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"Moving the museum : indigenous & Canadian Art at the AGO documents the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation to nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history. Lavishly illustrated with more than 100 reproductions, Indigenous & Canadian Art at the AGO features the work of First Nations artists--including Carl Beam, Rebecca Belmore, and Kent Monkman--along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic representation of Indigenous and Canadian art in museums. Contains a list of works at the back."--

Alfred the Great's domboc ('book of laws') is the longest and most ambitious legal text of the Anglo-Saxon period. Alfred places his own laws, dealing with everything from sanctuary to feuding to the theft of bees, between a lengthy translation of legal passages from the Bible and the legislation of the West-Saxon King Ine (r. 688-726), which rival his own in length and scope. This book is the first critical edition of the domboc published in over a century, as well as a new translation. Five introductory chapters offer fresh insights into the laws of Alfred and Ine, considering their backgrounds, their relationship to early medieval legal culture, their manuscript evidence and their reception in later centuries. Rather than a haphazard accumulation of ordinances, the domboc is shown to issue from deep reflection on the nature of law itself, whose effects would permanently alter the development of early English legislation

This film documents the violence and terror in Punjab, India--a land torn apart by religious fundamentalists and a repressive government. After examining the political turmoil of the late 1970's and the rise of Sikh fundamentalism, the film focuses on the legacy of Bhagat Singh, a young socialist executed by the British in 1931 at the age of 23. Singh has since become a legend. Today the State eulogizes him as a nationalist while Sikh separatists portray him as a Sikh militant. In fact, Singh was neither. Just prior to his death he wrote a book which he entitled "Why I Am An Atheist." In strife-torn Punjab a band of brave Sikhs and Hindus carry Bhagat Singh's secular legacy from village to village. In the religiously charged countryside ideas of internationalism and secularism now carry a price

"Members of Eli Baxter's generation are the last of the hunting and gathering societies living on Turtle Island. They are also among the last fluent speakers of the Anishinaabay language known as Anishinaabaymowin. Aki-wayn-zih is a story about the land and its spiritual relationship with the Anishinaabayg, from the beginning of their life on Miss-koh-tay-sih Minis (Turtle Island) to the present day. Baxter writes about Anishinaabay life before European contact, his childhood memories of trapping, hunting, and fishing with his family on traditional lands in Treaty 9 territory, and his personal experience surviving the residential school system. Examining how Anishinaabay Kih-kayn-daa-soh-win (knowledge) is an elemental concept embedded in the Anishinaabay language, Aki-wayn-zih explores history, science, math, education, philosophy, law, and spiritual teachings, outlining the cultural significance of language to Anishinaabay identity. Recounting traditional Ojibway legends in their original language, fables in which moral virtues double as survival techniques, and detailed guidelines for expertly trapping or ensnaring animals, Baxter reveals how the residential school system shaped him as an individual, transformed his family, and forever disrupted his reserve community and those like it. Through spiritual teachings, historical accounts, and autobiographical anecdotes, Aki-wayn-zih offers a new form of storytelling from the Anishinaabay point of view."--