Dane-zaa
Moose Hunt: Hadaa ka naadzet. An online exhibition project of the Doig
River First Nation with support from Canada’s Digital Collections
Program (Industry Canada).
Reviewed by Patrick Moore
Over
the last decade, the Doig River First Nation has sought to increase
their capacity to represent their contemporary and historical cultural
practices through the use of digital media and web-based exhibits. In
this endeavor, the community has drawn on academic and professional
resources, including the extensive documentation of Dane-zaa (Beaver)
culture by anthropologist Robin Ridington dating back to the 1960s. In
2003, the Ridington family and the Doig River First Nation produced a
digital archive containing over 1500 images, 600 hours of audio
recordings, 60 hours of digital video recordings, as well as textual
materials documenting Dane-zaa culture over a forty-year period. The
Dane-zaa Moose Hunt exhibit is one product of the research being
sponsored by the First Nation and is a precursor to a more ambitious
exhibit on Dane-zaa stories and songs that the community is developing
for the Virtual Museum of Canada. The exhibit was created by a team of
young community members working in collaboration with Dane-zaa elders
as well as folklorist Amber Ridington, anthropologist and videographer
Kate Hennessy, and website design instructor Dan Arbeau.
The
exhibit does not attempt to provide encyclopedic coverage of Dane-zaa
practices and beliefs associated with the moose, but rather to provide
a synoptic overview of selected topics relating to this theme. The site
is organized according to five sub-themes relating to Dane-zaa culture
and the moose hunt: Dane-zaa elders, hunting, meat processing, hide
preparation, and Dreamers. Visitors to the exhibit are able to select
the section that they are interested in and then choose textual
materials, audio recordings or videos from each section. The sections
on hunting, meat processing and hide processing include short videos of
local elder Jack Askoty shooting and butchering a moose and of elders
Margaret Attachie and Rosie Field preparing a moose hide. In the
section on Dreamers, project members used Robin Ridington’s archival
photos and audio recordings to inform exhibit visitors about the
spiritual beliefs of Dane-zaa. In the past, Dane-zaa hunters were often
directed to kill moose at locations identified by nááchę
(‘dreamers’), spiritual leaders who are often called “prophets” in
English, and the exhibit includes songs and oratory by the late
nááchę Charlie Yahey that were recorded by Robin Ridington. The
on-line resources are a valuable supplement to the published works on
the Dane-zaa dreamers.
The
exhibit will engage members of the general public who seek more
information about contemporary First Nations cultures and indigenous
use of resources and would be appropriate for use in university classes
that study issues concerning the representation of indigenous cultures.
Importantly, the exhibit reflects Dane-zaa approaches to education and
cultural documentation. The videos of moose butchering and hide tanning
include minimal narration, taking a learning-through-observation
approach. Seeing a hunter sever the head of a moose might be
disconcerting for some visitors to the exhibit, but such activities are
an ordinary part of life for the Dane-zaa, for whom the respectful use
of the animal is an essential responsibility.
The
project reflects the priorities of the Doig River First Nation,
including their desire to assert their cultural practices and rights in
response to extensive oil and gas development in the region and their
desire to provide opportunities for younger community members to learn
from community elders while conducting cultural projects. The exhibit
is a vivid reminder of the importance of moose as a lynchpin for
Dane-zaa cultural practices, one that needs to be protected from
environmental degradation. The respect of the young project members for
the elders they worked with is evident throughout the exhibit and each
of them contributed a moving profile of a community elder who had
inspired them to the section on Elders. Much of the exhibit text is
written in the first person plural, reflecting a community perspective,
and is integrated with the more personal first person singular voices
of youth and elders who worked on the project. The text retains the
voice of the trainees even as they appropriate academic terms to make
them their own, as when one young woman quotes her grandmother telling
her, “Always keep in mind that you are a North American Indian, and be
proud of it; Help each other and work as a team.”
Some
features of the exhibit could be upgraded without altering the
community orientation of the project. The community chose to have the
community youth carry out most of the work necessary to develop the
site rather than hiring outside web-developers even though this meant
sacrificing some technical standards. The website is often off-line
because of on-going problems with the server. The spellings of several
Dane-zaa words are inaccurate, and making these spellings more
consistent would be helpful for language learners from the community.
Some visitors might also appreciate photo identifications and credits
in sections such as “Making Dry Meat.” While these details could be
improved in future productions, the exhibit represents a major
accomplishment for the community and the exhibit team. The “Dane-zaa
Moose Hunt” exemplifies the ways First Nations are using digital
exhibits for self-representation and cultural revitalization and makes
a valuable contribution to our understanding of contemporary indigenous
cultural practices.
Patrick
Moore is an assistant professor of anthropology at the University of
British Columbia. He has worked extensively with Northern Athabaskan
groups in British Columbia, Alberta and the Yukon on language and
culture projects. He is the author of numerous works, including (with
Angela Wheelock) Wolverine Myths and Visions: Dene Traditions form Northern Alberta (University of Nebraska Press, 1990).