for halibut
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with chinese um this is chine and and
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this is robert davidson senior he was my
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great grandfather and you can see him
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here carving our delight
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and
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um
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the photograph next to to my my great
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grandfather is my father as a young boy
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and he's got his brand new bicycle there
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he worked really hard to earn the money
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to get that bicycle and and so he was
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quite excited to find that photograph my
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uncle sent him the photograph and um he
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was really excited to to be reunited
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with both of the photo and that memory
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so the two of them are in this first
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book
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uh jigging for halibut with chinny
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uh ch pronunciation
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but that's the way we spell it um so i'm
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just going to do a brief reading here
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from from the book
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so that you get just a little kind of
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glimpse into
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into the story so you know what i'm
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talking about when i'm when i'm talking
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about them so
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my chinny always knows when the weather
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is right for halibut jigging he watches
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the ocean and the sky and the winds
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and when it is right he says we'll go in
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the morning
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when morning comes we push off the beach
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in a dinghy that he built and row into
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the inlet
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we always row with the tide
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chinese sits on a board across the
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gunnel and rows forward in the way of
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the elders
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i sit facing him on the bench and row
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backward
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my back toward the bow of the boat
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my hands grip the wooden oars that he
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made and we make our way down the inlet
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the wood knocks gently against the metal
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locks in a steady rhythm
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we row for an hour or so in silence
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so i'm going to pause there and
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move to the second book
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which is called learning to carve our
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delight and this book is actually the
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story of my father learning to carve and
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a lot of people don't necessarily know
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that he learned to carve from his father
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and his grandfather and
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um often the kind of more widely told
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stories are about him working with with
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bill reid which he did do later
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but he really
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learned so much from his father uh
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claude davidson
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and his grandfather uh robert davidson
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senior and so in these photographs here
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this is a photograph of my father
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carving argelite uh it's a little bit
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later than than
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how old he is in the book and then on
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the right is my my grandfather claude
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davidson and uh he was a chief of my
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clan
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and so uh
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those are two of the kind of
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the main characters in in this book
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learning to carve our delight
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there's the cover my apologies
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my dad always reminds me to work hard
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and help our family whether it is
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chopping firewood to sell hauling water
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for our home or fishing for the family i
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must always work hard to help our family
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but on days like today when i am not in
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school and all of the chores are done i
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have time to carve archeolite a rock
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that is used for high to art just like
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my dad does
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i do not have a workbench instead i take
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the small argelite pole that i have been
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working on and go outside to sit on the
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steps at the front of my house
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the sun shines down warming my hair and
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i can smell the salt in the wind as it
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comes up off the water from the inlet
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today i am working on the eagle at the
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top of my pole
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all the old archeolite poles in the
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village are gone so my ideas come from
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the old books filled with photographs of
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polls made by masters who are no longer
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with us
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i have my favorites to copy
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but they are harder to see now that
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those pages are covered with grey dust
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from the slate
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and that's as much as i'm going to read
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about that one
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[Laughter]
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so uh one thing that's uh really
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important uh when we're thinking about
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working with indigenous stories and
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bringing them into our classroom is that
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we
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make sure that they have been evaluated
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and so i wanted to just share very
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briefly some of the questions that i ask
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in connection with evaluating resources
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for um
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for my classroom
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and so the questions that i ask are who
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develop the resource so i want to think
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about the ancestry of the people and so
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in this case the resource was written by
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my father and i were both of haida
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ancestry and uh it was illustrated by
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janine gibbons and she is also of haida
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ancestry and that's something that's
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really important to think about when
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you're thinking about those stories and
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the telling of those stories because if
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we have people from other nations
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sharing the stories of different nations
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from the ones that they belong to
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we know that they may not have a full
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understanding
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of the
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the significance of the story that
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they're sharing and so
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um it's not to say that we can never
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kind of go across nations but for me
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personally it's really important that if
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a story is being told about a particular
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nation that the person telling it is
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also from that nation
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how are indigenous peoples represented
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in the resource is another thing to
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think about and in these two stories
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you'll notice that um
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the main character my father is very
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interested in learning he's he's going
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out and uh in the first book he goes out
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and learns to fish um
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we the the representation of of my
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grandfather and my great-grandfather are
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of very knowledgeable people who are
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sharing knowledge with this younger
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generation
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um and so when i read through and i mean
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i'm i'm a bit biased but when i'm
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reading through the resource i'm looking
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for how those people are being
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represented and in my view that all of
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the people in this book all of the
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indigenous haida people um are being
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represented respectfully
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does the resource contain traditional
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indigenous stories
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in this case uh all four
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books do not have any traditional
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indigenous stories uh for me
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that i made that choice because
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um i i was i'm a little cautious about
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the protocols around sharing our
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traditional stories and so i chose to
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share our family stories and i've called
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them learning stories because they are
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specifically focused on learning that
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has taken place
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but that means that when we're talking
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about things like copyright or we're
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talking about the permission to share
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the stories there's there's something
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different we're not having to go to
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plans or um other people who may own
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those stories and so
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um so in for this series i chose to
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focus specifically on those family
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family narratives family stories
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does the resource contain indigenous art
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in this series
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in books two and book four yes there is
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art and it's specifically high to art in
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book two it is the
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argelite polls and in book four there
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are masks and uh regalia that are
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represented in the in the art and that's
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part of why it was really important to
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us to
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invite janine to come and and do the
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illustrations because she is of haida
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ancestry and so she has an understanding
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of the the deeper meaning
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that that art holds for us as haida
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people and so
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that's something that you want to be
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looking for and not necessarily that
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you know that it needs to be that
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specific but when you're looking at
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resources that have art you do want to
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be asking some questions about um you
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know whether permission is required to
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share that art um and how it's being
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depicted in this case specifically haida
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and as opposed to indigenous
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does the resource contain references to
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or depictions of ceremonial information
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and um in book
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four that is true the potlatch is a
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haida ceremony
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and so when i was writing that book it
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was really important to me to share
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information that was true but to not
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share so much information that i was not
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being respectful of the protocols around
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sharing that information and so when i
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was writing that book i made sure that i
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gave some some information so that that
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readers would understand the story but
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not so much and and kind of my rule of
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thumb with that is can somebody
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replicate a ceremony based on the
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information shared in a book and i would
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say no that that would not be possible
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based on the information that i shared
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but it's very very important when we're
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when we're writing about ceremonial
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information that we have those
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um that awareness and and as a as a
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person of haida ancestry i definitely
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have an awareness of what it would be
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okay and not okay to share more publicly
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in the story
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um
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does the research this story
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does the resource honor the diversity of
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indigenous peoples and so when i'm
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looking at that i'm looking at does the
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resource specifically speak about
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nations because
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all of the different nations that we
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have are very very different even though
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you know we do have some commonalities
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and some similarities and so if i see a
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reference to a specific nation i'll
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often feel comfortable that the
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diversity of indigenous peoples is being
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shared
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um and so in these in this series we're
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specifically talking about haida people
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and does the resource portray indigenous
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peoples authentically and accurately and
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i will say based on
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um based on the three of us we've done
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our absolute best as haida people to
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authentically and accurately represent
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the stories that are told in this series
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and if you're interested in more
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information about um
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resource evaluation
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um please feel free to check this out
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this is an article short article i wrote
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for a bctf teacher magazine and this is
00:17:22
a qr code you can just hold your device
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up to it and it'll take you to that
00:17:26
article if you're just interested in
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learning more about resource evaluation
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and i definitely encourage you to take a
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look it's not the definitive answer to
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it there are lots of resources out there
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to support you
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but i think it's it's a really helpful
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place to start in thinking about the
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resources that we're bringing into our
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classrooms
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another element of the scada story
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series is the scada principles and the
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scada principles came from uh the work
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that my father and i did
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um
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it actually started with an article that
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we wrote but it really was more
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developed
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in um the
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bot latches pedagogy and so in there's a
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ch i believe it's chapter two talks
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about those scada principles and scada
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is the haida word for learn
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and so
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just keeping in mind that these
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principles are not haida principles
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because i didn't consult with the
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hydenation i didn't consult with other
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folks
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who are haida they're based on the
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stories uh my father's stories and so um
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it was really important to name them
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something that made sure that that
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distinction was clear and so the scada
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principles are based on
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stories that he told me about his
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learning experiences and i looked at
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those themes
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and identified these principles and so
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learning emerges from strong
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relationships authentic experiences and
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curiosity
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learning occurs through observation
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contribution and recognizing and
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encouraging strength
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learning honors the power of the mind
00:19:00
history and story and aspects of
00:19:02
spirituality and protocol
00:19:04
and so what you'll notice with the scada
00:19:07
stories they actually were the stories
00:19:10
that my father told me when we were
00:19:11
writing
00:19:12
um potlatch's pedagogy that kind of
00:19:15
connected me and helped me to understand
00:19:17
the scatter principles and so when you
00:19:19
read the stories you'll probably see
00:19:22
well hopefully you'll see um examples of
00:19:25
these these scada principles in the
00:19:28
story and just to be super clear it
00:19:30
wasn't that we wrote the stories trying
00:19:32
to illustrate those principles those
00:19:34
stories were what helped us to
00:19:36
understand those principles and so
00:19:40
what you'll notice when you're reading
00:19:41
is that some of the principles are in
00:19:43
those stories but not all of them
00:19:45
but definitely through all four of the
00:19:47
stories you'll see examples of
00:19:50
of the principles and we definitely
00:19:52
encourage you when you're reading to
00:19:54
just think a little bit about those
00:19:55
principles and think about how they're
00:19:57
being
00:19:58
shown through those stories and and if
00:20:00
you're
00:20:01
if you're so inclined feel free to
00:20:03
imagine what it was like hearing those
00:20:05
stories and and starting to to think
00:20:07
about how people learn and um and that's
00:20:11
where those principles came from
00:20:15
making meaning um and this is a phrase
00:20:18
that i've borrowed from dr joanne
00:20:20
archibald who talks a lot about making
00:20:23
meaning from stories
00:20:25
and so often in english language arts
00:20:28
when we're working with stories
00:20:30
we tend to focus on those kind of
00:20:32
comprehension type questions identifying
00:20:34
a plot line and i would encourage you
00:20:37
when working with indigenous stories and
00:20:39
with these stories to think about them
00:20:41
differently and and um
00:20:44
have it you know use it as an
00:20:45
opportunity to
00:20:47
approach connecting with stories
00:20:49
differently and just see what happens
00:20:52
and so um
00:20:54
dr archibald
00:20:55
wrote an article that was really focused
00:20:58
on
00:21:00
becoming story ready and i found it
00:21:01
really really helpful in terms of
00:21:04
thinking about how we want to approach
00:21:06
these stories
00:21:07
and
00:21:09
for
00:21:10
i don't like to make a broad
00:21:11
generalization but for many indigenous
00:21:14
peoples storytelling is really really
00:21:18
a powerful kind of experience and a way
00:21:20
to share knowledge and daniel david
00:21:22
moses speaks about the power of stories
00:21:24
to entertain to educate and to heal
00:21:27
and
00:21:29
i appreciate that kind of different
00:21:30
dimension or kind of more expanded view
00:21:33
we often think about stories in in our
00:21:35
kind of western um society as you know
00:21:38
entertainment and so when we're thinking
00:21:41
about the stories in this series and
00:21:43
perhaps other indigenous stories we want
00:21:45
to think about
00:21:47
more about their power to educate and
00:21:49
possibly their power to heal
00:21:51
and in order to do that we need to kind
00:21:54
of make space to engage with the story
00:21:56
and that's what dr archibald is really
00:21:58
talking about when we're when she's
00:21:59
talking about becoming story ready we
00:22:01
need to kind of um take some time
00:22:05
and
00:22:06
and prepare ourselves before we engage
00:22:08
with the story and so she talks about
00:22:11
she has seven indigenous
00:22:14
story work principles that she
00:22:16
introduced in her 2008 book
00:22:19
indigenous story work
00:22:21
but in this 2020 chapter she divides
00:22:25
them up and so respect responsibility
00:22:27
reverence and reciprocity
00:22:29
are
00:22:30
kind of the the ones that she the
00:22:32
indigenous story work principles that
00:22:34
she identifies as
00:22:35
um kind of part of becoming story ready
00:22:38
and so she talks about with respect
00:22:41
we're thinking about deep listening and
00:22:43
what are the conditions that need to
00:22:45
happen for us to be able to deeply
00:22:47
listen to a story so we think about
00:22:50
making space in our classrooms um make
00:22:52
space in our time
00:22:56
excuse me um
00:22:58
and um
00:22:59
just you know making sure it's not sort
00:23:01
of the last five minutes of the day
00:23:03
um and we're quickly rushing um she also
00:23:07
talks about responsibility and and in
00:23:09
that case just the responsibility we
00:23:11
have to to make sure that the
00:23:12
information we're sharing is accurate um
00:23:15
we have a responsibility to follow
00:23:17
protocols when we're sharing stories and
00:23:19
so
00:23:20
really important to make sure that we're
00:23:22
able to do that if we're sharing the
00:23:24
story
00:23:25
um
00:23:26
in terms of reverence i always think
00:23:29
about holding the stories gently that's
00:23:31
sort of the visual that comes to mind
00:23:33
for me so
00:23:34
really thinking about how can we share
00:23:36
these stories in a way that will
00:23:38
encourage
00:23:40
uh the listeners to be able to hold them
00:23:42
gently and treat them with the respect
00:23:44
that they deserve
00:23:47
and um then she talks about reciprocity
00:23:51
and the importance of of sharing the
00:23:54
stories when it's appropriate to do so
00:23:55
when we have permission to ensure
00:23:58
that um
00:24:00
the knowledge continues on and so
00:24:04
um i found those principles really
00:24:06
helpful to think about and so if we
00:24:08
think about them as sort of the kind of
00:24:10
setting up um and becoming story ready
00:24:13
and then she also talks about making
00:24:15
meaning from story and so for that she
00:24:17
identifies the last three principles
00:24:20
indigenous story work principles of
00:24:22
holism interrelatedness and synergy
00:24:25
and holism has to do with
00:24:28
kind of a holistic engagement with a
00:24:30
story interrelatedness has to do with um
00:24:36
the uh kind of the cultural information
00:24:39
and the contextual information that
00:24:40
needs to remain with the story
00:24:42
and
00:24:43
synergy has to do with something new
00:24:46
emerging from this engagement with the
00:24:49
story
00:24:50
and i'm a person who
00:24:53
uh really
00:24:54
thinks a lot and i've said this before
00:24:57
in frameworks and so i'm quite a visual
00:24:59
person in terms of making meaning um
00:25:02
and understanding ideas i like to to
00:25:05
draw and create um visuals for myself
00:25:08
and so you'll see on the right here that
00:25:11
i kind of created this visual for myself
00:25:13
to kind of understand
00:25:15
um what i'm doing when i'm when i'm
00:25:17
working with a story and when i'm making
00:25:19
meaning from a story and so this idea of
00:25:21
listening to the story
00:25:23
reflecting on the story
00:25:24
sharing what i've learned from the story
00:25:27
listening to others and what they've
00:25:29
learned from the stories reflecting on
00:25:31
what they've learned and then coming
00:25:32
back to the story and so often when
00:25:34
we're working with
00:25:36
stories with indigenous stories
00:25:38
this idea of returning to a story and
00:25:41
perhaps getting new understandings each
00:25:44
time we return to the story and so uh i
00:25:48
invite you just to kind of think about
00:25:50
that and uh you know often we sort of
00:25:51
think okay we've heard the story we've
00:25:53
done the story we've worked the story
00:25:54
once and we move on but it can be
00:25:56
tremendously powerful to return to a
00:25:59
story several times um and
00:26:02
just think about the new meaning that we
00:26:03
get especially as a result of of
00:26:05
connecting with with other students
00:26:08
in the class um around the story
00:26:12
and
00:26:13
um
00:26:14
engaging holistically with the story um
00:26:17
this is based on a workshop that i do
00:26:20
that's based on
00:26:21
uh work that i've done with um you know
00:26:24
it's based on the work of dr archibald
00:26:26
and she talked about engaging
00:26:27
holistically with the story and
00:26:29
specifically reference mental physical
00:26:31
emotional and spiritual engagement and
00:26:33
so um
00:26:35
in trying to support educators to think
00:26:38
differently about how they work with
00:26:40
stories i sort of develop this
00:26:43
workshop that i do where i will share a
00:26:46
story and for me it's really important
00:26:48
to share a story that is connected
00:26:50
locally that is okay to be used for
00:26:52
educational purposes and so
00:26:55
um
00:26:56
it might be really wonderful to to find
00:26:58
stories that you're allowed to use that
00:27:00
are
00:27:01
from the territory that you are
00:27:03
are teaching on
00:27:05
um and so sharing that story orally and
00:27:08
then engaging physically with the story
00:27:10
and just to be just to kind of maybe uh
00:27:13
point something out when i'm talking
00:27:14
about this i'm not talking about sort of
00:27:16
a reenactment of the story for the
00:27:18
purposes of performing the story
00:27:20
but a reenactment of the story and so
00:27:23
sometimes folks will choose to zoom in
00:27:26
on a particular part of the story
00:27:28
to reenact that part and in engaging
00:27:31
physically with the story they come to
00:27:33
new understandings of the story and
00:27:35
sometimes people will choose to continue
00:27:37
on with what happens next and again they
00:27:40
come to these new understandings um and
00:27:43
so this even though physical engagement
00:27:45
sometimes can be a little daunting for
00:27:46
people it's really really powerful in
00:27:50
terms of making meaning from the story
00:27:53
and
00:27:54
um an emotional connection is reflecting
00:27:57
on the story how do our experiences
00:27:59
connect with those of the characters in
00:28:00
the story how might the characters feel
00:28:02
in the story and then a spiritual
00:28:05
connection is really about thinking what
00:28:07
you know what are we learning from this
00:28:09
story what is this story teaching us
00:28:12
and so i would encourage you just to
00:28:14
think about ways that
00:28:17
you might be able to shift your approach
00:28:18
to working with stories to include some
00:28:21
of these
00:28:22
these ways that are kind of more focused
00:28:24
on making meaning as opposed to
00:28:26
a singular understanding of a particular
00:28:28
story
00:28:31
to end i just want to talk a little bit
00:28:33
about sharing stories and
00:28:36
um
00:28:37
[Music]
00:28:38
so the scada stories um i i my
00:28:42
experience is working with older
00:28:43
students
00:28:44
and so i actually it's not that i didn't
00:28:47
write them for younger folks i did write
00:28:49
them with the intention of them being
00:28:50
able to be used with with any age group
00:28:54
and so just for for information for
00:28:56
educators each book is approximately 1
00:28:58
000 words long
00:29:00
and it is essentially a narrative essay
00:29:02
with images and
00:29:04
the story was created based on
00:29:06
interviews
00:29:07
and
00:29:09
the stories themselves were sort of
00:29:11
exploring a particular theme which in
00:29:13
this case was intergenerational learning
00:29:15
and so
00:29:16
i would encourage you with your students
00:29:18
to
00:29:19
think about the possibility of creating
00:29:21
your own stories that maybe follow this
00:29:23
format or adjusted slightly and that
00:29:25
these these um those scatter stories
00:29:27
could be used as mentor texts for those
00:29:29
kinds of activities
00:29:31
um
00:29:33
and
00:29:35
then in terms of sharing our stories if
00:29:38
we think back on dr archibald's work
00:29:40
about the importance of reciprocity and
00:29:41
sharing our learning and sharing stories
00:29:44
um and i think about
00:29:46
the work that i do and how how much we
00:29:49
can gain from sharing those stories i
00:29:51
invite you to think about perhaps
00:29:53
creating picture books that can be
00:29:55
shared with younger students
00:29:57
it can be so powerful to bring students
00:29:59
from the secondary into
00:30:01
elementary school school classrooms and
00:30:04
it makes the literacy that we're engaged
00:30:07
in uh really relevant to
00:30:10
um
00:30:11
to the older learners because they're
00:30:13
they're creating a literacy based uh
00:30:16
creation
00:30:17
that is going to be shared with younger
00:30:19
students and in terms of mentorship of
00:30:22
literacy and you know modeling
00:30:24
the younger students get an opportunity
00:30:25
to see
00:30:26
the high school students engaged in
00:30:28
literacy and sharing stories
00:30:30
um and models as as readers and so
00:30:34
another possibility would be creating
00:30:36
digital books to share with those who
00:30:37
are farther away um i think about what i
00:30:40
just did in this presentation in terms
00:30:41
of having some slides doing some
00:30:43
recordings and being able to share those
00:30:46
stories with folks who are maybe farther
00:30:48
away or during this time
00:30:50
when we're we're needing to have a bit
00:30:52
more distance between us um sharing
00:30:54
digitally um sharing recordings so audio
00:30:58
stories and and people who are able to
00:31:01
listen to stories more so than read them
00:31:03
um so creating an audio recording of a
00:31:07
story and and being able to experience
00:31:09
that kind of oral tradition in the sense
00:31:12
of working with an oral story
00:31:15
and then lastly creating a video with a
00:31:17
narration of the story and accompanying
00:31:18
visuals and
00:31:20
again i would just encourage you to
00:31:22
share stories i mean part of the reason
00:31:25
we embarked on this project was to share
00:31:28
these stories and and i really do hope
00:31:30
that
00:31:30
they can perhaps be part of the
00:31:32
inspiration for for the students in your
00:31:34
classes to to share their own stories
00:31:36
from their families and
00:31:38
communities
00:31:44
so to finish up i just wanted to again
00:31:47
acknowledge the art in this presentation
00:31:51
is by janine gibbons and she is the
00:31:53
illustrator and she did give permission
00:31:55
to use the art for this particular
00:31:57
presentation
00:31:59
the photo credits feronash myself and a
00:32:02
friend of the family vale embry
00:32:04
and then the article that um or the
00:32:07
chapter that i shared is called finding
00:32:09
the bone needle through indigenous story
00:32:11
work and you can find it there in
00:32:13
indigenous knowledge systems and
00:32:15
research methodologies local solutions
00:32:17
and global opportunities
00:32:19
which is haida for thank you i really
00:32:21
appreciate you taking the time to
00:32:23
learn with me today
00:32:25
have a wonderful rest of your day
