Queen Victoria in contact zone dialogues in western Canada
Quoted in Celia Haig-Brown, ‘Seeking
honest justice in a land of strangers: Nahnebahwequa’s
struggle for land’, Journal of Canadian Studies ,
36:4 (Winter 2002), 147. See also Donald B. Smith,
Mississauga Portraits: Ojibwe Voices from
Nineteenth-Century Canada (Toronto: University of
Toronto Press, 2013
Griffiths ( 2002 ), 236–7, 276–8. Colin Browne reports that a pre-existing Hiawatha pageant first filmed in Ontario in 1903 involving an Ojibwe cast, was then filmed on two further occasions with a Mohawk cast, in 1908 in Quebec and again, in Montreal, in 1911. Remarkably, this last version is reported to have been in colour (Browne 2014 ), 175–6.
Jordan ( 1992 ), 154–7, 176
Maria Holmgren Troy, Elizabeth Kella, and Helena Wahlström
learns about this history, she reflects: ‘We were shaped out of this land
by the hands of gods. Or maybe it was that we embodied the land.
And in some way I could not yet comprehend, it also embodied my
mother, both of them stripped and torn’ (ibid.: 228). Through Loretta
and particularly through Hannah, Hogan compares the abuse of
Native women to the exploitation of the land.
Ultimately, Hannah is represented as possessed – another form of
captivity. Suffering from loss of soul, Hannah is a windigo figure, a
demon-like figure from Cree and Ojibwe mythology which is