On a journey to uncover her family's story, Spotted Fawn travels through time and space to reclaim connection to ancestors, language, and the land-creating a path forward in this essential graphic novel. In the dreamworld she bears witness to a mountain of buffalo skulls. They stand as a ghostly monument to the slaughter of the Plains bison to near extinction-- a key tactic to starve and contain the Indigenous People onto reservations. On this path, Spotted Fawn knows she must travel through her own family history to confront the harsh realities of the past and reignite her connection to her people and the land. Her darkroom becomes a portal, and her photographs allow her glimpses into the lives of her relatives over the course of four chapters of this book, which follow the phases of the moon. Time and space become unlocked and unfurl in front of her eyes. Guided by her ancestors, Spotted Fawn's travels through the past allow her to come into full face-like the moon itself. Adapted from the acclaimed stop-motion animated film of the same name, written and directed by Amanda Strong, Four Faces of the Moon brings the oral and written history of the Michif, Cree, Nakoda and Anishinaabe Peoples and their cultural link to the buffalo alive on the page. Deeply resonant and beautifully rendered, this graphic novel retelling is essential reading. Backmatter by Dr. Sherry Farrell-Racette (Michif), an associate professor of Native Studies and Women's and Gender Studies at the University of Manitoba, provides information on Michif culture and history and the injustices of colonialism.

On a journey to uncover her family’s story, Spotted Fawn travels through time and space to reclaim connection to ancestors, language, and the land—creating a path forward in this essential graphic novel.   In the dreamworld she bears witness to a mountain of buffalo skulls. They stand as a ghostly monument to the slaughter of the Plains bison to near extinction-- a key tactic to starve and contain the Indigenous People onto reservations. On this path, Spotted Fawn knows she must travel through her own family history to confront the harsh realities of the past and reignite her connection to her people and the land. Her darkroom becomes a portal, and her photographs allow her glimpses into the lives of her relatives over the course of four chapters of this book, which follow the phases of the moon. Time and space become unlocked and unfurl in front of her eyes. Guided by her ancestors, Spotted Fawn’s travels through the past allow her to come into full face—like the moon itself.   Adapted from the acclaimed stop-motion animated film of the same name, written and directed by Amanda Strong, Four Faces of the Moon brings the oral and written history of the Michif, Cree, Nakoda and Anishinaabe Peoples and their cultural link to the buffalo alive on the page. Deeply resonant and beautifully rendered, this graphic novel retelling is essential reading.   Backmatter by Dr. Sherry Farrell-Racette (Michif), an associate professor of Native Studies and Women’s and Gender Studies at the University of Manitoba, provides information on Michif culture and history and the injustices of colonialism.

In 2005, as part of the province's centennial celebrations, the Saskatchewan Arts Board contracted Sherry Farrell Racette and Carmen Robertson to curate an exhibition which would bring together a diverse group of contemporary artists working in traditional Indigenous media, all of whom had been recipients of the then nascent Traditional Artist Grant program. When Clearing A Path opened in November of that year, few could have predicted the strength of its work. More than three years later, the exhibition continues to flourish and tour. This catalogue includes introductory essays by the curators, along with photographs of the exhibition pieces and artist statements from 21 participating artists.

The essays in Indigenous Women and Work create a transnational and comparative dialogue on the history of the productive and reproductive lives and circumstances of Indigenous women from the late nineteenth century to the present in the United States, Australia, New Zealand/Aotearoa, and Canada. Surveying the spectrum of Indigenous women's lives and circumstances as workers, both waged and unwaged, the contributors offer varied perspectives on the ways women's work has contributed to the survival of communities in the face of ongoing tensions between assimilation and colonization. They also interpret how individual nations have conceived of Indigenous women as workers and, in turn, convert these assumptions and definitions into policy and practice. The essays address the intersection of Indigenous, women's, and labor history, but will also be useful to contemporary policy makers, tribal activists, and Native American women's advocacy associations. Contributors are Tracey Banivanua Mar, Marlene Brant Castellano, Cathleen D. Cahill, Brenda J. Child, Sherry Farrell Racette, Chris Friday, Aroha Harris, Faye HeavyShield, Heather A. Howard, Margaret D. Jacobs, Alice Littlefield, Cybele Locke, Mary Jane Logan McCallum, Kathy M'Closkey, Colleen O'Neill, Beth H. Piatote, Susan Roy, Lynette Russell, Joan Sangster, Ruth Taylor, and Carol Williams.