The Fourth North American Conference on the Family & Corrections
“Exploring the Family Side of Justice”
Quebec City, Quebec, Canada, October 10-12, 1993
LES ACTES DE LA QUATRIEME CONFERENCE NORD-AMERICAINE SUR LA FAMILLE ET LE SYSTEME CORRECTIONNEL
“Un regard sur l’aspect familial de la justice”
Du 10 au 12 octobre 1993, Quebec (Quebec), Canada
ACKNOWLEDGEMENTS
The Canadian Families and Corrections Network, and Family Corrections Network wishes to thank the following for their support and contribution to “Exploring the Family Side of Justice”:
MINISTRY OF THE SOLICITOR GENERAL OF CANADA
- Corrections Branch, Research & Strategic Policy
- Correctional Service of Canada, Family Violence Initiative and CORCAN
LE MINISTERE DE LA SECURITE PUBLIQUE DU QUEBEC
- Office of the Minister
- Quebec Detention centre (Printing)
DEPARTMENT OF CANADIAN HERITAGE
- Promotion of Official Languages
REMERCIEMENTS
Le Regroupment canadien pour le bien-etre des familles des prisonnier(eres) et le Family and Corrections network desirent remercier les organisations suivantes poru leur soutien et leur contribution a laconference “Un regard sur l’aspect familial de la justice”:
LE MINISTERE DU SOLLICITEUR GENERAL DU CANADA
- Direction des affaires correctionelles, Recherche et politiques strategiques
- Service correctionel du Canada et CORCAN (pour i’impression)
LE MINISTERE DE LA SECURITIE PUBLIQUE DU QUEBEC
- Cabinet du Ministere
- Centre de detention de Quebec (l’imprimerie)
LE MINISTERE DU PRATRIMOINE CANADIEN
- Promotion des language officelles
About the Artist
The Hunter is half Ojibwa, half Dakota Sioux born in Calgary, Alberta. His mother is from Fort Francis, Ontario. His Dakota Sioux father from Turtle Mountain, North Dakota.
The name “The Hunter” is a translation of his spirit name “Wabishka Myeengun” meaning white wolf … leader, protector, and provider for his people. Thus, more colourfully deemed: The Hunter, the artist, is of the wolf clan.
The Hunter began drawing at an early age, taking a very active interest in early school year art classes. Later he attended the Nova Scotia College of Art and Design in Halifax to fine tune his self-taught skills. His stay at the college concluded with his first major commission from Dalhousie Law School and his painting Dreamer’s Reach: Serving to support and attract the community’s Mic-Mac and indigenous black students to Dalhousie Law School. It also placed The Hunter on the road to a very active career.
The Hunter’s inspirations are drawn from his own experiences, many marred from an abusive upbringing by an alcoholic father; his own struggles with alcohol and drugs. His paintings reflect his pain, his love for both life and his culture; from the innermost part of his heart.
The Hunter’s art addresses those issues which nearly destroyed him. In so doing and listening to the teachings of his elders he has found healing for his life and a way to help his people; teaching others about the mystical wonders and timeless beauties of his native heritage. Painting under his spirit name is The Hunter’s way of thanking the great spirit, allowing him to share something warm and positive; the realities of being Annishinabae.
Au suijet de l’artiste
The Hunter est ne a Calgary, Alberta. Sa mere, une Ojibway, vient de Fort Francis, Ontario et son pere, un Sioux Dakota, vient Turtle Mountain, Dakota Nord.
Le nom “the Hunter” est une traduction de son nom spirituel “Wabishka Myeegun”, ce qui signife loup blanc…chef, protecteur et pourvoyeur de son peuple. On peut donc dire, avec une certaine note de coleur, que The Hunter, l’artiste, vient du clan du loup.
The Hunter a commence a dessiner a un age tre tendre, s’interessant activement aux cours d’arts plastiques a l’ecole. Par la suite, il a fait des etudes au Nova Scotia College of Art and Design, a Halifax, pour perfectionner ses connaisances autodidactes. Son sejour au college s’est termine par une premiere commande d’importance de l’Ecole de droit de l’Universite Dalhousie. Son tableau, Dreamer’s Reach, a aide a soutenir et a attirer les Mic-Mac et les autochtones de race noire a l’Ecole de droit de cette universite. Le tableau a egalement servi comme point de depart d’une carriere tres active pour The Hunter.
The Hunter s’inspire de ses propres experinces, dont une enfance aux mains d’un pere alcoolique et son combat personnel avec l’alcool et la droque. Ses tableaux refletent sa douleur, son amour pour la vie et sa culture et combien cela vient du fonds de son coeur.
L’art de The Hunter aborde les questions qui l’ont presque detruit. Ce faisant, et en ecoutant les enseignements de ses aines, il a trouve une facon de cicatriser ses blessures et d’aider son peuple: par l’enseignement aux autres des merveilles mystiques et de la beaute imperissable de son heritage autochone. En signant ses tableaux se son nom spirituel, The Hunter remercie a sa facon le Grand Manitou qui lui permet de partager quelque chose de chaleureux et de positif; les realites d’etre un Annishinabae.
TABLE OF CONTENTS
The workshop presentations are recorded here in the order in which they were given at the conference, except those for which no text is available. These are included for your information at the end.
Regarding the language: In the following pages, the masculine is used for purely practical reasons. In every case where this applies, one must hear both the masculin and the feminine. It would be unthinkable in such a conference that wants to emphasize so strongly the human character of institutions, to not recognize the equality of the persons who work therein.
TABLE DES MATIERES
Les conferences sont presentees ici dans l’ordre de presentation lors de la conference, sauf celles pour lesquelles il n’y a pas de texte de disponible. Celles-ci sont incluses a la fin comme renseignements.
Par rapport au language:
Dans les pages qui suivent, le masculin s’emploie pour des raisons pratiques seulement. Dans tous les cas ou cela s’applique, il faut comprendre et le masculin et le feminin. Dans un congres qui veut faire ressortir le charactere humain des institutions, il serait impensable de ne pas reconnaitre l’egalite des personnes qui y oeuvrent.