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Plastic dolls circa 1950s


Phyllis Olney


These two dolls were given [back] to me when I was ten years old. It was the first time I had returned to Alert Bay BC, the place of my birth in 1959. My mother told me that they had been mine. They would have been given to me before I was two years old. That was when my mother left my father and sailed out of Alert Bay, taking me and an older brother and leaving another son standing on the wharf with my dad. This wasn't the first time she had sailed off, leaving children standing on the wharf. From what I have been told, my mother was sent to St. Michael's Residential School, from Bella Bella to Alert Bay, BC when she was young. She claims that the experience was okay because her biological father now lived in Alert Bay, with his new family. When she moved back to Bella Bella, she said that she was married off to a much older man when she was sixteen. Together they had four children, three boys and a girl. She left them when they were all quite young, leaving on a Mission boat. I have kept the dolls all these years. I have always felt that they were cold, hard and very impersonal. Not the kind of dolls that a little girl would want to have with her to cuddle and be comforted by. Which about sums up my relationship with my mother...
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Small statue of the Blessed Virgin Mary


Mary Ann Linda Young



This statue came from St. Anthony's Indian Residential School in OniCon Lake, SK. St. Anthony's Indian Residential School opened June 30th 1888- and closed July 15, 1974. I am a 4th generation residential school student of St. Anthony's from 1956-1966. Upon the dismantling of the St. Anthony's Indian Residential School in July 1974 many items including statues from the school were taken to a dump site. Many former Residential School students - including my family members - retrieved items from the dump, this statue was salvaged and repaired with a dark glue. It was housed in my youngest sister's home and I have been the keeper of it since 1992. In that same year I included it in a University of Saskatchewan Indigenous artists exhibition titled "500 Years and Beyond." BACKGROUND: Every year around Easter the Sisters would install a grotto (in the girls' recreation room) with a statue of Mary standing within. The installation was a reference to "Our Lady of Lourdes" and St. Bernadette's story of the Virgin Mary appearing before her in Lourdes, France. For my art piece I built a grotto structure that housed the small statue of the Virgin Mary. I wrapped the Mary in red cloth except for her heart to imply that the Mary was grieving for Indigenous people who have suffered at the hands of priests and nuns who believed they were sharing the sacred teachings of her Son. Red cloth represents healing to me and the offering of tobacco on the floor of the structure was my way of protecting the piece and my reasons for creating it. On the back wall of the structure I glued shadow cutouts of singers around a drum, an image of a pipe and grandmothers standing/sitting in support of the singers, these figures were in essence helping to heal the Mary and the effects of Residential School. I covered the doors of the structure in red cloth and glued two photos, one was an image of an Indigenous person wrapped in a blanket going into ceremony, the other was a photo of a child whose hair is disheveled and crying Above the child's photo I glued a small card with a picture of St. Bernadette holding a bouquet of roses. I painted rose petals - falling from St. Bernadette's bouquet - that turn into tears on the crying child's photo. By the way, this same picture of St. Bernadette on the little card would be given to us when we were well behaved as a reminder to pray and to receive blessings from the Saint. The completed piece was "Dedicated to the First Peoples Who Have Been Spiritual Casualties Since 1492". The translation of the Cree words written on the red ribbon installed in the structure are: tapoweyimaw sohkisowin ekwa mina nâkatohkêwin - believe, be strong and be respectful. These were words my Mom shared with me when I spoke to her about my use of the statue in my art piece. I had asked for her blessing to use it in my art work in respect of our nehiyaw (Cree) belief that everything we do as individuals has a ripple effect on our loved ones. I am contributing this statue to the Witness Blanket as a reparative gesture and prayer on behalf of my great grandparents (Harper) grandparents (Pahtayken), my father, stepfather and mother (Thunderchild/Littlewolfe), 10 siblings and their families, my 5 children and as of today 10 grandchildren. nanaskomon - I give thanks.
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Social Work course manual with a cover design by Fran Dick, a Kwak'wakawakw artist and graduate of the UVIC School of Social Work


Dr. Leslie Brown - The University of Victoria



The course manual was in my UVIC office, but the original drawing hangs in the School of Social Work, Faculty of Human and Social Development. First Peoples House was opened in January 2010 to provide a welcoming and supportive space for the community and an academic and cultural centre for Indigenous students, faculty and staff. A concept born and championed by the Faculty of Human and Social Development, it reflects a commitment to make UVIC more accessible to First Nations people. Designed by Alfred Waugh, the exterior of the House is clad in wide cedar planks, similar to those in pre-European Coast Salish longhouses. The artwork by Fran Dick is an interpretation of the UVIC logo. Fran created it for the cover of a manual I wrote in 1987 for a social work research course I was teaching. It was the first time that such a course focused on research in and with Indigenous communities and contained articles and reports authored by Indigenous scholars and researchers. I was hired by UVIC in 1987 to teach in the School of Social Work. Before developing my first course, which was on research methods, I went to community members to ask about how research should be taught. As a result this course manual addressed Indigenous peoples' experiences of research and Indigenous approaches to science, research and ways of knowing. It was part of a burgeoning effort by the School of Social Work to develop curriculum in support of Indigenous peoples and communities. Fran designed the cover art, taking the UVIC logo and giving it some Kwak'wakawakw style. The manual represents the leadership the School of Social has taken in making UVIC relevant to Indigenous peoples. The School was an early champion of the concept for First People's House, and so it seemed appropriate to offer Fran's artwork and cedar from First Peoples House to the Witness Blanket.
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Vent cover


Witness Blanket Team accompanied by Chief William Cranmer and community members



Chief William Cranmer is the Chief Councilor for the Namgis First Nation.
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Drum and drumstick


Kwikwetlem First Nation




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Brass doorknob


The Government of Nova Scotia




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