Kevin Loring’s full-length play is meant to expose the shadows below the surface of the playwright’s First Nations heritage, and to celebrate its survivors. Though torn down years ago, the memories of their residential school still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd’s alcoholism, under the pain and isolation of the play’s main character? Loring’s title was inspired by the mistranslation of the N’lakap’mux (Thompson) place name Kumsheen. For years, it was believed to mean “the place where the rivers meet”—the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: “the place inside the heart where the blood mixes.” But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers—to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet. * Won the Jessie Richardson Award for Outstanding Original Script; the Sydney J. Risk Prize for Outstanding Original Script by an Emerging Playwright; Awarded the Governor General’s Literary Award for Drama

Mary Fisher has not had an easy life. Forced into a residential institute after the death of her mother, she and her siblings suffer appalling abuse and neglect. While many around her languish, Mary grows stronger. A precocious child, Mary matures into a resilient woman with a kind heart and quick smile that endears her to everyone she meets and two men in pArcticular: Gmiwan, a sensitive artist whom she will one day marry, and Tom Dunsby, the mayor of Jackson, whose love can never be acknowledged. When Gmiwan goes off to war, Mary struggles to raise her young son alone during the Depression.

The legacy of residential schools has haunted Canadians, yet little is known about the day and public schools where most Indigenous children were sent to be educated. In What We Learned, two generations of Tsimshian students – elders born in the 1930s and 1940s and middle-aged adults born in the 1950s and 1960s – add their recollections of attending day schools in northwestern British Columbia to contemporary discussions of Indigenous schooling in Canada. Their stories also invite readers to consider traditional Indigenous views of education that conceive of learning as a lifelong experience that takes place across multiple contexts.

In this feature film, the profound impact of the Canadian government’s residential school system is conveyed through the eyes of two children who were forced to face hardships beyond their years. As young children, Lyna and Glen were taken from their homes and placed in church-run boarding schools, where they suffered years of physical, sexual and emotional abuse, the effects of which persist in their adult lives. We Were Children gives voice to a national tragedy and demonstrates the incredible resilience of the human spirit.

"Wawahte is one of the few books that I would strongly recommend to anyone who needs to understand Aboriginal issues in Canada. This book should be part of our school curricula."- Dave Loftus
"By shining the light on a dark part of our past we have a chance to create a bright new day for aboriginals and all Canadians. We will all know what happened and then come to realize that what happens now and our vision for a future together is what really counts. Together we will stand for what is right and the intention of Indian residential schools and colonization will not happen again!” - Chief Bert Joseph, Executive Director”

Set in a small northern town, under the mythical shadow of the Sleeping Giant, Wake the Stone Man follows the complicated friendship of two girls coming of age in the 1960s. Molly meets Nakina, who is Ojibwe and a survivor of the residential school system, in high school, and they form a strong friendship. As the bond between them grows, Molly, who is not native, finds herself a silent witness to the racism and abuse her friend must face each day. In this time of political awakening, Molly turns to her camera to try to make sense of the intolerance she sees in the world around her. Her photos become a way to freeze time and observe the complex human politics of her hometown. Her search for understanding uncovers some hard truths about Nakina’s past and leaves Molly with a growing sense of guilt over her own silence. When personal tragedy tears them apart, Molly must travel a long hard road in search of forgiveness and friendship.

An unsettling study of two tragic events at a residential school in British Columbia which serve as a microcosm of the profound impact the residential school system had on Indigenous communities in Canada throughout this century. The book's focal points are the death of a runaway boy and the suicide of another while they were students at the Williams Lake Indian Residential School during the early part of this century. Embedded in these stories is the complex past relationship between the Department of Indian Affairs, the Oblates, and Indigenous communities that in turn has influenced relations between government, church, and Indigenous peoples today.

Paulette Regan, a former residential-schools-claims manager, argues that in order to truly participate in the transformative possibilities of reconciliation, non-Aboriginal Canadians must undergo their own process of decolonization. They must relinquish the persistent myth of themselves as peacemakers and acknowledge the destructive legacy of a society that has stubbornly ignored and devalued Indigenous experience. With former students offering their stories as part of the truth and reconciliation processes, Regan advocates for an ethos that learns from the past, making space for an Indigenous historical counter-narrative to avoid perpetuating a colonial relationship between Indigenous and settler peoples. * 2012 Short-listed for the Canada Prize in Social sciences, Canadian Federation for the Humanities and Social sciences

This graphic novel is unique in its composition. It comes in two versions, a PG Version and an Uncut version. The two versions are essentially identical, but the Uncut version has additional details that are more gritty, including a chapter titled “The Cycle”, which charts the impacts of sexual abuse at the hands of a residential school priest on an Indigenous man. This graphic novel contains a complete story depicting the realities of the residential school experience; however, it includes newspaper clippings and select quotations which add depth and context to the story. While the facts and the concepts in the story make it easily accessible to readers of a young age, the PG Version is recommended for teens in grades 8 to 10, and the Uncut Version to teens in grades 11 and up due to the mature subject matter and the graphic depictions of violence and sexual abuse. This book, in both versions, includes a formal “Foreword” and a “Preface” that help situate this work in relation to large political movements.

Based on the bestselling graphic novel “UNeducation: A Residential School Graphic novel” (listed in G9-10 “Multimedia”) , this colouring book takes the reading experience even further.