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) 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
“Trickster Discourse in Narrative Chance: How Gerald Vizenor Helped Shape my Life in Academia,” Transmotion (online journal), Vol. 2, Nos. 1&2, pp. 21–39, 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 About Face: Native American, First Nations and Inuit Self-Portraits, exhibition catalogue, Wheelwright Museum of the American Indian, Santa Fe, New Mexico, 2006, pp. 1–44, 186 pages.
“Classical Aboriginal Reflections,” catalogue essay, Jim Logan: The Classical Aboriginal Series, Yukon Arts Centre, Whitehorse, Yukon, 1994.
“Celestial Connections: Sacred Space, Cyberspace, Exhibition Space,” catalogue essay for House Made of Stars, an exhibition by Lakota artist Colleen Cutschall, Winnipeg Art Gallery, Winnipeg, Manitoba, September–December 1996, pp. 8–17, 44 pages.
“Carl Beam: An Appreciation,” in The Governor General’s Awards in Visual and Media Arts, Canada Council for the Arts, Ottawa, 2005, pp. 10–21.
“One Big Indian,” essay on Mohawk artist Bill Powless, in Me Funny, edited by Drew Hayden Taylor, Douglas and McIntyre, 2006, pp. 5–22.
“Tracing Raven: A Few Fleeting Thoughts on Transformation in Contemporary Northwest Coast Art,” catalogue essay in Changing Hands: Art without Reservation, Part II, Contemporary Native American Art from the Prairie, Plains, Plateau and Pacific, Museum of Arts and Design, New York, 2005, pp. 232–234, 261 pages.
“Riel Benn’s ‘Best Man’: An Unlikely Successor to Iktomi’s Trickster Legacy,” American Indian Art Magazine, Spring 2010, pp. 46–53, 71.
Visual Voices: A Festival of Canadian Aboriginal Film and Video, online study guide, National Film Board of Canada/Department of Foreign Affairs and International Trade, 2006. In English, French, Spanish, and Portuguese. (English, pp. 1–26, 114 pages in total.) Sections also translated into Mandarin for booklets published in conjunction with the “Canada-China Forums on Aboriginal (Ethnic) Identity: Cultural Preservation,” Northwest University for Nationalities, Lanzhou, Gansu Province; Qinghai Nationalities University, Xining, Qinghai Province, China, 2007.
“Writing Survivance: A Conversation with Joseph Boyden,” in Survivance: Narratives of Native Presence, edited by Gerald Vizenor, University of Nebraska Press, 2008, pp. 297–311.
“Life Lived Like a Story: Remembering Joy Maclaren (New Sun),” FASSinate: Faculty of Arts and Social Sciences Magazine, Carleton University, pp. 34–35, 2015.
“Bob Haozous,” artist profile, American Indian Art Magazine, Fall 2010.
“Dr. Sam Corrigan: A Personal Remembrance,” Canadian Journal of Native Studies, Vol. 29, Nos. 1&2, 2009, pp. 283–285.
Entry on Aboriginal Art, Oxford Companion to Canadian History, Oxford University Press, 2004. (1300 words)
“The Accidental Academic: Or What Can You Do With a BGS Degree?” 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. 36–38.
Biographical entries on Bob Haozous, George Littlechild, and Bill Powless in The St. James 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 Humor: International Journal of Humor Research, Vol. 9, No. 2, 1996.
“In profile: Jim Logan,” Native Peoples Magazine, Fall/Winter 1995, p. 96.
“I Enjoy Being a Mohawk Girl: The Cool and Comic Character of Shelley Niro’s Photography,” American Indian Art Magazine, Vol. 20, No. 1, 1994, pp. 44–53.
“The Pun in Painting: Jim Logan’s Comic Vision,” Aboriginal Voices, Vol. 1, No. 4, 1994.
“Get It?” (Original title: “At the Heart of Identity: Humour and Irony in Contemporary Canadian Native Art”), Crosswinds, Vol. 5, No. 9, 1993, Santa Fe, New Mexico (broadsheet centrespread).
“Postmodern Parody: A Political Strategy in Contemporary Canadian Native Art,” Art Journal, Vol. 51, No. 3, 1992, pp. 59–65.
“Gerald McMaster—Maintaining the Balance,” catalogue essay, The cowboy/Indian Show: Recent Work by Gerald McMaster, McMichael Canadian Art Collection, Kleinburg, Ontario, February–April, 1991, pp. 8–18, plus excerpts from interview with the artist, pp. 22–53.
Conference Presentations
“Interior Light/Interior Life: The Luminescent Portraits of Plains Cree Artist George Littlechild (Swiftchild Nenekawasis),” 20th Biennial Native American Art Studies Association Conference, Santa Fe, New Mexico, September–October 2015.
“Trickster Discourse in Narrative Chance: How Gerald Vizenor Helped Shape my Life in Academia,” International Conference on “Native North American Survivance and Memory: Celebrating Gerald Vizenor,” University of Vienna, June 2014.
“Allow for the Possibility that this Course Can Change Your Life: Adopting Indigenous pedagogical practices,” Philosophy of Education Conference, George Brown College, Toronto, May 2014.
“It’s a Bird, It’s a Plane, It’s Muttonman (and Friends),” 17th Biennial Meeting of the Native American Art Studies Association, Ottawa, October 2011.
“The Critical Insights of Aboriginal Cartoonists,” contribution to the session “Graphic satire, caricature, and the language in which we draw.” 9th International Conference on Word and Image, International Association of Word and Image Studies, Montreal, August 2011.
“Something Else Again!: the New Sun Conference on Aboriginal Arts,” 16th Biennial Meeting of the Native American Art Studies Association, Norman, Oklahoma, October 2009.
Discussant’s remarks, contribution to the session “Alaska Native Visual Arts in the 20th Century,” 107th Annual Meeting of the American Anthropological Association, San Francisco, California, November 2008.
Presentations on the film series Visual Voices to three conferences on the theme “Géopolitiques des altérités.” Universidade Federal de Goiás, Goiania, Brazil; Universidade Federal de Uberlândia, Uberlandia, Brazil, Universidade Federal da Bahia, Salvador, Brazil, September 2008.
“Cinematic Diplomacy: Tracing the Travels of a Canadian Aboriginal Film Festival,” contribution to the session “First Nations Diasporas: An Emerging Form of Transnational Citizenship,” Canadian Anthropology Association Conference, Ottawa, May 2008.
“Riel Benn’s ‘Best Man’: An Unlikely Inheritor of Iktomi’s Trickster Legacy,” contribution to the session “Contemporary Art Practices,” 15th Biennial Meeting of the Native American Art Studies Association, Fairbanks, Alaska, September 2007.
“Subtitled in Mandarin: How NFB Films by Canadian Aboriginal Directors Find a Global Audience—the Visual Voices Project,” Indigenous Film and Media in an International Context, Wilfrid Laurier University, Waterloo, May 2007.
“Cultural Preservation through Personal Reflection: the Powerful Self-Portraits of Canadian Aboriginal Artists.” 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.
“Aboriginal Interface: Up Close and Personal,” opening plenary presentation, colloquium on “Violence and Religion: Mimesis, Creativity and Reconciliation.” St. Paul’s University, Ottawa, May 2006.
“About Face: Interweaving Communities in Native American, First Nations and Inuit Self-Portraits,” 5th Annual New Sun Conference on Aboriginal Arts: Interweaving Communities, Carleton University, March 2006.
“The Trickster Shift: Remembering Carl Beam (1942–2005),” contribution to the session “Trickster as Social Practice in Native American Art,” Biennial Meeting of the Native American Art Studies Association, Tempe, Arizona, October 2005.
“Coyote Was Walking Along: Trickster Mischief in Canadian First Nations Art,” Institute for Canadian Studies, University of Upper Silesia, Sosnowiec, Poland, April 2005.
“About Face: An Exhibition of Native American Self-Portraits,” keynote address for the 25th Conference of the American Indian Workshop, Leuven, Belgium, May 2004.
“Beach Blanket Brave: Aboriginal Self-Representation in a Changing World,” contribution to the session “At the Cutting Edge: Indian Humor and the Politics of Survival,” American Anthropological Association, Chicago, November 2003.
“Talking Pictures: Visualizing Voice in Canadian First Nations Art,” contribution to the session “Read Me: Text and Image in Contemporary Native Art,” Biennial Meeting, Native American Art Studies Association, Salem, Massachusetts, November 2003.
“Beyond the Pale: Post-Colonial Parallels in Contemporary Canadian and Australian Aboriginal Art,” 12th Biennial Conference of the Native American Art Studies Association, Portland, Oregon, October 2001.
“Trickster Mischief: Subversive Humour in Contemporary Native American Art,” Centennial Lecture, Department of Psychology, Western Washington University, Bellingham, Washington, April 2000.
“Saving Face/Changing Face: The Many Self-Portraits of Carl Beam,” 12th Biennial Conference of the Native American Art Studies Association, Victoria, British Columbia, October 1999.
“A Tricky Mix: Creating a Book on Humorous Native American Art,” 1999 ISHS International Humor Conference, Oakland, California, June–July, 1999.
“A Comic Perspective: The Critical Insights of Native American Cartoonists,” Native American Journalists Association Conference, Tempe, Arizona, June 1998.
“A Comic Perspective: Visual Self-Representation in Aboriginal Print Media,” 11th Biennial Conference of the Native American Art Studies Association, Berkeley, California, October 1997.
“Colleen Cutschall’s House Made of Stars: Exploring Celestial Connections,” 1997 Plains Indian Seminar, Buffalo Bill Historical Center, Cody, Wyoming, September 1997.
“Canadian Aboriginal Artists and the Church,” Biennial Conference of Christians in the Visual Arts, Montreal, Quebec, June 1997.
“The Comic Vision in Canadian Native Art: More than Meets the Eye,” First Nations Art Forum: First Visions/Re-Visions, Brandon, Manitoba, April–May 1994.
“I Enjoy Being a Mohawk Girl: The Cool and Comic Character of Shelley Niro’s Photography,” 9th Biennial Meeting of the Native American Art Studies Association, Santa Fe, New Mexico, November 1993.
“Humour/Irony and the Construction of Canadian Native Indian Identity,” College Art Association Annual Conference, Seattle, Washington, February 1993.
“Trickster Discourse and Contemporary Canadian Native Art,” Annual Meeting, Native Art Studies Association of Canada, Victoria, British Columbia, November 1992.
“Postmodern Parody: A Political Strategy in Contemporary Canadian Native Art,” Tenth International Humor Congress, Paris, France, July 1992.
“Humour Irony Politics Praxis: Contemporary Canadian Native Art,” Second International Conference on Humor in Art, Missillac, Brittany, France, July 1992.
“Gerald McMaster and the Evolution of a Playful Perspective,” 8th Biennial Meeting of the Native American Art Studies Association, Sioux Falls, South Dakota, September 1991.
“As Sharp as a Feather: The Critical Edge of Contemporary Canadian Native Art,” Ninth International Conference on Humour and Laughter, St. Catharines, Ontario, June 1991.
“Uneasy Laughter: An Exploration of the Critical Use of Humour by Contemporary Canadian Native Artists,” Annual Conference of the Native Art Studies Association of Canada, Montreal, Quebec, October 1990.
“Irony in the Work of Contemporary Canadian Native Artists,” 12th International Summer Institute for Semiotic and Structural Studies, Toronto, Ontario, June 1990.
“Contemporary Native American Art—The Irony of It All!” 7th Biennial Meeting of the Native American Art Studies Association, Vancouver, B.C., August 1989.
“Indian Art, How Ironic?” 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 From Our Eyes–Heart 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.
“Cultural Preservation through Personal Reflection: The Powerful Self-Portraits of Contemporary Aboriginal Artists,” West End Learning Unlimited, Kanata, February 2013.
“Coyote Was Walking Along: Trickster Mischief in Native American Art,” Native American Arts Festival, Idyllwild Arts Academy, Idyllwild, California, July 2010.
“Coyote Was Walking Along: Following the Trickster on a Journey through Academia,” contribution to the series “Full Cycle: A Celebration of UBC Anthropology,” Department of Anthropology, University of British Columbia, Vancouver, March 2010.
“A Funny Thing Happened on the Way to Recovery: the Healing Power of Humor in First Nations and Native American Art,” 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.
“Contemporary Canadian Aboriginal Aesthetics,” Visiting Speakers Series, Department of Visual Arts, University of Western Ontario, London, February 2007.
“Jim Logan: The Classical Aboriginal Series,” contribution to the session “Fine Arts in Canada,” International Council of Canadian Studies (ICCS) Summer Seminar, Carleton University/University of Ottawa, 2005, 2006, 2007.
“Providing a context,” Canadian Studies Alumni Association tour of the exhibition Norval Morrisseau–Shaman Artist, National Gallery of Canada, April 2006.
“The Inter-play of Verbal/Visual Narratives in Contemporary Aboriginal Art,” Queen’s/Carleton Art History Faculty Colloquium, Queen’s University, January 2006.
“Tracing Raven/Chasing Coyote: Trickster Play in Contemporary Indigenous Art,” 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’s remarks, opening of the exhibition About Face: Native American, First Nations and Inuit Self-Portraits, Wheelwright Museum of the American Indian, Santa Fe, New Mexico, November 2005.
“Cross-Currents in Aboriginal Art and Literature,” Institut für Anglslistik/Amerikanistik, University of Greiswald, Germany, May 2005.
“Contemporary Aboriginal Arts in Canada,” University of Leiden, Leiden, Netherlands, May 2004.
“Contemporary Canadian Native Arts,” 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 Carleton University, 2002–2017. 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, Carleton MA graduate, and co-founder of Ottawa’s 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–Heart of Tribes: Canadian and Chinese Aborigines Movies Exhibition 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 (February 2010), Identity, community and health (January–February, 2009); Health and Healing in the Aboriginal Community (June, 2007); The Promise of Spring: A Hopeful Season for Health and Wellness (March 2008), Health Canada, Ottawa.
Graduate Courses Taught at Carleton 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 Carleton 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—PhD Theses
Jonathan Dewar, “Dance with us as you can…: Art, Artist, and Witness(ing) in Canada’s Truth and Reconciliation Journey,” Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2017.
Laurie Dalton, “Canada at Expo 2005: Nation, Audience, and the Branded Display Complex,” Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2013.
Molly Blyth, “Tricky Stories are the Cure: Contemporary Indigenous Writing in Canada,” PhD Canadian Studies, Trent University, Peterborough, Ontario, 2009.
Doctoral Co-supervision—PhD Theses
(with Wallace Clement, Political Economy)
Rodney Nelson, “Rethinking Economic Strategies for First Nations in Canada: Incorporating Traditional Knowledge into Governance Practices,” 2016.
MA Thesis and Major Research Essay Supervision
Rebekah Elkerton, “Reconstructing Indigenous Womanhood in Theory and Practice: Conceptualizing the Artwork of Meryl McMaster,” Major Research Essay, Women and Gender Studies, Carleton University, Ottawa, Ontario, 2017.
Anna Paluch, “Beats on the Streets: Decolonization in Urban Art Spaces,” Major Research Essay, Art History, Carleton University, Ottawa, Ontario, 2016.
Jane Horner, “Revolving Sequential: Concepts of Time in the Art of Carl Beam (1943-2005),” Thesis, Art History, Carleton University, Ottawa, Ontario, 2012.
Alisdair MacRae, “Joane Cardinal-Schubert: Aboriginal Woman Artist,” Thesis, Art History, Carleton University, Ottawa, Ontario, 2012.
Maani Dorothy Meness, “Anishinabekweg Anokiwin (Aboriginal Women’s Work),” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2011.
Johnny El-Alam, “Representing National Traumas: Alternative Histories, Experimental Art Practices and Narratives by Transnational Artists from the Lebanese War Generation,” Thesis, Art History, Carleton University, Ottawa, Ontario, 2010.
Erin Strachan, “Listen, Laugh and Learn: Humour’s Disarming Role in Aboriginal Pedagogy,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2010.
Mallory Whiteduck, “‘But it’s our story. Read it.’: Stories My Grandfather Told Me and Writing for Continuance,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2010.
Victoria Tenasco, “Debwewin (Truth): A Contribution to Indigenous Scholarship,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2010.
Johanna Foot, “Eskimo Chicks and Word Warriors: Creative Cultural Space in the Work of Elisapie Isaac and Taqralik Partridge,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2008.
Annie Turner, “Delicious Resistance, Sweet Persistence: First Nations Culinary Arts in Canada,” Thesis, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2006.
David Promane, “Changing Technology and the Rise of the Canadian Rock Recording Industry,” Thesis, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2006.
Lana Whiskeyjack, “Navigating by our Grandmothers: Reading Contemporary Native Women’s Art,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2006.
Maike Worringer, “Crossing the Divide: Indigenous Rights and Self-Determination for Canadian First Nations and Fenno-Scandinavian Sámi,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2006.
Larry McDermott, “Knowing the Past—Building the Future: Self-determination by Aboriginal peoples who are not formally recognized by Canadian legislation or treaties,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2005.
Margaret Imrie, “An Examination of the Evolution and Globalization of Aurora College and the Northwest Territories,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2005.
Sarah Hurford, “An Inter-disciplinary Examination of the Availability of Information Relating to residential School Attendance at the Library and Archives of Canada,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2005.
Carol Hodgson, “Stealing in by the window: Ojibway-Government Relations in the Quetico,” Thesis, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2003.
MA thesis co-supervision
(with Thomas Garvey, School of Industrial Design)
Sylvain Désprés, “Grounding codesign in a culturally appropriate landscape: Learning from Indigenous ways of knowing, being and doing through conversation,” Master of Design thesis, School of Industrial Design, Carleton University, Ottawa, Ontario, 2016.
(with Peter Hodgins, Indigenous and Canadian Studies)
Ashley Sisco, “Becoming a Qallunologist: One Qallunaa’s Journey Remembering Marble Island,” Thesis, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2009.
(with Andrea Laforet, Canadian Museum of Civilization)
Kaitlin McCormick, “Neither One, Nor the ‘Other’”: The Unique Oeuvre of Freddie Alexcee,” Thesis, Art History, Carleton University, Ottawa, Ontario, 2010.
(with Clealls/John Medicine Horse Kelly, Journalism)
Barbara Halsig, “The Role and Challenges for Aboriginal Newspapers as Participants in Native Language Revival Strategies,” Major Research Essay, Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2006.
(with Ming Tiampo, Art History)
Crystal Parsons, “The Museum, Gallery and Other Institutions in Contemporary Canadian First Nations Art,” Thesis, Art History, Carleton University, Ottawa, Ontario, 2006.
(with Ming Tiampo, Art History)
Carla Taunton, “Lori Blondeau: High-Tech Storytelling for Social Change,” Thesis, Art History, Carleton University, Ottawa, Ontario, 2006.
MA Major Research Essay Co-supervision
(with Marie-Odile Junger)
Monique Manatch, “Digital Technology in Indigenous Culture,” Indigenous and
Canadian Studies, 2017
(with Sean Darcy)
Allister Morrison, “Transcending Bureaucracy: An Exploration of Indigenous
Perspectives within Aboriginal Affairs and Northern Development Canada (AANDC),”
Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario, 2015.
(with Patricia Reynolds)
Amy Champagne, “Indigenous Pedagogy in Formal Education: Effects on the Learning
Experience,” Indigenous and Canadian Studies, Carleton University, Ottawa, Ontario,
2013.
PhD Thesis Committee Member
Johnny Alam, “Making or Breaking Nations. Travelling Memory in Contemporary Art and
Photography: History, Commemoration, Nostalgia, and Humanitarian interventions.”
Cultural Mediations, Carleton University, 2017
Cheryl Matthew, “The Indigenous Experience and Cultural Renewal, Decolonization and
Transformation in the Ottawa Area.” Anthropology, Carleton University, 2017
India Rael Young, “Cultural imPRINT: A History of Northwest Coast Native and First
Nations Prints,” Department of Art and Art History, University of New Mexico, 2017
Carolyn Butler Palmer, “I Won’t Play Primitive to Your Modern: The Art of David Neel,”
Art History, University of Pittsburgh, 2006
PhD Thesis Co-supervision (current)
(with Kim Matheson)
Sheila Grantham, “Listening to Their Stories, Metis Post-Secondary Student
Experiences,” Indigenous and Canadian Studies, Carleton University, expected
completion, Fall 2018.