Landscapes - Winter 2015 - (Page 44)

AbORIGINAL CULTUR AL LANDSCAPES 1 ELLY bONNY KEEPING THE LAND FR_ CONSERVER LA TERRE S'imprégner d'un paysage autochtone exige que nous fassions de notre mieux pour voir la terre à travers une lentille culturelle qui diffère de la nôtre. En tant que professionnels non autochtones, les architectes paysagistes de HTFC ont passé beaucoup de temps avec les communautés autochtones à chercher des moyens de cartographier, d'illustrer et de décrire leurs points de vue sur la terre à l'intention des gouvernements, de l'industrie et des organismes de réglementation. Le travail comprend un plan de gestion pour la candidature du site Pimachiowin Aki au titre de patrimoine mondial et également l'évaluation du projet hydro-électrique de Keeyask par la Première nation de York Factory. (Ce dernier rapport, intitulé Kipekiskwaywinan, figure dans notre numéro sur les prix 2015 de l'AAPC.) Ces projets ont offert d'excellentes occasions de nous instruire à propos de deux paysages spécifiques auprès des personnes qui les habitent et des chercheurs et organismes qui soutiennent les projets. 44 LANDSCAPES PAYSAGES EN_ A MOOSE bEARD hung in a tree demonstrates respect and gratitude for the continuing gift of life. Dark rings around healthy birch trees mark places where bark has been carefully harvested to make baskets for storage, containers for birch water and horns to call moose. A collection of round rocks is the sacred nest of a Thunderbird. Each of these small tangible details offers a glimpse into the much larger intangible cultural world of an Indigenous people - a world that is at once natural, physical and spiritual. In her 1999 paper for Parks Canada, the late Susan Buggey defined an Aboriginal cultural landscape as "a place valued by an Aboriginal group (or groups) because of their long and complex relationship with the land. It expresses their unity with the natural and spiritual environment. It embodies their traditional knowledge of spirits, places, land uses, and ecology. Material remains of the association may be prominent, but will often be minimal or absent." In proposing this definition, Buggey was effectively presenting a way for western minds to think about and value the innate connections between Indigenous communities and their lands. She was looking to create a place for Indigenous worldviews within the framework of western conservation. As Canadians, we know that Indigenous peoples have long lived and relied on the land. At the same time, environmental organizations refer to Canada's wilderness, which conveys images of remote places yet un-altered by humans. How then do we move from seeing natural places as a wilderness of nature trails and canoe routes, to experiencing them as the ancient, living and still-occupied cultural places that they are? ADJUSTING OUR CULTURAL LENS As D. W. Meinig wrote in 1976, "Any landscape is composed not only of what lies before our eyes, but what lies within our heads" (Landscape Architecture magazine 66:1). The cultural lens through which we approach a landscape affects how we see, understand and

Table of Contents for the Digital Edition of Landscapes - Winter 2015

COVER | COUVERTURE
TO BEGIN WITH | POUR COMMENCER
WRITERS | NOS RÉDACTEURS
UPFRONT | PROLOGUE
MATHIAS REEVE
Celebrating the Charter | Célébrer!
INTERVIEW | ENTREVUE
!Vámonos! to Mexico City
Folk Ensemble
Cultural Dimensions of Contemporary Design
Tzintzuntzan
Keeping the Land
HTFC
Kingston: Vintage Grace Meets Modernist Style
OPINION | OPINION
NUNAVIK + LE PLAN NORD
Metamorphous: Vancouver’s Seawall Sculpture
bREAL ART + DESIGN
JEAN LANDRY, LAST WORD
LE MOT DE LA FIN | THE LAST WORD

Landscapes - Winter 2015

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