Résumés
Résumé
Dans l’histoire de l’art, les textiles autochtones coutumiers ont été ignorés en tant qu’artisanat domestique « traditionnel » et objets fonctionnels. Axé sur la documentation du tissage salish depuis les années 1960 et sur l’intégration des méthodologies de recherche autochtones et non autochtones, cet essai explorera la résurgence du tissage salish en tant que forme salish de recherche-création. Dans cet essai, une approche féministe autochtone centre l’expérience des tisserands salish pour changer les perceptions du tissage salish et pour déstabiliser les omissions structurelles dans les discours de l’art autochtone. Les tissages et les pratiques du tisserand deviennent visibles en tant que sites de partage des connaissances intergénérationnelles, d’innovation, de relations sociales complexes et de continuité.
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Acknowledgements
I am deeply grateful to the Stó:lō women and families that chose to reawaken their cultural practices and make such a significant change to the future of their communities. I thank hereditary chief Chepximiya Siyam' (Janice George) and Skwetsimeltxw Willard [Buddy] Joseph for sharing their weaving practices through workshops and panel discussions. I respect the time and energy given by chief George and by Patricia Raymond-Adair to their review of my essay, and I am very appreciative of the valuable feedback provided by peer reviewers and RACAR's editorial team. I am grateful to Debra Sparrow, Robyn Sparrow, and Angela George for what they have thoughtfully shared during weaving and spinning workshops, artist panel discussions and interviews. I am continually thankful to Julie Malloway and Patricia Raymond-Adair at the Coqualeetza Cultural Education Centre for their unrivalled enthusiasm for the work of the Salish Weavers Guild and Siyamiyateliot and Willow Mussell for sharing their time with me. Curator Jordan Wilson has also generously shared his research on the Guild. I thank the Chilliwack Museum & Archives and the Stó:lō Research Resource Management Centre for their support and for granting access to their rich archives. The UBC Museum of Anthropology, the Indigenous Art Centre, the House of Commons Collection, the Canadian Museum of History, the Canadian Centre for Architecture, the McCord-Stewart Museum, the Museum of Vancouver, and the Royal BC Museum have supported both hands-on and virtual collections research activities. I am indebted to Michelle McGeough, Susan Pavel, Sue Rowley, and T’ai Smith for their insights and guidance that helps shape my thinking. My research has been supported by a SSHRC Doctoral Award, the UBC Public Scholars Initiative, and the 2022–2023 Art Canada Institute Redefining Canadian Art History Fellowship.
Biographical note
Alison Ariss is a PhD candidate in the department of Art History, Visual Art and Theory at the University of British Columbia.