This secondary data analysis used a cross-sectional survey of 1771 Yukon First Nations, Dene/Metis, and Inuit women. The aims were to evaluate access to traditional food (TF) and market food (MF), identify perceived advantages of TF and MF, and explore under-studied characteristics of FS in Arctic Canada. Results indicate considerable regional variation in ability to afford adequate food, varying between 26 and 58%. Similarly, regional variation was reflected in the percentage of women who had access to hunting or fishing equipment. Participants described culturally relevant FS indicators: food needed to be natural, fresh, tasty, varied, healthy, safe, accessible, and convenient. Between 10 and 38% of participants noticed recent changes in the quality or health of TFs. Caribou, moose, and seal were popular TFs and considered particularly healthy. This study emphasizes the importance of TF for Arctic indigenous women's FS and the dynamic nature of FS in this population.

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The purpose of this work is to center dance at the heart of Métis identity expressions, where reconnecting with who we are through dance is intimately grounded within an Indigenous understanding of restoring wellbeing. Exploring the experiences of four prominent Métis women allowed a space to celebrate the voice of dancers as they make sense of what it means to practice Métis dance within their lives. This research further focuses on the experiences of Métis dance as an understanding of Indigenous wellbeing. The lived experiences were collected and reviewed within an Indigenous research framework grounded in the Cree and Métis values of Mino-pimatisiwin (good life) and Wahkotowin (kinship) (Hart, 1999; Kelsey, 2008). Both concepts deeply inform the processes related to our reciprocal relationship to all things, living and non-living and further place emphasis on our shared responsibility to honour, respect and acknowledge Indigenous knowledge and its value to our communities. There were three findings that emerged from this study: Understanding Métis dance (1) as a restorative and relational praxis of self-knowing; 2) as intergenerational knowledge transfer; 3) as a site for growing cultural awareness and self esteem. The voices of the women celebrate Métis peoplehood through the restorative practice of dance and in doing so allow us to un-settle and re-center the notion of Métis identity and dispel the question of “authenticity” (Lawrence, 2003). These are our own personal stories to tell, and only we can rewrite them in a way that is beneficial and meaningful to us.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.

The following study compares and contrasts the ways three women writers craft narrative selves in their autobiographical texts. Each of the women, the Metis author Maria Campbell, the Chinese-American writer Maxine Hong Kingston, and the Irish lyric poet Eavan Boland, calls on oral techniques to write her autobiography. The study examines how each of the women draws on the oral traditions of her mother-culture, subsequently using characters from culturally distinct mythologies to express her own growth as writer. The methodologies that inform this study are a combination of postcolonial theories about identity and language, and closely related feminist theories about power relations between women and colonialism and women and patriarchal power. Structuralist and feminist theories about mythologies, as well as analysis of the psychodynamics of orality have also influenced the analysis undertaken in this thesis.<p> The research conducted provides evidence that each woman writes a narrative self structured on the framework of the heroic, but infused with culturespecific heroic characters and characteristics from the mother-culture's oral traditions. Maria Campbell's Half-Breed shows distinctly oral influences both in its narrative structure and in its characters. For example, by comparing Maria's character to Wesakaychak's character from Nehiyawak Trickster cycles and other Native North American Trickster cycles, the study shows how Campbell's character resembles the character from oral tales. The Trickster, and consequently, Maria, destabilizes boundaries and unsettles domains of knowledge, therefore, questioning colonial and patriarchal discourses and imagery. In Woman Warrior, Maxine Hong Kingston likewise battles limiting stereotypes held by both her Chinese-American community and the mainstream community she inhabits. The character Maxine imagines herself as both woman warrior and a warrior poet, characters she hears about from her mother, and in the process of chronicling her own training as a woman warrior, she also chronicles her training as a word warrior. Eavan Boland, in Object Lessons unsettles the conventions surrounding the hero-bard whose shadow falls over Irish lyric poetry. While she is marginalized in different ways than either Campbell or Kingston, she shares their desire to show women as active agents in their own lives. These writers show that foremothers exist in other storytelling traditions, even if the textual record does not reflect the influence that female storytellers have had on it. As the women (re)construct themselves in their autobiographies, they work within and against conventional Western heroics, building characters who enrich and redefine what it means to be heroic.