#: locale=en ## Media ### Description album_0F40F957_2016_3815_41AE_817D1CF0BCB2_2.description = 1 album_8B8982A3_96ED_8D1D_41BC_926F251AA534_2.description = 1. Beaded Guitar Strap album_8B89D2A6_96ED_8D67_41D1_CF957F0C8079_5.description = 1. Beaded Guitar Strap album_8B89B2A5_96ED_8D65_4185_391919B3D9D9_1.description = 1. Beaded Guitar Strap photo_08C0347A_2076_281F_41C0_CBA0644C45FA.description = 1. Beaded Hummingbird Mask photo_08C79072_2076_282F_41B4_C6C9CCBEA207.description = 1. Beaded Hummingbird Mask photo_08C0347A_2076_281F_41C0_CBA0644C45FA.description = 1. Beaded Hummingbird Mask photo_08C79072_2076_282F_41B4_C6C9CCBEA207.description = 1. Beaded Hummingbird Mask photo_0AB54722_2076_282F_41B1_A64AB30146A8.description = 1. Beaded Purse photo_0AB54722_2076_282F_41B1_A64AB30146A8.description = 1. Beaded Purse album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_8.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_7.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_10.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_6.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_5.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_4.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_2.description = 1. Children’s Shoes album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_3.description = 1. Children’s Shoes album_8B8902A6_96ED_8D67_41CB_E0E369D5AD7A_3.description = 1. Confederacy Wampum Replica album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_3.description = 1. Confederacy Wampum Replica album_1FC4C606_2016_6BF7_41C3_F0EA76BC813B_4.description = 1. Document Signed by Frederick Haldimand (1718-1791) album_0867B818_2076_781B_4172_9ED43BAAB6F6_0.description = 1. Haudenosaunee Trilobe Whimsy (Raised Beading) album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_0.description = 1. Sculpture featuring The Ojibwe Friendship Belt (Lori Laforme) album_8B89E2A6_96ED_8D67_41D6_A47495BB5202_0.description = 1. Sculpture featuring The Ojibwe Friendship Belt (Lori Laforme) photo_BA5CAFE4_973C_931B_41DE_6AC762EE9966.description = 10) Tobacco Pouch for Tobacco photo_BA5CAFE4_973C_931B_41DE_6AC762EE9966.description = 10) Tobacco Pouch for Tobacco album_0F40F957_2016_3815_41AE_817D1CF0BCB2_3.description = 2 album_0A166F0D_2032_19F5_41B0_B491FA968C2A_3.description = 2) Waterdrum album_0A166F0D_2032_19F5_41B0_B491FA968C2A_1.description = 2) Waterdrum \ 3) Turtle Rattle \ 4) Horn Rattle photo_08C02AC8_2076_187B_41BA_B46009C156BE.description = 2. Bead and Caribou Tuft Earrings photo_08C07658_2076_E81B_41AF_9483969C881F.description = 2. Bead and Caribou Tuft Earrings photo_08C07658_2076_E81B_41AF_9483969C881F.description = 2. Bead and Caribou Tuft Earrings photo_08C02AC8_2076_187B_41BA_B46009C156BE.description = 2. Bead and Caribou Tuft Earrings album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_9.description = 2. MohawkHymn Book album_1FC4C606_2016_6BF7_41C3_F0EA76BC813B_2.description = 2. PowderHorn, 1813 album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_4.description = 2. Two Row Wampum Replica album_8B89F2A6_96ED_8D67_41D9_B1DBC56780CE_4.description = 2. Two Row Wampum Replica album_0867B818_2076_781B_4172_9ED43BAAB6F6_2.description = 2. Woodland-Style Moccasins (Flat Beading) album_0F40F957_2016_3815_41AE_817D1CF0BCB2_1.description = 3 album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_1.description = 3. Beaded Guitar Strap album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_2.description = 3. Beaded Guitar Strap album_14A7748F_23F2_28F5_4165_6D7FA8A6EA2A_5.description = 3. Beaded Guitar Strap photo_08C0AD38_2076_181B_41C0_3F7510843649.description = 3. Beaded Hat photo_08C0AD38_2076_181B_41C0_3F7510843649.description = 3. Beaded Hat photo_08C018A5_2076_1835_4174_C3E3CA2B7B3E.description = 3. Beaded Hats photo_08C018A5_2076_1835_4174_C3E3CA2B7B3E.description = 3. Beaded Hats album_0867B818_2076_781B_4172_9ED43BAAB6F6_1.description = 3. Haudenosaunee-Style Moccasins (Raised Beading) album_E20F8F77_FCAF_C1B3_41EC_14288437A9B7_1.description = 3. Save the Evidence T-Shirt album_0A166F0D_2032_19F5_41B0_B491FA968C2A_4.description = 4) Horn Rattle album_0A166F0D_2032_19F5_41B0_B491FA968C2A_0.description = 7) Clamshell or Abalone Shell \ 8) Soft Leather \ 9) Sage, White Cedar, Sweetgrass photo_B916EEF0_9723_B2FB_41E2_A0CCB863DC71.description = 7) Clamshell or Abalone Shell \ 8) Soft Leather \ 9) Sage, White Cedar, Sweetgrass 10) Tobacco Pouch for Tobacco photo_B916EEF0_9723_B2FB_41E2_A0CCB863DC71.description = 7) Clamshell or Abalone Shell \ 8) Soft Leather \ 9) Sage, White Cedar, Sweetgrass 10) Tobacco Pouch for Tobacco album_0A166F0D_2032_19F5_41B0_B491FA968C2A_6.description = From bottom to top: \ 1) Turtle Island or Mother Earth \ 2) Waterdrum \ 3) Turtle Rattle \ 4) Horn Rattle \ 5) Wampum Strings, known as Three Bare Words, \ Small Condolence, or Edge of the Woods \ 6) Clay Pot \ 7) Clamshell or Abalone Shell \ 8) Soft Leather \ 9) Sage, White Cedar, Sweetgrass 10) Tobacco Pouch for Tobacco 11) Eagle Feather 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The first piece of artwork you will encounter when visiting A Path Forward is a mural on the entrance walkway.
This mural was thoughtfully designed by Melissa Brant, a talented artist, entrepreneur, and member of the Mohawks of the Bay of Quinte.
Melissa chose to present a visual representation of the Ohén:ton Karihwatéhkwen which is a Haudenosaunee/Rotinonhsyón:ni tradition of “opening” gatherings of people.
The Ohén:ton Karihwatéhkwen is sometimes referred to as the “Opening Address” or the “Thanksgiving Address,” but a more accurate translation is “the words that are spoken before all others” or, in the words of Elder Tom Porter, “what we say before we do anything important.” This tradition acknowledges and recognizes the importance and relationship of all life forces in Creation and its purpose is to unite the minds of everyone at the gathering.
While this is an oral tradition, Melissa chose to reflect the elements of the Ohén:ton Karihwatéhkwen visually, allowing visitors to A Path Forward to follow its path before entering the space.
The Ohén:ton Karihwatéhkwen is delivered in Mohawk, and while its length may vary with each Speaker, certain key elements are always present. Melissa has thoughtfully incorporated these into her mural.
With the spirit and intent of the Ohén:ton Karihwatéhkwen in mind, Melissa designed the mural to inspire intentional movement. Visitors are encouraged to experience the art in their own way, but the artist intended for them to begin at the image on the bottom right, follow the images along the right-hand side, then turn counter-clockwise to follow the remaining images back down and away from the entrance. This pathway guides people through the Ohén:ton Karihwatéhkwen, culminating in a path of seven turtles leading into the exhibit space. Melissa included this central path of seven turtles to symbolize the seven generations before and after us. At the end of the walkway, visitors encounter a large turtle image at the entrance, reminding us that we all walk on Turtle Island.
This practice encourages visitors to reflect and engage with the art, taking time to slow down and be of a good mind before entering the larger exhibit space of A Path Forward.
As you walk along the mural and enter the exhibit, you are invited to take a moment to reflect, slow down, and approach with a good mind, ready to engage with the stories and art that shape our collective path forward.
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“Land and Water represents the 3 clans of Tyendinaga Mohawk Territory. Bright, bold, and each waiting to tell their story. Each clan needed to survive so the fish represents “food”.”
Angela Wiggins is a self-taught Anishinaabe artist living in the Quinte area.
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“Land and Water represents the 3 clans of Tyendinaga Mohawk Territory. Bright, bold, and each waiting to tell their story. Each clan needed to survive so the fish represents “food”.”
Angela Wiggins is a self-taught Anishinaabe artist living in the Quinte area.
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“Traditional Onkwehon:we across Turtle Island, including the Kanien'kehá:ka of Kenhté:ke, have ceremonies that are to take place when there is a death in the community.
These ceremonies honour the individual and let them know that their time on Turtle Island is complete and there is no need for the Spirit to stay any longer. But when this Right is not done, the Elders say that their Spirit will be trapped in this world forever.
With the finding of the burials at these residential schools, many believe that the Spirits of those CHILDREN in unmarked graves will be chained to this World and will not be able to make their final journey to the Skyworld.
This carving is a depiction of this happening.”
Trevor Owen Brant Yonkya’ts member of the Rotikwáho (Wolf Clan) of Kenhté:ke.
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1. Children’s Shoes
The children’s shoes seen here were collected after protests surrounding the John A. Macdonald statue formerly on Picton’s Main Street in May of 2021. They were laid at the foot of the Macdonald statue after the discovery of unmarked graves on the grounds at the former Kamloops Indian Residential School and are representative of the children lost there, and at residential schools across Canada. The shoes have been kept safe by community members and were kindly delivered to us for use in this exhibit.
2. Mohawk/English Hymn Book
TheMohawk/English Hymn Book below was published in 1892, and was used by Myrtle Georgina Loft while she attended the Mohawk Institute near Brantford, Ontario. It is on loan from her daughter Narda Kathaleen Julg.
3. Save the Evidence
The Save the Evidence campaign is an initiative launched by the Woodland Cultural Centre to raise awareness and support for the restoration of the former Mohawk Institute Residential School building. The vision is to turn the building into an Interpretive Historic Site and Educational Resource. The Mohawk Institute building itself is only one of a handful of Residential School buildings left standing in Canada and the only one in Ontario that offered guided tours until its closure for repairs.” (Woodland Cultural Centre website)
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1. Document Signed by Frederick Haldimand (1718-1791)
As Governor of Quebec, Haldimand organized the settlement of the Six Nations that had been driven out of New York during the American Revolution. He issued what is now known as the Haldimand Proclamation, which awarded them a tract of land on the Grand River, near Brantford, Ontario.
2. PowderHorn, 1813
This powderhorn was likely used by a Mohawk soldier during the War of 1812. It features a number of carvings, some of which can be seen here.
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SHIRT: The fabric is a copy of an 1830 design and is 100% cotton. The collar was often wider with curved instead of sharp tips at the front. The upper part of the sleeves were gathered to the shoulder as were the lower ends to the cuff. Calico was a common pattern.
APRON: This garment was sometimes worn as one piece and was then called a breach cloth. Black wool cloth was the most common fabric for this piece. Early material used for the edging of various garments was either velvet or grosgrain. Here the latter is used to bind the outer edge of the apron.
LEGGINGS: Early leggings were made of deer hide or some other animal skin that was easy to access. Later fabric was used. Here is a 100% cotton, suede-like fabric with a 100% wool binding to hold it together. They were attached to the waist with a leather lacing or cord. If they were a bit insecure, they were also tied around the leg just below the knee.
MOCCASINS: These were made from available hide pieces such as deer or moose and were not dyed or tanned to the colours we see today. These are well worn buckskin ones in the natural grey shade. This earlier style was a pinch-toe, one piece moccasin and very easy and quick to create. Today the style is a two or three piece design with the vamp over the toe and front arch of the foot.
MEDICINE POUCH: These bags were used to carry dried food supplies such as pemmican when on a longer journey, but could also be used to gather or carry medicines such as wild iris root which was an aid for a sore throat. Larger ones could be used to carry shells for hunting and might be called a bandolier bag.
SASH: Various colours and designs of the Métis sash were worn by Indigenous men and were handy as various implements could be tucked into them. Some of these were very long and could be worn over the shoulder, across the body and around the waist more than once.
NECKLACE: Wearing bear claws might indicate that he is Bear Clan or that he has had a successful bear hunt and is using all the parts. Since no bear has wandered through my yard, these claws and beads are made from cow bone and dyed.
Headdress/Gustoweh: The early headdress of the Haudenosaunee was somewhat different from what male dancers wear into the powwow dance circle today. Depending on what feathers were available, a simple band of leather might be used with the feathers standing straight up. If they were able to trade for more exotic feathers from time to time, then these would b used instead of hawk, eagle, turkey, goose, and such. The band might be covered with simple cloth, velvet, some beaded design, or completely beaded. Today, men who attend Longhouse ceremonies wear a Gustoweh with the proper number and position of large feathers at the top which signifies to which of the Six Nations they belong.
Narda Kathaleen Julg is a multidisciplinary Mohawk artist living on Tyendinaga Mohawk Territory in Eastern Ontario. She designs modern and traditional clothing in both fabric and buckskin (buffalo, elk, and moose).
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Amy Maracle has been flat beading for many years, but in the past two years has established relationships in Kahnawake to learn Raised Beading.
1. Haudenosaunee Trilobe Whimsy (Raised Beading)
2. Woodland-Style Moccasins (Flat Beading)
3. Haudenosaunee-Style Moccasins (Raised Beading)
Tammy Brant is a member of The Mohawks of the Bay of Quinte. Her background in beading started at a young age and continued to evolve into putting Indigenous beadwork on today’s clothing, such as hats, shoes, etc.
1. Beaded Purse
2. Bead and Caribou Tuft Earrings
3. Beaded Hats
Callie Konwanonhsiyohstha Hill has been creating with beads for 40 years. This mask serves as a tribute to her late mother, Catherine Pearl Brant, who loved hummingbirds.
1. Beaded Hummingbird Mask
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Brandie Maracle is Mohawk from Tyendinaga Mohawk Territory.
She specializes in custom regalia, quilts, & cradle boards.
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Debra Vincent is a member of The Mohawks of the Bay of Quinte.
With an ever evolving aesthetic, Debra is inspired by clean lines, bold colours, and the opportunity to share her culture with others. Threads of Haudenosaunee knowledge, Mohawk clan systems, and teachings of the Great Law of Peace are ever present in her work. With this, each piece is personal.
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Debra Vincent is a member of The Mohawks of the Bay of Quinte.
With an ever evolving aesthetic, Debra is inspired by clean lines, bold colours, and the opportunity to share her culture with others. Threads of Haudenosaunee knowledge, Mohawk clan systems, and teachings of the Great Law of Peace are ever present in her work. With this, each piece is personal.
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Konwatsi’tsyayen:ni, Molly Brant was born in 1736 and died in Kingston, Ontario on April 16, 1796. In her life time she was also called Tekonwatonti.
This Kanyenke’haka leader and matriarch, and wife of Sir William Johnson, British Superintendent of Indian Affairs, lived a tremendous life in the Mohawk Valley of Upper New York State that led to her resettlement to Katorokwe (Cataraqui). In some texts she is acclaimed as the founder of Canada. We know she spoke many languages, was a diplomat, mother, mid-wife, medicine woman and entrepreneur. She had many skills from gardening to trapping and fur trading and making fine garments to managing all the affairs of an estate household.
There are no portraits of Molly, unlike her famous brother Joseph Brant. She is depicted faceless like the corn husk doll. From simple descriptions I have tried to imagine, envision Molly and placed her where the Schoharie Creek and Mohawk River converge at Fort Hunter, also called Schoharie Crossing. Old and new Fort Johnson, and her Canajoharie village are depicted in the background, along with the churches that are a symbol of Christianity and European influence and establishment in the homelands of the Kanyen’keha’ka.
The story of Molly’s life can be viewed from many perspectives. Regardless of opinions and perspectives, to those that know her story she is an inspiration and powerful symbol of feminism. As an artist and descendant of Molly, I have always wanted to honour her life and pay tribute to her in some fashion. Through this painting I wanted to bring her story forward so that we might all know her and remember, especially the Mohawk people of the Bay of Quinte, at Tyendinaga.”
Janice Brant is a Kanyenke’ha’ka (Mohawk) artist from Tyendinaga Mohawk Territory. She was born and raised in the community. Janice enjoys learning and sharing her Mohawk language, culture, and history.
Janice works with natural materials such as Walnut Ink and Birch Bark, corn husk, clay, vine, stone, feather, and shell. She also paints using acrylic, oil, and water paint on paper, canvas, leather, and wood. She does needle-felting with wool, wire sculpting, and paper-making from cattails, hemp, mulberry, and other plant materials from her garden and natural surroundings.
Her art and writing are inspired by the natural world and teachings of the Rotinonhson:ni/Six Nations Confederacy.
Janice has been creating and expressing herself through art and writing since childhood. Janice has a number of paintings in both private and public collections nationally.
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Lisa Martin is a member of The Mohawks of the Bay of Quinte. Crafting has been in her family and continues to pass down native artwork traditions to family and friends. Lisa is the owner of Martin's Beads, a craft supply store in Tyendinaga Mohawk Territory.
1. Confederacy Wampum Replica
2. Two Row Wampum Replica
3. Beaded Guitar Strap
The Ojibwe Friendship Belt represents two nations (in this case the Haudenosaunee and Anishinaabeg) joined by a Path of Peace. This piece was donated by Marie Connor.
1. Sculpture featuring The Ojibwe Friendship Belt (Lori Laforme)
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Tom Wilson Tehoh'ahake (Two Roads) is a Canadian musician, songwriter, famed storyteller and visual artist. Wilson’s memoir, Beautiful Scars, published by Penguin/Random House has become a national bestseller.
In his memoir, Wilson reveals the impact of discovering his indigenous heritage. Musically, Wilson is best known for his work with Blackie & The Rodeo Kings and Lee Harvey Osmond, the latter receiving a 2020 Juno Award for the album Mohawk.
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A mother and daughter are momentarily reunited, transcending time and space. It's a moment of peace, love, and the Eternal bond between them.
Theresa Brant is a self-taught, Indigenous artist living on Tyendinaga Mohawk Territory.
Inspired by her son during the pandemic, Theresa found her passion in acrylic painting.
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Archaeological digs, amateur and professional alike, have uncovered a multitude of Indigenous materials locally--particularly in North & South Marysburgh. On display are Haudenosaunee pottery fragments, awls, scrapers, a decorative bird amulet, bead-necklaces and projectile points spanning from the Archaic to the Woodland periods.
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Brandie Maracle is Mohawk from Tyendinaga Mohawk Territory. She specializes in custom regalia, quilts, & cradle boards.
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Callie Konwanonhsiyohstha Hill has been creating with beads for 40 years. This mask serves as a tribute to her late mother, Catherine Pearl Brant, who loved hummingbirds.
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Canning labels (and advertising in general) in the nineteenth and twentieth centuries often featured imagery and wording that is no longer considered culturally appropriate. Depictions of Indigenous people were seen as an acceptable marketing tool, even though no First Nations groups were consulted and no heed was given to the significance (or accuracy) of the regalia in these portrayals. Many non-Indigenous people viewed the First Nations as frozen in the past, and therefore no thought was paid to how these portrayals, created by non-Indigenous people, could be viewed as culturally insensitive.
Today, it is widely accepted that these depictions are at best, misrepresentation, and at worst, racist. Continued dialogue is necessary to ensure that representations of First Nations people in media are respectful, rather than exploitative.
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Faith Wilson is Mohawk from Six Nations. She has been painting and drawing from a young age.
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I wasn't sure at first, if I wanted to contribute to this "Reconciliation" Exhibit. I didn't know what I want to say, if anything. With Support from my friends and family, I sat down and wrote a proposal for my piece. The words came swiftly, and passionately. I did have something to say, and it was going to be big.
I grew up outside my home community of Kahnawake. I am wolf clan as the day is long, and my father is non-native. I spent my early years visiting my Tota in Toronto, until she came to live with us. She was a first language speaker. Unfortunately, it wasn't until I was in my 40's, after she passed, did I look to deepen my Kanien'kehá'ka identity and learn my language. I then began to realize all the gifts of our ways that I was already given, although I never understood the teachings at the time.
I have been remorseful, not understanding how this beautiful language and ways of knowing could become so vacant in me. But I understand now. I have seen how trauma and shame can destroy identity, but I have also experienced the love, connection and support of an encouraging confederacy. Now, at 50 years old, I am still learning Kanienke'ha, and I am teaching our language and culture at Kawenna'ón:we, a primary Mohawk Language School at Tyendinaga Mohawk Territory. The grief has lifted and I have this to share.
The graffiti mural needed to be large, it needed to be in your face and make no apologies for its existence. The work is title "Kén:tho í:ke's" which means "I am here." I wanted to reclaim this space and spread love and encouraging words. I wanted to share my gratitude and acknowledgment for creation, as she waited patiently for me to find my voice. The symbols depict elements of the natural world to which we give our greetings; acknowledging the waters, the little brothers (animals), the medicines and plant life, the winds and the sky beings. The words are expressions of our ways, our culture, and encouragement. Teachings of planting by moon cycle, the Three Sisters, Strawberry teachings, Our Grandfathers and Our Creation story are represented. The little girl, who is depicted as the graffiti artist is 'my inner child' who has healed and is ready to share her message of gratitude and encouragement.
I chose graffiti style, because of the art form's own history. From what I understand, graffiti is about connection, relationships, identity, and freedom. Its history is long but only deemed worthy as an artform in the 80's. Oppressed art. Although I'm not a graffiti artist, and I had a moral issue with using aerosol cans, I felt that this beautiful form of expression was one that I connected with so closely. I left it unfinished by design.
The primer showing, the cracked and weathered walls, the partial coverage of the banner of someone else's words serve as a reminder that I should not erase history, and "Reconciliation" is not finished. Shé:kon, kén:tho í:ke's. Still, I am here.”
Tkarahkwenhas (Jennifer) Glenister
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I wasn't sure at first, if I wanted to contribute to this "Reconciliation" Exhibit. I didn't know what I want to say, if anything. With Support from my friends and family, I sat down and wrote a proposal for my piece. The words came swiftly, and passionately. I did have something to say, and it was going to be big.
I grew up outside my home community of Kahnawake. I am wolf clan as the day is long, and my father is non-native. I spent my early years visiting my Tota in Toronto, until she came to live with us. She was a first language speaker. Unfortunately, it wasn't until I was in my 40's, after she passed, did I look to deepen my Kanien'kehá'ka identity and learn my language. I then began to realize all the gifts of our ways that I was already given, although I never understood the teachings at the time.
I have been remorseful, not understanding how this beautiful language and ways of knowing could become so vacant in me. But I understand now. I have seen how trauma and shame can destroy identity, but I have also experienced the love, connection and support of an encouraging confederacy. Now, at 50 years old, I am still learning Kanienke'ha, and I am teaching our language and culture at Kawenna'ón:we, a primary Mohawk Language School at Tyendinaga Mohawk
Territory. The grief has lifted and I have this to share.
The graffiti mural needed to be large, it needed to be in your face and make no apologies for its existence. The work is title "Kén:tho í:ke's" which means "I am here." I wanted to reclaim this space and spread love and encouraging words. I wanted to share my gratitude and acknowledgment for creation, as she waited patiently for me to find my voice. The symbols depict elements of the natural world to which we give our greetings; acknowledging the waters, the little brothers (animals), the medicines and plant life, the winds and the sky beings. The words are expressions of our ways, our culture, and encouragement. Teachings of planting by moon cycle, the Three Sisters, Strawberry teachings, Our Grandfathers and Our Creation story are represented. The little girl, who is depicted as the graffiti artist is 'my inner child' who has healed and is ready to share her message of gratitude and encouragement.
I chose graffiti style, because of the art form's own history. From what I understand, graffiti is about connection, relationships, identity, and freedom. Its history is long but only deemed worthy as an artform in the 80's. Oppressed art. Although I'm not a graffiti artist, and I had a moral issue with using aerosol cans, I felt that this beautiful form of expression was one that I connected with so closely. I left it unfinished by design.
The primer showing, the cracked and weathered walls, the partial coverage of the banner of someone else's words serve as a reminder that I should not erase history, and "Reconciliation" is not finished. Shé:kon, kén:tho í:ke's. Still, I am here.
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In Haudenosaunee culture, an Eagle is held in high regard. It is said to be a messenger to the Creator, because it can fly as high as the Skyworld and its vision is endless. The Eagle is also the Guardian of the Peace that binds the Haudenosaunee Confederacy. To hold an Eagle feather alone has much symbolism as well. Honour Strength, Courage, Wisdom and Respect are but a few. As is the purpose of “A Path Forward”, the journey begins with gaining the knowledge needed so that Respect may return.
This carving represents the start of that journey.
Trevor Owen Brant Yonkya’ts member of the Rotikwáho (Wolf Clan) of Kenhté:ke.
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John Norton was born in 1770 to a Cherokee father and Scottish mother. He worked as a trader and interpreter in Upper Canada in the late 1700s and was enlisted by Joseph Brant to negotiate land agreements between the Grand River Mohawk (now Six Nations of the Grand River) and the British. During these negotiations he was asked by the British and Foreign Bible Society to translate the Gospel of St. John into Kanyen’kéha (Mohawk).
Only 2000 copies of John Norton’s 1804 translation of the Gospel into Mohawk were published. It was the first time the Gospel had been translated into a First Nations’ language.
This copy is on loan from the family of George Albert Culbertson Sr. George was born, raised his family, and passed away on Tyendinaga Mohawk Territory First nation reserve on the Bay of Quinte, Ontario.
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Konwatsi’tsyayen:ni, Molly Brant was born in 1736 and died in Kingston, Ontario on April 16, 1796. In her life time she was also called Tekonwatonti. This Kanyenke’haka leader and matriarch, and wife of Sir William Johnson, British Superintendent of Indian Affairs, lived a tremendous life in the Mohawk Valley of Upper New York State that led to her resettlement to Katorokwe (Cataraqui).
In some texts she is acclaimed as the founder of Canada. We know she spoke many languages, was a diplomat, mother, mid-wife, medicine woman and entrepreneur. She had many skills from gardening to trapping and fur trading and making fine garments to managing all the affairs of an estate household.
There are no portraits of Molly, unlike her famous brother Joseph Brant. She is depicted faceless like the corn husk doll. From simple descriptions I have tried to imagine, envision Molly and placed her where the Schoharie Creek and Mohawk River converge at Fort Hunter, also called Schoharie Crossing. Old and new Fort Johnson, and her Canajoharie village are depicted in the background, along with the churches that are a symbol of Christianity and European influence and establishment in the homelands of the Kanyen’keha’ka.
The story of Molly’s life can be viewed from many perspectives. Regardless of opinions and perspectives, to those that know her story she is an inspiration and powerful symbol of feminism. As an artist and descendant of Molly, I have always wanted to honour her life and pay tribute to her in some fashion. Through this painting I wanted to bring her story forward so that we might all know her and remember, especially the Mohawk people of the Bay of Quinte, at Tyendinaga.”
Janice Brant is a Kanyenke’ha’ka (Mohawk) artist from Tyendinaga Mohawk Territory. She was born and raised in the community.
Janice enjoys learning and sharing her Mohawk language, culture, and history.
Janice works with natural materials such as Walnut Ink and Birch Bark, corn husk, clay, vine, stone, feather, and shell. She also paints using acrylic, oil, and water paint on paper, canvas, leather, and wood. She does needle-felting with wool, wire sculpting, and paper-making from cattails, hemp, mulberry, and other plant materials from her garden and natural surroundings.
Her art and writing are inspired by the natural world and teachings of the Rotinonhson:ni/Six Nations Confederacy. Janice has been creating and expressing herself through art and writing since childhood. Janice has a number of paintings in both private and public collections nationally.
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Lightning Spark Books
Pamela is a member of The Mohawks of the Bay of Quinte and has written children's books about Indigenous History.
The proceeds from the sale of the books are donated to TTO's new language and cultural centre.
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May 5th was commemorated in 2010 to raise awareness, pay respect, and honor the missing and murdered Indigenous women and girls across Canada.
Theresa Brant is a self-taught, Indigenous artist living on Tyendinaga Mohawk Territory.
Inspired by her son during the pandemic, Theresa found her passion in acrylic painting.
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Richard Sager
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Sampson Green was born on March 6, 1842 to Isaac and Rachel Green. His Mohawk name, Annosothkah (roughly meaning “to the end of the house”), was taken from his Great-Grandfather, Captain Isaac Hill. Sampson’s father Isaac is the son of Catherine (Hill) Green, who is the daughter of Captain Isaac. Catherine is also the niece of Captain John Deserontyon.
Around 1865 at the age of 23, Sampson married Catherine Maracle, the daughter of Joseph J. Maracle Sr. and Margaret Rebecca Brant. From about 1866 to 1888, Sampson and Catherine had several children: Sarah Ellen, Lewis Albert, Cederick, Clara Margaret, George Franklin, Edward Alexander, Gertrude, Gustavus Alexander, and Frank Aaron.
At the young age of 28 Sampson was elected as one of the Chiefs of the Mohawks of the Bay of Quinte in the first federally mandated election held in Tyendinaga in 1870. He maintained this position until 1888. He returned to elected Council in 1891 and stayed until 1907.
Isaac Green, Sampson’s father, held land in Lot 11, Concession A. After his death, Sampson’s mother remarried Chief Powless Claus and as such, the land in the east half of Lot 11, Concession A was given to Sampson.
By 1895, Sampson held land in Lot 33, Concession A, and Lots 33 and 34 in Concession 2. There is an indication that Sampson exchanged the land received from his late father for the lots he then occupied.
While on elected Council, Sampson was employed in many different roles. On the 1891 census he is listed as a Dry Goods Seller in Deseronto, most likely employed by the Rathbun Company. He remains a Dry Goods Seller on the 1901 census, but by 1911 is listed as a farmer.
By 1921 Sampson was 79 years old and living with his wife and daughter Sarah. He may have gone to live with his son George in Hamilton as at the time of his death on January 27, 1923, he is at 61 Murray Street, Hamilton. His son George was the informant.
This regalia, ca. 1890, belonged to Sampson Green and has been passed down through his family. It is displayed courtesy of the Brant Family.
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Sisters are the keepers of the old ways and Guardians of the Traditions passed down. The sacred Waters amplify their connection with wisdom, strength, healing, harmony and vision.
Theresa Brant is a self-taught, Indigenous artist living on Tyendinaga Mohawk Territory.
Inspired by her son during the pandemic, Theresa found her passion in acrylic painting.
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The figures on the left represent the Haudenosaunee and Onkwehon:we before their contact with the European visitors. The White Hearts symbolize the Spirit and Pride that existed in Their cultures, Their traditions and Their languages.
The building at the center of the Belt represents the residential schools that many Haudenosaunee and Onkwehon:we Children were made or forced to attend.
The line leading to the left door of the building is the road signifying this occurrence.
The white door stands for the Promise made by officials (Government and churches) that the Children would be safe and would learn to read and write.
The dark door represents everything bad and negative that happened within the walls and on the grounds of those schools.
The Line under the building Symbolizes and Honours the children that didn’t get to leave.
The line that exists to the right is the road that the children took to get back home to their Families and Communities.
The figures on the right show the Haudenosaunee and Onkwehon:we Children as Young Adults leaving those schools with Broken Spirits. But as time passes by, the Spirit that was taken away begins to re-emerge. Until finally one day that Spirit will be Taken Back by their future generations.
Like many, there were members of my family that attended residential schools. Great Grandmothers, Great Grandfathers, Great Aunties, Great Uncles and a Grandmother. None of whom spoke about their days at those places. As a result, I don’t remember anyone speaking about our culture or hearing our language as a child, except for “Sago”. The teaching of Our Customs, Our Traditions, and Our Language was to be passed down from one generation to the next. But when residential schools were introduced something happened to Our Grandmothers and Grandfathers. Their Spirit seemed to have been taken away. Most no longer spoke Our Language or passed on the knowledge given to them by their Ancestors and the Creator.
As an artist, I created this Record Belt as a reminder of that time in Our history and to Honour Our Grandmothers and Grandfathers, Aunties and Uncles, who lived through that unpleasant and undeserved time. I would like them all to know that what was lost will be taken back by future generations.
Trevor Owen Brant Yonkya’ts member of the Rotikwáho (Wolf Clan) of Kenhté:ke.
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The figures on the left represent the Haudenosaunee and Onkwehon:we before their contact with the European visitors. The White Hearts symbolize the Spirit and Pride that existed in Their cultures, Their traditions and Their languages.
The building at the center of the Belt represents the residential schools that many Haudenosaunee and Onkwehon:we Children were made or forced to attend. The line leading to the left door of the building is the road signifying this occurrence.
The white door stands for the Promise made by officials (Government and churches) that the Children would be safe and would learn to read and write.
The dark door represents everything bad and negative that happened within the walls and on the grounds of those schools.
The Line under the building Symbolizes and Honours the children that didn’t get to leave.
The line that exists to the right is the road that the children took to get back home to their Families and Communities.
The figures on the right show the Haudenosaunee and Onkwehon:we Children as Young Adults leaving those schools with Broken Spirits. But as time passes by, the Spirit that was taken away begins to re-emerge. Until finally one day that Spirit will be Taken Back by their future generations.
Like many, there were members of my family that attended residential schools. Great Grandmothers, Great Grandfathers, Great Aunties, Great Uncles and a Grandmother. None of whom spoke about their days at those places. As a result, I don’t remember anyone speaking about our culture or hearing our language as a child, except for “Sago”. The teaching of Our Customs, Our Traditions, and Our Language was to be passed down from one generation to the next. But when residential schools were introduced something happened to Our Grandmothers and Grandfathers. Their Spirit seemed to have been taken away. Most no longer spoke Our Language or passed on the knowledge given to them by their Ancestors and the Creator.
As an artist, I created this Record Belt as a reminder of that time in Our history and to Honour Our Grandmothers and Grandfathers, Aunties and Uncles, who lived through that unpleasant and undeserved time. I would like them all to know that what was lost will be taken back by future generations.”
Trevor Owen Brant Yonkya’ts member of the Rotikwáho (Wolf Clan) of Kenhté:ke.
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The first piece of artwork you will encounter when visiting A Path Forward is a mural on the entrance walkway. This mural was thoughtfully designed by Melissa Brant, a talented artist, entrepreneur, and member of the Mohawks of the Bay of Quinte.
Melissa chose to present a visual representation of the Ohén:ton Karihwatéhkwen which is a Haudenosaunee/Rotinonhsyón:ni tradition of “opening” gatherings of people.
The Ohén:ton Karihwatéhkwen is sometimes referred to as the “Opening Address” or the “Thanksgiving Address,” but a more accurate translation is “the words that are spoken before all others” or, in the words of Elder Tom Porter, “what we say before we do anything important.” This tradition acknowledges and recognizes the importance and relationship of all life forces in Creation and its purpose is to unite the minds of everyone at the gathering.
While this is an oral tradition, Melissa chose to reflect the elements of the Ohén:ton Karihwatéhkwen visually, allowing visitors to A Path Forward to follow its path before entering the space. The Ohén:ton Karihwatéhkwen is delivered in Mohawk, and while its length may vary with each Speaker, certain key elements are always present. Melissa has thoughtfully incorporated these into her mural.
With the spirit and intent of the Ohén:ton Karihwatéhkwen in mind, Melissa designed the mural to inspire intentional movement. Visitors are encouraged to experience the art in their own way, but the artist intended for them to begin at the image on the bottom right, follow the images along the right-hand side, then turn counter-clockwise to follow the remaining images back down and away from the entrance.
This pathway guides people through the Ohén:ton Karihwatéhkwen, culminating in a path of seven turtles leading into the exhibit space. Melissa included this central path of seven turtles to symbolize the seven generations before and after us. At the end of the walkway, visitors encounter a large turtle image at the entrance, reminding us that we all walk on Turtle Island.
This practice encourages visitors to reflect and engage with the art, taking time to slow down and be of a good mind before entering the larger exhibit space of A Path Forward.
As you walk along the mural and enter the exhibit, you are invited to take a moment to reflect, slow down, and approach with a good mind, ready to engage with the stories and art that shape our collective path forward.
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The former St. Mary Magdalene’s Anglican Church was constructed in the mid-1820s, with additions in the 1870s. It is most closely associated with Reverend William Macaulay, the minister at the church for over 50 years and owner of Macaulay House, which sits next door.
The congregation built a new church on Picton’s Main Street in the early 1900s, and the old structure was left empty until 1967 when it was converted into a museum. Among the County Museums’ five sites and 35+ structures, this building is where we choose to interpret the Indigenous history of Prince Edward County. This colonial and ecclesiastical space has been transformed by Indigenous art and story and is now a blend of old and new, presenting a more nuanced representation of this community’s past - and its future.
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The items on display here belonged to Sgt. Leslie Cecil Brant (3rd February 1920-29th April 1948). Sgt. Brant served with The Argyll and Sutherland Highlanders of Canada (Princess Louise’s).
My father enlisted 22nd August 1940. He fought all through the war until he was grievously wounded in Belgium on 23rd October 1944 during the push to the Netherlands. He lost and eye and an arm and a metal plate was used to mend his head wound. He was in hospital in England for a long time and discharged 15th April 1945. I understand the doctors gave him 5 years to live.
My parents were married 23rd August 1946.
My mother, Catherine Pearl Brant, was pregnant on their 1st wedding anniversary and a widow on her 2nd anniversary.
My father was 28 years old when he died of complications from his war injuries. I was 7 months old.
I only know him from stories told by my mother and others.
He liked to sing. Danny Boy was his favourite song. I cry every time I hear it.
With his one arm he held me and gave me a bottle. After he died they tell me I cried a lot and didn’t sleep and refused a bottle at 9 months old.
I have missed him every day of my life.”
Contributed by Karen Lewis
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The log mortars and pestles have been a tremendous undertaking of studying and learning about traditional construction techniques, developing a basic knowledge of working with wood and fire, and being intimately involved with the logs for many many hours each. It can be hard to let them go. This one was gifted to TTO and KSSLC (Kenhteke Seed Sanctuary and Learning Centre) for teaching and sharing our language and culture through the ancient food traditions of the Haudenosaunee.
Janice Brant is a Kanyenke’ha’ka (Mohawk) artist from Tyendinaga Mohawk Territory. She was born and raised in the community. Janice enjoys learning and sharing her Mohawk language, culture, and history.
Janice works with natural materials such as Walnut Ink and Birch Bark, corn husk, clay, vine, stone, feather, and shell. She also paints using acrylic, oil, and water paint on paper, canvas, leather, and wood. She does needle-felting with wool, wire sculpting, and paper-making from cattails, hemp, mulberry, and other plant materials from her garden and natural surroundings.
Her art and writing are inspired by the natural world and teachings of the Rotinonhson:ni/Six Nations Confederacy. Janice has been creating and expressing herself through art and writing since childhood. Janice has a number of paintings in both private and public collections nationally.
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These stones were donated to the museum in the mid-1970s, having supposedly been found in Prince Edward County. They could be upward of 3000 years old. Kahehtoktha Janice Brant of Tyendinaga Mohawk Territory has used them to grind different varieties of corn, beans and rice, as well as nuts and peppers.
Janice wrote a book about the Grinding Stone and its significance. You can explore that here.
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This carving embodies some of the tools used by the Haudenosaunee and Onkwehon:we to aid in the Spiritual Healing journey of an individual.
From bottom to top:
1) Turtle Island or Mother Earth
2) Waterdrum
3) Turtle Rattle
4) Horn Rattle
5) Wampum Strings, known as Three Bare Words,
Small Condolence, or Edge of the Woods 6) Clay Pot
7) Clamshell or Abalone Shell
8) Soft Leather
9) Sage, White Cedar, Sweetgrass
10) Tobacco Pouch for Tobacco
11) Eagle Feather
There are many descriptions and uses attached to each of these items. But when an individual is burdened, some of these tools can be used to help their Spirit find Peace. That Peace is yours to find.
Trevor Owen Brant Yonkya’ts member of the Rotikwáho (Wolf Clan) of Kenhté:ke.
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This is a study for the statue, Holding Court by bronze artist Ruth Abernethy. It was a gift to The County Museums from the Sir John A. Macdonald Project in 2015. The removal of the full-size statue from Picton Main Street in 2021 was the catalyst for this exhibit.
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This map was published by John Hinton for the October of 1776 edition of the Universal Magazine of Knowledge and Pleasure. It gives a British perspective on America at the close of the American Revolutionary War.
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This map was published by John Hinton for the October of 1776 edition of the Universal Magazine of Knowledge and Pleasure. It gives a British perspective on America at the close of the American Revolutionary War.
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This outfit belonged to Austin Fuller, a WWII veteran from Tyendinaga Mohawk Territory who passed away in December, 2022. It is graciously on loan from his daughter, Marilyn Maracle.
Our father, Austin Fuller, was a Mohawk man and proud of his native heritage. Dad was one of the many Mohawk heroes that signed up, without hesitation to fight for freedom and peace for his country. Some of his friends did not return.
He enlisted April 3, 1940 in Picton ON, just before his 19th birthday - which he had on board the ship to England. He served overseas for 5 years and 5 months.
After returning home, he met and married our mother. They had 4 children and were married for 74 years.
The Hastings and Prince Edward Regiment remained a very important part of our father's life. The Regiment was awarded 31 battle honours for service during the Second World War. The most of any in Canada. He was very proud of that distinction. Dad and Mom attended many marches, ceremonies and reunions over the years, until they were no longer able to.
He loved his family, playing the piano, fishing, and cribbage. He was an avid reader and used his computer and iPad until his passing.
Dad was the last surviving member of the Mohawks of the Bay of Quinte to have served in the Second World War.
He was 101 years old and an amazing Mohawk man who was loved dearly and is very sadly missed.
Contributed by the Fuller Family
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This regalia was worn by Kanatawakhon (David) Maracle of Tyendinaga Mohawk Territory, who passed away in the summer of 2023.
From a young age Kanatawakhon was committed to doing everything he could to preserve Kanien'kéha (the Mohawk language), and this committment is the primary reason why the Tyendinaga dialect survives today. He wrote dictionaries, lexicons, and many books on learning the language - including one that can be found on the resource shelf. He was a dedicated teacher, and truly a trailblazer when it came to the revival of Kanien'kéha.
He had this regalia made for his acceptance of an honorary degree from Brock University in 2017. It is on loan from his brother Curtis Maracle.
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This regalia was worn by Lyle Leween of Tyendinaga Mohawk Territory, who passed away in 2002.
When Lyle had this outfit made, he wore the Plains headdress you see here, rather than the Gustoweh that was traditional for the Haudenosaunee. This was because he was unaware at the time of his own cultural heritage, and decided to include a style of Indigenous headdress that was popularly seen in media during his lifetime. Later, Lyle learned about the significance of the Gustoweh and began to wear that instead, though unfortunately his Gustoweh is too fragile to include in this exhibit.
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This work is a large-scale replica of the Dish With One Spoon Wampum belt.
The origins of the belt represent an agreement between Haudenosaunee and other nations over the mutual use and respect of shared hunting lands. The centre purple form represents a dish of beaver, considered a delicacy and representing the bounty of the Earth, shared by all nations from one dish, with one spoon.
We share the resources of the Earth, and as such, we are the stewards and caretakers, responsible for the protection and sustainability for our future generations, as those before us did. This wampum is of particular importance, as we notice more and more references to it in various land acknowledgements and visual representations of Haudenosaunee culture.
The piece is created with wood reclaimed from the artist’s home, built in 1869, 7 years prior to the creation of the federal Indian Act legislation. Bound together with deer hide, each of the 1197 beads has been individually treated and collaged with ephemera ranging from WWII-era newspapers, sewing patterns, maps, textiles, texts and illustrations from vintage children’s books, and collected pieces of personal significance to the artist.
Many of the snippets of paper ephemera make connections to the land, like the maps of traditional areas of the Haudenosaunee.
Sewing patterns and images of x-rays speak to the intertwined relationship between body and land - particularly, the female body, of critical importance in Haudenosaunee cosmology.
Settler relationships also center prominently in the paper snippets, with stereotypes of North American Indigenous cultures in children’s stories and news reports, and recountings of events from old history books.
Reclaimed and repurposed materials also speak to the relationship and responsibility we have with/to the land.
The secondary title is derived from a child’s creative writing about her senses - “My eyes can see home.” This is a particularly resonant phrase, underlining the importance of our connections to our land and our relations, and the crucial role we must take in supporting and bringing our teachings forward to future generations.”
Allison Lynn
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This work is a large-scale replica of the Dish With One Spoon Wampum belt. The origins of the belt represent an agreement between Haudenosaunee and other nations over the mutual use and respect of shared hunting lands.
The centre purple form represents a dish of beaver, considered a delicacy and representing the bounty of the Earth, shared by all nations from one dish, with one spoon. We share the resources of the Earth, and as such, we are the stewards and caretakers, responsible for the protection and sustainability for our future generations, as those before us did. This wampum is of particular importance, as we notice more and more references to it in various land acknowledgements and visual representations of Haudenosaunee culture.
The piece is created with wood reclaimed from the artist’s home, built in 1869, 7 years prior to the creation of the federal Indian Act legislation. Bound together with deer hide, each of the 1197 beads has been individually treated and collaged with ephemera ranging from WWII-era newspapers, sewing patterns, maps, textiles, texts and illustrations from vintage children’s books, and collected pieces of personal significance to the artist.
Many of the snippets of paper ephemera make connections to the land, like the maps of traditional areas of the Haudenosaunee. Sewing patterns and images of x-rays speak to the intertwined relationship between body and land - particularly, the female body, of critical importance in Haudenosaunee cosmology.
Settler relationships also center prominently in the paper snippets, with stereotypes of North American Indigenous cultures in children’s stories and news reports, and recountings of events from old history books. Reclaimed and repurposed materials also speak to the relationship and responsibility we have with/to the land.
The secondary title is derived from a child’s creative writing about her senses - “My eyes can see home.” This is a particularly resonant phrase, underlining the importance of our connections to our land and our relations, and the crucial role we must take in supporting and bringing our teachings forward to future generations.”
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This work shows different nations gathered on Turtle Island around the Haudenosaunee Confederacy's symbol, the “Great White Pine,” also known as the “Tree of Peace.”
Janice Brant is a Kanyenke’ha’ka (Mohawk) artist from Tyendinaga Mohawk Territory. She was born and raised in the community. Janice enjoys learning and sharing her Mohawk language, culture, and history.
Janice works with natural materials such as Walnut Ink and Birch Bark, corn husk, clay, vine, stone, feather, and shell. She also paints using acrylic, oil, and water paint on paper, canvas, leather, and wood. She does needle-felting with wool, wire sculpting, and paper-making from cattails, hemp, mulberry, and other plant materials from her garden and natural surroundings.
Her art and writing are inspired by the natural world and teachings of the Rotinonhson:ni/Six Nations Confederacy. Janice has been creating and expressing herself through art and writing since childhood. Janice has a number of paintings in both private and public collections nationally.
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Using the lens as a storytelling medium, Greetings captures the moments of an energy exchange between two realms. A young girl faces the rising Eastern Sun, her hand placed on the bark of a large White Pine. On her back, she carries a black ash pack basket.
The rising Eastern Sun, the breaking of a new day depicts a vision of new beginnings, such as that our children hold for us. The gentle hand placement on the White Pine shows the deep reciprocal love for all living things, but also tells the story of unity and guidance under the Tree of Peace.
There is a sense of belonging and trust between the Sun, the Pine and the Child in an exchange of great love.
It is here that the connection is created, the bridge between the past and present. The importance of facing forward while leaning into our ways, into that deep love. It’s in this connection to culture and creation we know that there will always be A Path Forward.”
Alyssa Bardy is a self-taught natural light photographer and a visual storyteller, a mother and a wife.
Her photography tells the stories of motherhood, Indigenous reconnection, nationhood, and interconnectedness with Land, with a special passion for birds.
Alyssa uses the lens as a tool for herself, her children, and future generations to learn and share the brilliance and beauty of both culture and creation.
Alyssa is Upper Cayuga of Six Nations of the Grand River and is a member of Mohawks of the Bay of Quinte, where she and her family reside.
Examples of her work can be found in publications for Canadian Geographic and the McMichael Canadian Art Collection. She has collaborated with artists such as Morningstar Designs and Chief Lady Bird and has provided imagery for the written words of Christi Belcourt, Waubgeshig Rice, Amy Shawanda and Christine Lukasavitch MacRae, among others through the Centre for Humans and Nature.
Most recent exhibitions include her piece, People of the Longhouse in the Woodland Cultural Centre 2023 Indigenous Art show, and Nyá:wen Wháta, on public display in downtown Kingston, in 2023 as part of the Waawaateg exhibit.
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“Creation Story is 360 degrees so that each person viewing it can walk around the pole and become part of the story.
Each time I tell the story, I begin to break down in tears as I voice the sacrifice of the muskrat. When I am finished telling the story of his sacrifice, I always tell people....
"Sometimes the biggest impact comes from this with the smallest voice! No one is too small, no contribution is too small, your voice may be the platform for incredible change.”
Angela Wiggins is a self-taught Anishinaabe artist living in the Quinte area.
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“Creation Story is 360 degrees so that each person viewing it can walk around the pole and become part of the story. Each time I tell the story, I begin to break down in tears as I voice the sacrifice of the muskrat. When I am finished telling the story of his sacrifice, I always tell people.... Sometimes the biggest impact comes from this with the smallest voice! No one is too small, no contribution is too small, your voice may be the platform for incredible change.”
Angela Wiggins is a self-taught Anishinaabe artist living in the Quinte area.
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“Creation Story is 360 degrees so that each person viewing it can walk around the pole and become part of the story. Each time I tell the story, I begin to break down in tears as I voice the sacrifice of the muskrat. When I am finished telling the story of his sacrifice, I always tell people.... Sometimes the biggest impact comes from this with the smallest voice! No one is too small, no contribution is too small, your voice may be the platform for incredible change.”
Angela Wiggins is a self-taught Anishinaabe artist living in the Quinte area.
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Archaeological digs, amateur and professional alike, have uncovered a multitude of Indigenous materials locally--particularly in North & South Marysburgh. On display are Haudenosaunee pottery fragments, awls, scrapers, a decorative bird amulet, bead-necklaces and projectile points spanning from the Archaic to the Woodland periods.
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Faith Wilson is Mohawk from Six Nations. She has been painting and drawing from a young age.
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Faith Wilson is Mohawk from Six Nations. She has been painting and drawing from a young age.
### Title window_5C0CC619_45C2_9B78_41B4_FED6D507020C.title = A MOMENT OF REFLECTION window_044CC060_2012_282B_41B1_954246829063.title = A Moment of Reflection window_11F0422F_2036_6835_41AE_5D02022A8AE2.title = Archaeological Finds from the County window_1139E0B6_203E_2817_41C1_295043FC0B3D.title = Archaeological Finds from the County window_14918D7B_201E_F81D_41B6_3416E038D898.title = Beaded Hummingbird Mask window_E2429172_FCD2_C1CD_41DB_99C3E0DCEAC8.title = Broken Spirits, Taken Back window_74FD6980_4641_6948_41C8_83899CA7FAA8.title = Broken Spirits, Taken Back window_178773EF_200E_6835_41BC_C745840FCEB5.title = Canning Labels window_0A401061_200E_282D_4171_F993B2FB14F1.title = Clans; Wolf, Bear, Turtle window_6ACE6688_4642_BB58_41CE_7A11907A219E.title = Creation Story window_0A1E56EC_20FE_683B_41AD_8D601A4474B8.title = Creation Story window_6A049011_4641_B748_41B3_846CC63A3BA3.title = Creation Story window_06271E97_200E_1815_418E_ADB69BA23F5D.title = Dish With One Spoon (My Eyes Can See Home) window_6B32613C_4641_99B8_41CD_8F73B5968D60.title = Dish With One Spoon (My Eyes Can See Home) window_13D658DE_2012_1817_41AA_306FD5985B73.title = First Translation of Gospel into Mohawk, 1804 window_02D6A5D4_1FF2_E86B_419B_E5D28AD5DEC2.title = Former St. Mary Magdalene Anglican Church window_060C33BC_2072_681B_41B3_A4EF8DB8CE8D.title = Grandmother and Granddaughter Ribbon Set window_76EA8C2C_4642_AF58_41BF_3A491D758159.title = Grandmother and Granddaughter Ribbon Set window_0B877EEA_200E_383F_41B7_A20276D86BEF.title = Greetings window_1C003EE4_2012_182B_41BE_74E0D8610B58.title = Grinding Stone (Mortar and Pestle) window_E13FDB1F_FC5D_4173_41DF_6EDD581E8F53.title = Honoring Our Sisters window_113A4744_203E_286B_41C4_784ED9B4B42D.title = I Lost My Talk (In Honor of Rita Joe) window_1E05F095_2012_2815_41BA_B49EAFD3F641.title = Items Belonging to Leslie Cecil Brant window_0FEB69C1_2012_386D_41BD_3BA71EFC5782.title = Knowledge and Respect window_73AAB552_4641_99C8_41C0_2A95E1D95A29.title = Konwatsi’tsya’yon:ni: Molly of the Mohawks window_142B0450_2016_286B_41B6_38D257CE8D36.title = Konwatsi’tsya’yon:ni: Molly of the Mohawks window_0A372BFE_20F2_1817_413B_66D9CABCDDE0.title = Kén:tho í:ke's (I Am Here) window_11660513_200E_29ED_419C_3ED4AE37941E.title = Kén:tho í:ke's (I Am Here) window_F8F9817B_E72D_29B5_41D2_ACECC5906683.title = Land and Water window_F83ED140_E6FD_29D3_41D5_5A078566146A.title = Land and Water window_06B6DED0_2072_386B_41A1_37D18967D64D.title = Lightning Spark Books window_14AF8AC3_200E_186D_41C2_41CBE426103A.title = Log Pestle and Mortar window_15465518_21F2_E81B_4186_D69077E0F6AB.title = Modern Interpretation of Haudenosaunee Regalia (c. 1830) window_0A9AE804_2032_27EB_41C1_B259FA01DC72.title = Moving Forward window_1CBD2E60_2012_182B_41B4_D668CE3EA181.title = Museum Artifacts window_16645E4D_2012_3875_4196_D3E07C10ACA9.title = Never Forgotten window_1362B5FA_203E_281F_41B2_B7751276AC7F.title = Outfit Belonging to Austin Fuller window_E216572C_FC55_4155_41DF_EC699041B321.title = Re-united window_10A1698A_2032_38FF_41C1_62DE302584A2.title = Regalia of Kanatawakhon (David) Maracle window_120F2F72_2012_782F_41B6_2FF819B7E15E.title = Regalia of Lyle Leween window_E2F27F88_FCB6_C15D_41EC_26E7C3DA53F2.title = Regalia of Sampson Green (Annosothkah) window_E119E060_FC6E_DFCD_41EF_32FAB29D02BB.title = Sacred Waters window_1EC4CCB7_201D_F815_41C0_BFAFCCE1D018.title = Spiritual Healing window_09986090_2FD5_BA67_416B_FDD0F1571B98.title = Study for “Holding Court” by Ruth Abernethy window_E397A760_FCD3_C1CD_41E5_1F87C8800014.title = The Struggle Now Has A Name window_150E44E1_21F2_282D_41BF_7BFAB0AFCD5D.title = Three Clans: Turtle, Wolf and Bear window_C608CAC1_E733_18D5_4181_6FD211D83BE7.title = Unmarked window_157B08CA_200E_187F_41B4_CA29CBC42FC0.title = White Roots of Peace window_1721FC1B_2032_181D_41C0_8E6193E5CA63.title = Yeti'nihsténha Ohwénhtsya window_BD84863E_971D_9567_41C7_6CC9DBE3C6E5.title = “A New Map of the British Empire in North America” 1776 window_1C344142_2016_686F_417A_70A258CE6903.title = “A New Map of the British Empire in North America” 1776 ## Tour ### Description ### Title tour.name = Picton Museum