Indigenous Languages of Canada
Art sources
Cover art: Norval Morrisseau The Gift 1975 Acrylic on canvas Courtesy Thunder Bay Art Gallery https://canadianart.ca/reviews/witnesses-belkin/
Background art: Weesahkay Jack and the Great Flood (2005), Roy Kakegamic (1961 - ), Acrylic on canvas, Collection: Aboriginal Affairs and Northern Development Canada https://canadacouncil.ca/about/ajagemo/temporal-re-imaginings
Hi! My name is Jasmine and my pronouns are she/her. I study Languages here at Dawson, particularly Hebrew and German. These are my fourth and fifth languages, adding onto my base in English, French, and American Sign Language. Outside of school, I play in an all-girls punk rock band, I'm a member of a Marxist political organization called Fightback, and I like to spend my spare time reading, listening to podcasts, or watching too much YouTube. Academically, my interests are in linguistics. I've known this since I started trying to learn ASL in high school. I gravitate towards the revitalization of indigenous languages that have been damaged by colonization, but I'm also interested in speech-language pathology as a profession, where similarly, the focus is on healing or developing language abilities. Based on my interests, some preliminary ideas for research this semester are the indigenous languages of Canada, Africa, or Australia, or possibly language and aging.
Me onstage with my band 2 summers ago <3
An Algonquin totem pole in Algonquin Provincial Park, Ontario. Photo via "https://www.goodfreephotos.com/" Good Free Photos
Image source: Mapping Indigenous languages in Canada, Canadian Geographic. https://www.canadiangeographic.ca/article/mapping-indigenous-languages-canada
MLA citation: Walker, Nick. “Mapping Indigenous Languages in Canada.” Canadian Geographic, The Royal Canadian Geographical Society, 15 Dec. 2017, www.canadiangeographic.ca/article/mapping-indigenous-languages-canada.
I got to researching the languages of Canada right away and found this article by Canadian Geographic which gives an overview of the approximately 60 living languages native to Canada, which belong to 12 broad language families. The map on the left indicates "languages are spoken at home" by Indigenous people, and only 15% of Indigenous people know their heritage languages well enough to speak them at home. On the map, the turquoise represents the Algonquian language family, the pink represents the Inuit languages, and the orange represents the Athabaskan languages.
With this information, I was intrigued, and I wanted to find out more about the differences and similarities between these languages and their language families. I decided to pick a language to start researching more in-depth, and based on that research, started developing the thesis statement you can see below.
Thesis statement: The Kanien'keha, Mi'kmawi'simk, and Cree Indigenous languages of Canada possess writing systems, grammar, and phonology which reflect the history and culture of their speakers.
Since Dawson College is located on unceded traditional territory of the Kanien’kehá:ka, I figured it would be a good idea to start by looking into the language of the people who are native to this land. While the Kanien’kehá:ka (an Iroquois nation) are thought of as the traditional inhabitants of this land, it has also been used by the Algonquian tribes and nations such as the Abenaki and Anishinaabe. The city which is now known as Montreal is traditionally called Tiohtià:ke by the Iroquois, and Moniang by the Algonquins. A reservation located to the South of Montreal, Kahnawà:ke, is one of six recognized Mohawk-speaking communities, among Tyendinaga, Ahkwesáhsne, Wáhta, Ohswé:ken, and Kanehsatà:ke. You can hear how to pronounce the words "Tiohtià:ke" and " Kanien’kehá:ka" at this link, which is to Concordia University's land acknowledgment and which also provided me with the above information.
MLA citation: “Territorial Acknowledgement.” Concordia University, Indigenous Directions Leadership Group, 2017, www.concordia.ca/indigenous/resources/territorial-acknowledgement.html.
MLA citation: Lazore, Dorothy Karihwénhawe. "The Mohawk Language Standardisation Project". Proceedings of the Mohawk Language Standardisation Conference, Tyendinaga, 9-10 August. Edited and translated by Annette Kaia'titáhkhe Jacobs et al. 1993.
One of the things that came up first on my initial searches was the Mohawk Language Standardization Conference report. It is an academic source. This was a conference held in August 1993, to which elders, teachers, linguists, and fluent Mohawk speakers were invited in order to decide on a standardized, written form of the language. It was co-sponsored by the six Mohawk First Nations and supported by the Ontario ministries of Education and Training, of Citizenship, and of Culture, Tourism and Recreation. Establishing a written standard for First Nations languages was decided to be a priority as of The Assembly of First Nations' 1990 report "Towards Linguistic Justice for First Nations" in order to be able to teach future generations of First Nations children to speak their ancestral languages. Standardization is also useful for languages with many vastly different dialects, but the Mohawk dialects are mutually intelligible. The motivation towards standardization was for a mostly preservatory reason.
The five major recommendations of this conference to create the Mohawk writing system were:
To create an alphabet consisting of the letters A, E, H, I, K, N, O, R, S, T, W, and Y of the Roman alphabet
To use the following diacritics to represent tones and glottal stops: falling tone with length (Kawennénhtha tánon teiotsistóhkwake) (`:); rising tone with length (Kawennakará:tats tánon teiotsistóhkwake) (´:); rising tone stress (Kawennakára:tats) (´); glottal stop (Tekawénniaks) (‘).
To use capitals in writing
To use punctuation such as question marks, quotation marks, exclamation marks, periods, and commas
To create the following six new words in order to describe parts of speech and other linguistic features:
Reading the report provided me with some basic knowledge of the linguistic properties of Kanien'keha. Firstly, that it is a tonal language, like Mandarin or Navajo (another American language). It was also decided at this conference that new words would be created according to their description, function, activity, or usage. What this means is that new words will always be based on older words. For example, Kahiatonhkwakwe'ní:io (the word coined for the conference which means vowel) literally translates to "main letter". Another example used in the report references the word for goat, kaia'tákeras, which literally means "it has a smelly body". This is a process of adding affixes onto root words
The report also contains some information about the historical background of the language. Prior to colonization, the language was recorded in pictographs. When religious groups like the Jesuits made contact with the Mohawk people, they transcribed the language using twelve letters of the French alphabet - the same twelve letters which are now part of the standard writing system. I believe this is also why tone is represented by accents - those diacritics are also present in French (although I do not have evidence for this claim).
The standard defined by this conference was based on how Mohawk-speaking Elders were already teaching students. In a lot of indigenous communities, elders have a huge role in decision-making and education, so their authority on this question was respected. The standard established was based on the Elders' way of speaking and writing in Mohawk, and there were some decisions that contradicted the way that younger speakers would speak or write.
MLA citation: Inglis, James. Dancers from the Mohawk Nation at Kahnawake (Caughnawaga) who performed during a lacrosse tournament in the presence of H.R.H. Prince Arthur, son of Queen Victoria. 1869. BiblioArchives, MIKAN 3240570 https://www.flickr.com/photos/lac-bac/4666912176/in/photolist-PXqhYG-CSXhRC-bq9hKR-87p9p3-Rw8EEU-oWhkKJ-Rw8EGh-fjh82o-crz3E1-876Mxg-2j1nu4x-876MLK-2gRsEU9-2gkg66r-879Yku-amUgzt-rbCwjA/
MLA citation: Paugam, Matthieu. Women Morning Dance. 2019. https://www.flickr.com/photos/183117030@N03/48512059947/in/photolist-2gUZh94-2gV16hd-2gV15Vm-2gV1aoV-2gUZeA8-2gV1bNJ-2gUZdUd-2gV1dWb-2gV18gi-2gUZi26-2gUZdmp-2gV1ek2-2gV1eEW-2gUZbkW-2gV171s-2gV17Cj-2gV18Vz-2gV19EA-2hATar5-2hxyibZ-2hg71za-2hg4TMb-2hg4wSK-2gUQ3LA-2hAV2PM-2gUQZhF-2gV1aF8/
MLA citation: Baker, Mark, and Lisa Travis. “Mood as Verbal Definiteness in a ‘Tenseless’ Language.” Natural Language Semantics, vol. 5, no. 3, 1997, pp. 213–269. JSTOR, www.jstor.org/stable/23748622.
The next source I found is an academic article that argues that Mohawk uses mood to determine definiteness in its verbs. What this means is that verb conjugations in Mohawk do not actually reference time or tense. There is a loose connection between particular morphemes and past or future tense, but it's not a direct correlation like it is in many Indo-European languages.
This supposed "tenselessness" has been observed by linguists before, but it has been interpreted incorrectly. Benjamin Whorf, an incredibly influential linguist, observed the same thing about Hopi and concluded that Hopis had no sense of time. Of course, the Indigenous people of America are people just like us and do indeed have a sense of time and actually do express it in their language. It's just that the inflectional system of Mohawk and other American languages have a different logic from English and other Indo-European languages. The morphemes that one would expect to reflect tense actually represent mood, or the "actuality" of an event or action. For example, researchers once thought that the wa'- prefix signified a past tense, but upon further research, it is a mood used in performative situations (such as ceremonies) or to indicate that an action has "definitely taken place in the real world" (217). Generally, the times in which you would use such a mood are not when an action is taking place in the future, but this does not mean that wa-' indicates a nonfuture tense. Thus, it is known as the "factual" mode. Furthermore, there are many other modes in Mohawk that indicate varying levels of definiteness, such as the predictive (or "future") mode, for example.
The article is quite lengthy and academic, but I was able to understand the basic premise of what the researchers were trying to discuss from the first few pages.
MLA citation: Bonvillain, Nancy. “Linguistic Change in Akwesasne Mohawk: French and English Influences.” International Journal of American Linguistics, vol. 44, no. 1, 1978, pp. 31–39. JSTOR, www.jstor.org/stable/1264763. Accessed 29 Mar. 2021.
I wanted to find an article on phonology for Mohawk, so I found this academic article on French and English influences on Akwesasne Mohawk, a variation of Mohawk spoken on the Akwesasne reserve located partly in southern Ontario and Quebec and partly in northern New York. Through contact with English and French, Akwesasne Mohawk has gone through the process of borrowing some nouns (mostly names) from these languages into its own vocabulary, making phonetic changes to them in order to suit the Mohawk phonology. For instance, French labials are replaced by nonlabials, making it so that the name Marie is pronounced /uwà:li/.
Furthermore, what's interesting about the name /uwà:li/ is that it is sort of used as a "feminizer' for names borrowed from French, as can be observed in the feminization of the name /s6:se7/ (Joseph) to /walis6: se?/ (which would be Josephine in French). This actually would indicate a pretty good familiarity with French morphology from the part of Mohawk speakers, at the time of the appearance of this name.
While Mohawk speakers would often make phonetic changes to words they borrowed to make them suit their phonology, sometimes certain things about these French words would stay. In French, speakers often place stress on the final syllable. However, in Mohawk, stress belongs on the penultimate syllable instead. In some words borrowed into Mohawk from French, Mohawk speakers will still place stress on the final syllable (ex. /aplam/, or Abram in French). These words can be seen as the "exceptions to the rules" of Mohawk speech. Furthermore, Mohawk words are very rarely monosyllabic, seeing as the language is highly inflective. Some of the few monosyllabic words in Mohawk are borrowed from French, like /sak/ (Jacques).
Lastly, English's impact on Mohawk is fairly new, seeing as French had much more impact with Mohawk throughout history. However, it has been observed that Mohawk adopts a lot of technological innovations' names from English (ex. /atenopil/, Automobile).
If you're interested in hearing a bit of Mohawk, try listening to this song performed by Kontiwennaha:wi (Carrier of the Words), the Akwesasne Women Singers. It's called "Ka'satstenhserowa:nen", or "Women's Power Song" in English.
I also found a story and song told in Mohawk. It was translated from a Robert Munsch story.
MLA citation: Bonvillain, Nancy. “Reflexives in Mohawk.” Kansas Working Papers in Linguistics, 1994, pp. 1–29., doi:10.17161/kwpl.1808.320.
This academic article on Mohawk I found that had to do with Mohawk was one on how Mohawk uses reflexives. Specifically, the two morphemes -atat- (which is reflexive) and -at- (which is semi-reflexive) and their many semantic functions. -atat- as a morpheme can denote that an action is done to oneself, which makes the subject of an action also the agent (these are terms used in semantics, or the linguistic study of meaning). However, the same morpheme is also used when an action denotes a result for the speaker (ex. buying oneself something) or emotional states (ex. liking oneself). -atat- is also a reciprocal morpheme, so it can also be used for non-reciprocal agents, such as in the example of "they two hit themselves". In this case, Mohawk does not distinguish between whether they both hit their own selves, or whether they are hitting each other simply by using this morpheme. To distinguish, speakers can employ the dualic prefix -t- which indicates reciprocity. Mohawk speakers can also use these reflexive morphemes to construct verbs which take on a figurative meaning, such that a phrase literally translated as "punish yourself" conveys a meaning more close to "ask for forgiveness" (7).
What's even more interesting is that the reflexive morpheme -atat- also appears in many kinship terms (i.e. words like "mother", "half-brother", "second cousin", etc.). In Mohawk, kinship terms are all structurally verbs, with a pronominal prefix (a prefix that means something like "me" or "he") plus a verb root and an aspect suffix (a suffix that explains how long an action was performed over time). The elder person in the relationship is the agent while the younger person is the patient of the verb. When the relative age of the people in a relationship is irrelevant, the subjective pronominal is used in either the dual (yaky-) or plural (yakw-) form. When the relationship is reciprocal, the reflexive morpheme is used. For example, when I mention my siblings, I also mention that we are all siblings of one another. This means the relationship is reciprocal and this kinship term would use the -atat- morpheme.
In contrast, the semi-reflexive -at- morpheme is often used in sentences with middle voice (neither passive nor active, where the subject is both the agent and the receiver). It is also used in sentences with similar meanings to ones where a speaker would use the reflexive. This indicates that Mohawk and other Indigenous languages in which we can observe similar constructions, the passive voice and the reflexive are linked in ways they are not in Indo-European languages.
I chose to research the Mi'kmaq language when I was talking to my partner about how my mother's last name, Muise, is of Mi'kmaq origins. See, while I was born in Montreal and have lived here my entire life, my parents were both raised in Nova Scotia, meeting while they were both students at Dalhousie University in Halifax. Like most ethnic Canadians, I can trace my ancestry to an Indigenous ancestor, although I am still less than one percent Indigenous. However, I thought that since I had already spoken about the language that is indigenous to where I was born, it would fit nicely to talk about the language indigenous to where my parents grew up.
Native Languages of America is a non-profit charity organization with a webpage containing information about, well, the native languages of America. I found their page about Mi'kmaq (traditionally called Mi'kmawi'simk although in recent decades, the language is simply called Mi'kmaq). There are countless different ways that people use to spell "Mi'kmaq", but I will refer to it as such. The name Mi'kmaq can be translated into English as "my friends". Their endonym - what they have traditionally referred to themselves as - is Lnu, which simply means "the people". Mi'kmawi'simk is an Algonquian language, unlike Mohawk, spoken by an estimated 8000 Indigenous people in the Canadian Maritimes, especially Nova Scotia, but also a few communities in the Northeast of the US. There is a dialect spoken in Quebec, called Restigouche or Listuguj, which is difficult to understand for those who speak the other dialect. The territory belonging to the Mi'kmaq is known as Mi'kma'ki, which you can see a map of on the right, courtesy of the CBC.
MLA citation: Redish, Laura, and Orrin Lewis. “Mi'kmaq Language (Mi'kmaw, Micmac, Mikmaq, Mikmak).” Native Languages of the Americas, 10 Dec. 2003, www.native-languages.org/mikmaq.htm.
MLA citation: Hewson, John. “Sonorants as a Class in Micmac and Proto-Indo-European.” International Journal of American Linguistics, vol. 51, no. 4, 1985, pp. 443–446. JSTOR, www.jstor.org/stable/1265296. Accessed 25 Apr. 2021.
This article is about Mi'kmaq phonology and the status of sonorants in the language, comparing it to Proto-Indo-European, a reconstructed language that is supposed to have evolved into the many Indo-European languages we see today. In Mi'kmaq, high vowels and sonorants (particularly /m,n,r, and l/) have almost a dual role as vowels and consonants. Researchers have even gone so far as to say that syllables like /em/ could be considered diphthongs because /m/ is treated as a vowel. Similarly, in Proto-Indo-European, the same four sonorants are postulated to have had the same dual role.
I'm actually not sure why the article mentions these similarities, seeing as Mi'kmaq doesn't seem to share many "common ancestors" with Proto-Indo-European. Still, the article provided me with some information about the sound system of Mi'kmaq.
MLA citation: Schmidt, David. Mi'kmaq: Hieroglyphic Prayers. Nimbus Publishing, 2006. https://dc153.dawsoncollege.qc.ca:2139/ID/411169
Komqwejwi'kasikl, the traditional writing system of Mi'kmaq, is actually the oldest American writing system, north of Mexico. The source I found is an academic compilation of Catholic prayers in Mi'kmaq hieroglyphics, but it contains an introduction to the writing system and its history. It's a script that has its origins in pre-colonial times, when it was used to transmit geographical information in maps or tribal records. Starting in 1677, French missionaries would teach their prayers, hymns, and liturgies to the native population of what is now Nova Scotia. These prayers would be recorded using these hieroglyphs in books to be read at religious ceremonies and passed from parent to child upon death. The Mi'kmaq name for these writings, Komqwejwi'kasikl, literally means "sucker fish drawings", after the muddy, swirly trail left by the Komkwej, or "sucker fish".
Today, very few Mi'kmaq can read Komqwejwi'kasikl, although it is still used for religious purposes. As a hieroglyphic writing system, entire words are represented by glyphs, or pictographic pieces of writing. In Mi'kmaq, glyphs can be composed of over 2700 unique graphemes. Graphemes are meaningful subunits that stand for the morphemes of each word.
The missionary to discover the Mi'kmaq writing system, called Chrestien le Clercq, was frustrated by the Mi'kmaq's difficulty learning prayers and noticed how some children would try making marks in birch bark to aid their memorization. He began to distribute leaflets to Mi'kmaq families. This technique for memorization was incredibly efficient and Mi'kmaq seemed to appreciate being able to read and write in their own language, holding the leaflets Le Clercq produced as being sacred. The script spread across Acadia without much intervention from Le Clercq, who returned to France in 1687.
Another missionary, Pierre Maillard, who arrived in 1735, also encouraged the use of Komqwejwi'kasikl, which was already very popular by this point. He wanted to discourage the learning of the English or French alphabets in order to avoid some sort of political awakening or rejection of Catholicism among the Mi'kmaq. During this time, there are documented original, secular messages, proving that Komqwejwi'kasikl is not only a tool for memorization, but a fully-fledged writing system.
On the left: an example of a Mi'kmaq hieroglyphic prayer, grace, to be spoken before meals.
I found two songs in Mi'kmaq to display on my blog. Here is the first one, a more traditional song composed by Elder Katherine Sorbey, complete here with a transcript and translation of the lyrics.
I also wanted to include this video of Emma Stevens performing Blackbird by the Beatles. It was made in 2019, the year designated by the United Nations as the International Year of Indigenous Languages. This video actually went viral and Paul McCartney actually gave the singer a shoutout for her work!
MLA citation: Borden, Lisa Lunney. “The 'Verbification' of Mathematics: Using The Grammatical Structures of Mi'kmaq to Support Student Learning.” For the Learning of Mathematics, vol. 31, no. 3, 2011, pp. 8–13. JSTOR, www.jstor.org/stable/41319601. Accessed 7 Mar. 2021.
In this academic article, an elementary school math teacher in Nova Scotia details her strategy for "verbifying" her teachings, based on how verb-oriented the native language, and thus, the culture of her students, is. While she is teaching in English, she adopts an indigenist approach in teaching, that is, one that prioritizes indigenous values over the erasure and replacement of them with colonial ones. Because of their language, her students saw the world as one where things are constantly evolving and interacting with each other and rejected the idea that things are fixed or rigid.
For example, in Mi'kmaq, the way to communicate about the concept of "straightness" is through the word pekaq, which literally means "it goes straight". Whereas in mathematical language, many processes of movement and change are nominalized, meaning these concepts are communicated using nouns. Borden "verbified" her teaching of mathematical concepts by, for example, moving her hand over an edge in order to teach students the word "edge". In order to teach her students about "flatness", a word for which there is no Mi'kmaq translation, she eventually arrived at the definition that flat things are able to "sit still".
While this was not an article by a linguist or even within the field of linguistics, it still helps me to understand the difference between the perspective of an English or any other Indo-European language speaker and a Canadian indigenous language speaker.
MLA citation: Mi'kmaq paddling two canoes near the W.C.R. bridge at Bear River, ca. 1890. Nova Scotia Archives, https://twitter.com/NS_Archives/status/887657816886038528
MLA citation: Le Bel, Eric. A Traditional Mi'kmaq boat. 2019. International Traveller, https://www.internationaltraveller.com/north-america/canada/nova-scotia/96-canoe-and-connect-with-mikmaq-culture/
MLA citation: “The Cree Language.” Safe Drinking Water Foundation, Safe Drinking Water Foundation, 16 Oct. 2019, www.safewater.org/fact-sheets-1/2017/1/23/the-cree-language.
Cree is the next and perhaps final language I have chosen to research for this project. Cree is a collection of different variations of Algonquian languages, which, if considered to be all one language, would be the Indigenous language with the most speakers in Canada, with approximately 75,000 speakers. I chose it because of this relatively huge presence and from what I've heard of the interesting history behind its writing system.
Over 75% of Cree speakers live in Manitoba, Alberta, or Saskatchewan. One theory on the origins of the name 'Cree' is that it originated from an Ojibway word, kristanowak, meaning "people of the north". Another is based on the fact that the Cree were the first Indigenous population to be Christianized, so "Cree" was derived from "Christian Indian". Their endonym is Ininiwuk, which means "men" or "original people".
I wanted to showcase James Jones, also known as Notorious Cree on TikTok, because he's gained a large following by representing his culture in wearing his regalia and doing traditional dances. In this TikTok, he speaks a little bit of Cree before explaining in English the meaning he put into this particular hoop dance.
In this video, which is more representative of the Cree language, a woman named Alsena White shares her story along in Cree with English captions and watercolour paintings by Lana Whiskeyjack.
MLA citation: Starks, Donna, and Elaine Ballard. “Woods Cree /ð/: An Unusual Type of Sonorant.” International Journal of American Linguistics, vol. 71, no. 1, 2005, pp. 102–115. JSTOR, www.jstor.org/stable/10.1086/430580. Accessed 31 Mar. 2021.
A phonological paper I found on Cree specifically looks into the Woods Cree variety and investigates its phonological differences from other varieties of Cree. Woods Cree, as seen on the map in the section above, is spoken in northwestern Manitoba and northeastern Saskatchewan, and has a particular phoneme, /ð/, which is often used as a sonorant rather than an obstruent, meaning, essentially, that speakers of Woods Cree obstruct the air flow in their vocal tract significantly less than speakers of other varieties, as well as most other recorded languages. However, as speakers generally become less and less linguistically competent in Cree, the phoneme seems to be shifting closer to the more common, obstruent classification.
MLA citation: Ellis, C. Douglas. “Cree Verb Paradigms.” International Journal of American Linguistics, vol. 37, no. 2, 1971, pp. 76–95. JSTOR, www.jstor.org/stable/1264642. Accessed 14 Apr. 2021.
This academic article (whose writer was from McGill, here in Montreal!) first explains a little bit about Cree's sound system/s, with reference to the different Cree dialects. For instance, Cree does not cluster vowels together like English does in words like "hook" or "queen", where two or more vowels are put together to make a long vowel sound, in these cases. Some dialects of Cree are referred to as n- or l-dialects, because of sounds they may or may not include within their sound system. This article's research is mostly based on l-dialects, specifically Moose Cree, which has retained the /l/ phoneme as a distinct consonant from Proto-Algonquian.
The article then delves into the paradigms of the Cree verb system. A lot of the in-depth information was beyond my level of understanding, but I noticed that Cree has two genders - animate and inanimate. It's important to note here that, in a lot of languages, the grammatical concept we call "gender" has nothing to do with the sociological concept of "gender" in reference to men, women, or others. The ininiw/animate and ciman/inanimate nouns are pluralized differently from one another. There is also the obviative form, which references a noun further from the focus of attention, i.e. "the other men" or ililiwa, and when using this form, nouns do not change whether they are singular or plural.
Cree verbs can be either transitive or intransitive. Transitive verbs require a direct object, like the verb "bring" in English. You can't say "I'll bring..." without specifying what you are going to bring. Intransitive verbs do not require this specification, like the verb "eat". You can eat something, but you can also just eat. What Cree does with its transitive and intransitive verbs, is it classifies them further as inanimate and animate intransitive verbs. Animate intransitive verbs inflect the actor, meaning they change depending on the person (first, second or third person) and number (singular or plural) of the person who is doing an action, as well as whether the addressee is included (for example, 'we, but not you'). There is also an "indefinite" actor, similar to "on" in French. With intransitive inanimate verbs, they inflect depending on the number, definiteness, and whether they are proximate or obviative.
Transitive verbs inflect actors similarly to intransitive verbs, but the direct object is also inflected in the verb. Here, the number and proximity are indicated, and there is the option of reflecting something as being "further obviative", as in, removed to another degree from the obviative form. For example, to my understanding, in the sentence, "he went with him to see his brother", the first "he" is proximate, the second is obviative, and the third is further obviative.
There are many more complexities in the inflectional systems of Cree laid out in this article, but I've already written a lot, so I'll leave it at that for now.
MLA citation: King, Howard. Cree Indian. ca. 1900. City of Vancouver Archives, https://searcharchives.vancouver.ca/cree-indian-3
MLA citation: Wong, Norman. Notorious Cree. 2020. https://baystbull.com/how-james-jones-notorious-cree-uses-technology-to-pass-on-his-culture/
MLA citation: Burford-Mason, Roger. Travels in the Shining Island : The Story of James Evans and the Invention of the Cree Syllabary Alphabet. Dundurn Press, 1996. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=245003&site=eds-live&scope=site.
This historical book details the life of James Evans, who the author says invented the Cree syllabary alphabet. In reality, there is a Cree myth that describes a man named Calling Badger, who died and went to the spirit world, then came back to life having known the Cree syllabary alphabet, spreading it to his people. Similarly to le Clercq, Evans taught Cree speakers his writing system, which was made of simple characters which each represented a syllable, as a way to evangelize and give them a European education. Unsurprisingly, Cree speakers welcomed this innovation, grateful to have a way to write in their language.
Evans adapted the Cree syllabary alphabet from the writing system he created for the Anishinaabe, or Ojibwa people. Previously, Evangelical materials had been printed using the Roman alphabet, with a small amount of success in literacy among the Ojibwa. He started by determining nine basic consonant sounds that could be rendered by different symbols, and then rotated in four orientations that could indicate which vowel they would be paired with to form a syllable. This writing system was developed by Evans over years, until it had reached a point where Anishinaabe were producing texts on their own. Interestingly, Evans was much more popular among the Ojibwa than other missionaries due to his higher proficiency in their language and his more open-minded view of their religion and customs.
In 1940, Evans moved to Norway House, on Cree land, in order to evangelize and educate the Cree population. He quickly realized that he would need to develop a writing system for Cree if he were to make much progress in his task. This writing system would not be drastically different from the one he made for Ojibwa. Again, this writing system was eagerly uptaken by Cree speakers.
For Evans, it wasn't enough to painstakingly hand-write all of the characters he needed out onto a piece of wood mattice only for it to crumble with prolonged use. The Hudson's Bay Company actually forbade him from acquiring a printing press for years, fearing that "educating" the Cree population would lead them to rising up against the settlers. Instead, he crudely fashioned his own press from a wooden press used to pack animal pelts for transportation and developed it into the 1840s. Eventually, the Hudson's Bay Company begrudgingly agreed to send him a proper metal printing press after seeing what he had already accomplished with his makeshift press. With this new press, he began to print real bound books in the Cree syllabary alphabet, beginning with the Cree New Testament.
Today, the Cree syllabary alphabet is still used, although policies by the Canadian government have favoured the usage of the Roman alphabet to represent Cree language.
On the right: Jubilate Deo, part of the One Hundredth Psalm, in Cree syllabics.
(My blog isn't finished yet of course, but when it is this will be the conclusion!)
Over the course of the semester, I've gained a lot of skills, read a lot of stuff, and taken in a lot of information. Now I'd like to take a step back and reflect on what I've learned.
Firstly, I've read more academic articles this semester than I probably had in my entire life leading up to this. It's gotten much easier to navigate them to find the information I need, but I also understand them a lot more. Some of them were very technical and had a lot of linguistic terminology that I just don't know (yet... I'm going to be pursuing a Bachelors' in Linguistics next year!), but I still scanned over them to try and find where they summarized the very specific phonological data, for example.
I tried to imagine that the readers of my blog have little to no background in linguistics, so I did my best to explain any background information on the field when I could. It turns out I really like the idea of taking something scientific and making it approachable to the general public. I really admire people doing work that is starting to gain the label of "science communication" - people like Bill Nye or Hank Green, who share their knowledge not only with other scientists, but with the world at large. Doing this project has made me consider what sorts of linguistics communication I can incorporate into my future career.
Now, for the things I've learned from the actual research: I tried to approach everything with an open mind, no pre-conceived biases or opinions, so I wasn't really surprised by anything I read. However, I've gained a huge amount of respect for the languages native to the country I live in, as well as the field I want to pursue. I feel like I have a good grasp on at least the basics of the three languages I looked at, and I think that, as an aspiring linguist, knowing a little about the languages native to where you live is an obvious starting point. I especially found the history of the writing systems I studied super interesting. I love that I inadvertently chose three languages with distinct writing systems: one based on the Latin alphabet, one hieroglyph, and one syllabary. While it may be true that they were likely invented by colonizers, that doesn't subtract from the power and meaning they can have in indigenous language revitalization efforts.