1. The grunt gallery has a long-standing commitment to supporting Aboriginal performance art in Vancouver. For an extensive discussion of the Aboriginal performance art performed at the grunt gallery over the last fifteen years go to the First Nations Performance Art link on their website at www.grunt.bc.ca Still images from the Ablakela performance can also be viewed there. Ablakela was also made into a CD-ROM with video clips from the performance as well as audio tracks of the peyote songs and additional essays by curator Glen Alteen and anthropologist Bea Medicine. This CD-ROM is available for purchase through the grunt gallery also through the website www.grunt.bc.ca
  2. Some of Claxton's videos include I Want To Know Why (1994), an experimental video that explores her great-grandmother's journey into Canada; The People Dance (2001), examining the importance of dance within Lakota cultural life; The Red Paper (1996), a critique of Canadian colonization and relationships with Aboriginal peoples; Tree of Consumption (1994), a look at the environmental impacts of consumerism; Buffalo Bone China (1997), an interrogation of the colonial practice of hunting buffalo, sacred to the Lakota way of life, to make bone china; and The Hill (2004), an exploration of the tricky entanglements between Aboriginal people and the Canadian government.
  3. I would like to extend my warmest thanks to Dana Claxton for taking the time to talk with me about her art/media practice during an interview for my dissertation research. I have learned a tremendous amount about Aboriginal art history, especially Aboriginal media arts and Aboriginal performance art, through my conversations with Dana Claxton. I would also like to thank Raquel Chapa and Jolene Rickard for extending me the invitation to write about this topic for the e-journal. I want to acknowledge the Indigenous Cosmologies Working Group at the Center for Religion and Media at New York University who gave important feedback after hearing an early version of this article. I would also like to thank my advisors Faye Ginsburg, Fred Myers, Jeff Himpele and Karen Blu for their insightful advice and suggestions about my research. My research was funded by the Fulbright Foundation, the Canadian Embassy's Graduate Student Fellowship Grant, and the P.E.O. Scholar Award. I am tremendously grateful to these funding agencies for providing me the opportunity to conduct my dissertation research with Aboriginal filmmakers and artists in Vancouver, B.C. I am forever indebted to those filmmakers and artists who so generously shared their time, work, and stories with me. Although there isn't enough room here to name everyone individually, I extend my deepest gratitude to you all.