This paper reports on a Talking Circle of six beginning Aboriginal teachers who discussed their roles as teachers. Participants criticized teacher education programs for not preparing them to teach in ways that are respectful of Aboriginal languages and culture. They discussed the importance of coming to know themselves and their culture. The paper concludes with suggestions for decolonizing teacher preparation so that Aboriginal teachers are enabled as protectors of Aboriginal culture and brokers with Euro-Canadian culture. Cet article fait le compte-rendu des révélations faites par six nouveaux enseignants d’origine autochtone au cours d’un cercle de discussion sur leur rôle d’enseignant. Les participants ont reproché aux programmes de formation des maîtres de ne pas les préparer à enseigner de manière respectueuse du langage et de la culture autochtones. Par ailleurs, ils ont souligné l’importance d’apprendre à se connaître et à explorer leur culture. En conclusion, les auteurs suggèrent des approches pour décoloniser la préparation des enseignants d’origine autochtone afin de leur permettre d’agir comme protecteurs de la culture autochtone et agents d’échange culturel avec la culture euro-canadienne

Indigenous representation in various genres has always been questionable in regards to who has a voice, and content that is culturally sensitive and appropriate. This paper critically examines the controversial theatrical play Pig Girl (Murphy, 2013) through the lens of Robin Bernstein’s (2011) “scriptive things” theory. Although Pig Girl sought to give voice to Canada’s missing and murdered Indigenous women, it instead was sharply criticized by Indigenous community members. This paper explores historical ideologies corresponding to the dehumanization of and violence perpetrated against Indigenous women based on the imagery provided by those who created and promoted the Pig Girl stage play. The paper discusses how such imagery can re-inscribe prior beliefs and be interpreted with “things” depicted within the playʼs narrative. The paper also addresses the function of interpellation and imagery, aesthetic intervention, and resulting associations

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