UNews - Maria Livingston

Indigenous students and alumni realizing the benefits of mentorship program

trevor.kenney — Thu, 20 Jun 2024 20:14:55 +0000

The Dhillon School of Business Scotiabank Mentors Program achieved a significant milestone recently when it celebrated 10 years of making a difference in the lives of Indigenous students and alumni.

“There's something truly special about being able to play a role, however small, in someone else's journey of self-discovery and personal growth,” says mentor Aysha Partington (BA/BEd ’24), a 2024 Spring Convocation graduate who came to the ��Ѹ��Դ��߿�Ƭ of Lethbridge from Woodland Cree Nation.

Maria Livingston, left, and Aysha Partington.

“From the initial stages of building trust and rapport to the moments of breakthrough and achievement, every interaction with my mentees has been filled with mutual learning and growth. Their willingness to step out of their comfort zones, tackle obstacles head-on and embrace new opportunities has taught me the importance of courage, perseverance and the power of resilience.”

The program is part of ULethbridge’s Indigenous student support system and funded by Scotiabank and the MasterCard Foundation EleV Program. In its 10 years in existence, it has seen more than 45 mentors and 100 mentees benefit from its activities, and includes participation from Indigenous middle, high school and university students and alumni.

“After having the program run for so long, we’re now seeing the results of being consistent in its offering,” says Maria Livingston (BA '15), ULethbridge’s Indigenous Youth Mentorship Program coordinator. “I’d say that seeing the larger impact of how these smaller activities add up to bigger goals is the greatest success of the program. Supporting the mentees’ goals and encouraging them to reach their full potential is really what this program is all about.”

All program activities are free for mentors and mentees and include everything from beading, hand drum making and hoop dancing to pizza parties, bowling and axe throwing.

For Partington, joining the program was an easy decision, one she says was driven by a desire to be the mentor she never had.

“I saw it as an opportunity to provide the kind of support and guidance that I longed for growing up. By sharing my experiences, offering advice and serving as a role model, I hope to empower Indigenous youth to navigate similar challenges with resilience and pride in their cultural heritage,” she says.

“By investing in the next generation of leaders, thinkers and changemakers, the program ensures the continued growth and prosperity of the community for years to come. The relationships formed through mentorship extend far beyond the duration of the program, creating a ripple effect of positive influence that reverberates throughout the community.”

Livingston says the program’s achievements can, in large part, be attributed to the contributions and commitment of Rhonda Crow, the Indigenous Governance and Business Management (IGBM) program coordinator and Andrea Amelinckx, IGBM’s Area Chair.

“Rhonda’s and Andrea’s leadership and wisdom have been pivotal in making this program successful. It wouldn’t have been possible without their support.”

Family Pride

david.kirby — Thu, 15 May 2014 18:20:40 +0000

Spring came late in southern Alberta this year. It’s a bitterly cold morning in March, but the sun is shining brightly through the windows of Markin Hall at the ��Ѹ��Դ��߿�Ƭ of Lethbridge. The warmth in the room is palpable. It’s a spiritual sort of warmth – the kind you feel when you’re around good people who radiate a glow from deep within their soul. If the sun weren’t shining, you’d almost bet the three women could light up the room themselves.

Maria Livingston, Margaret Lamouche and Sandra Lamouche.

Margaret Lamouche (BA '02, BEd '05) and her daughters, Sandra Lamouche (BA '07) and Maria Livingston, comprise two generations of U of L students and alumni. It’s easy to see the admiration between them and their pride in where they come from is clear. Each woman is an accomplished scholar, is respected in visual and performing arts, and all three will tell you that getting in touch with their heritage has been key to their happiness and success.

The road here hasn’t been easy though. Margaret was just 12 years old when her own mother was struck down and killed by a drunk driver in the small northern community of Wabasca, Alta. Four years later, she dropped out of school and left home in search of a job and a new life, away from the poverty she’d been contending with. Eventually she married, settled in Slave Lake, and became a dedicated stay-at-home mother of eight children.

Reading the newspaper one day, Margaret came across something that would change the trajectory of her life forever, and the lives of her children and countless other children, too. She read a feature that listed the names of local high school students who would graduate that spring. What she saw in the article, or more accurately, what she didn’t see, put a trickle of a thought in Margaret’s mind that would precipitate a river of change for her whole family.

“There were only a couple of native children’s names on the list, which made me very sad,” recalls Margaret. “I wanted my children to get a good education, so I helped them with their homework, read to them and got involved at their schools. It occurred to me that day that a lot of other First Nations children needed help, and I started thinking that maybe I should become a teacher.”

Margaret waited until her youngest child started school and then went back to school herself, completing her diploma through an upgrading program and then applying to the U of L.

Sandra and Maria remember their mother’s transformation as both surprising and inspirational. “I had always seen her as ‘mom’ and then suddenly she was studying, taking exams and working on assignments,” says Maria, reflecting on Margaret’s transition from mother to full-time student. “It was strange, but she was determined and focused, which made a big impression.”

Margaret’s application to the U of L was accepted in 1999. She graduated with a Bachelor of Arts in Native American studies in 2002 and went on to complete a Bachelor of Education in 2005. Sandra vividly remembers the first time her mother brought her to campus.

“That was a real eye-opener,” Sandra recalls. “She brought me to an indigenous dance performance, and to see native people on campus was amazing. Mom would often give me her textbooks to read or bring me along to native art exhibits. It made me realize that I could get an education in my own culture, and that was very exciting.”

With her mother’s encouragement, Sandra began studying at the U of L in 2002. She is now in the finishing stages of a master’s degree through Trent ��Ѹ��Դ��߿�Ƭ, is the mother of two young children and works as a youth mentor in Fort Macleod. Sandra also recently became a director with the ��Ѹ��Դ��߿�Ƭ of Lethbridge Alumni Association’s First Nations, Métis and Inuit Alumni Chapter; is one of the only First Nations members on the International Dance Council (UNESCO); is a member of the United Nations of Dance; and has performed internationally as a hoop and contemporary dancer.

Artwork by Maria Livingston

“I followed my passion and interest, and through that I’ve built a career that is fulfilling and gives back to my community,” says Sandra. “I’ve created success on my terms.”

Her younger sister Maria’s path to the U of L took a bit more time. Shy and self-reflective, Maria wasn’t sure a university education was possible for her. It took four years for Margaret and Sandra to convince her to apply, but since she began her studies, Maria has gone through with flying colours.

Like her mother and sister before her, Maria will graduate from the NAS program. She is a member of the Native American Students’ Association, is involved with a working group under the Aboriginal Education Committee, as well as the on-campus FNMI mentorship program and has completed three applied studies and has been on the Dean’s Honour List four semesters. Maria says that her experience at the U of L has allowed her to connect with herself and her culture in a profound way.

“The past few years have been a path toward my true identity,” says Maria. “I’ve discovered where I fit in and what I’m supposed to do. I have a young son, so I work hard for him. I want to show him that it’s possible to make a living doing things you love to do.”

Beyond ��Ѹ��Դ��߿�Ƭ, all three women celebrate their culture artistically as well. Sandra and Maria have achieved national acclaim with their hoop dancing.Margaret focuses her talent on beading, poetry and meditation. Maria also paints and practises native fish-scale art.

“It’s about connecting to our people and finding positive ways to represent First Nations culture,” says Maria of her family’s artistic endeavours. “There are a lot of negative stereotypes and prejudices around native heritage. Finding ways to help break down those barriers and show the beauty of our culture is something all of us feel compelled to do.”

Margaret’s initial goal of becoming a teacher has been achieved – she’s been teaching Cree at Ben Calf Robe School in Edmonton since 2012, and has the same hopes for her students that she has for her own children.

“I want them to have balance in their lives, and I want them to help their people. We have a proud heritage, and anything is possible for us when we connect to the source of it,” says Margaret, who will return to the U of L campus this summer to begin the Master of Education program. “I want to do more. Life is about learning lessons, and finding and following the path that is meant for you. Without the Creator and my spiritual guides, I would not have the ability to complete the journey that I am on.”

This story appears in the Spring 2014 edition of SAM magazine. For a look at the full issue in a flipbook format, follow this link.

Giving Spirit

david.kirby — Thu, 06 Feb 2014 22:48:37 +0000

Maria Livingston always aspired to be a university graduate, but she wasn’t always certain a university education was in the cards for her – at least not until she discovered the First Nations Transition Program (FNTP) at the ��Ѹ��Դ��߿�Ƭ of Lethbridge.

“I was out of high school for four years before I decided to look into university,” Livingston says. “It was intimidating. I wasn’t sure I’d be successful. FNTP helped me feel comfortable at the ��Ѹ��Դ��߿�Ƭ, and gave me the foundation I needed to carry on and pursue a degree.”

U of L student Maria Livingston says the First Nations Transition Program opened doors for her

Now a third-year student majoring in Native American Studies, Livingston has gone on to mentor other FNTP students since successfully completing the program in 2011, and says the program helped facilitate a bright future for her and her young son.

“The program opened doors for me,” she says.

The FNTP recently received a significant boost that will help more students like Maria achieve their goals thanks to a generous contribution from U of L alumnus Richard Masson (BMgt ’87) and his family. The newly established Masson Family Endowment and Masson Family First Nations Transition Program Award will support FNTP as well as individual students in the program for many years to come.

A U of L Board of Governors member, Honour Society inductee, Power of 25 supporter and now a “U of L Dad,” Masson says the decision to give back to the U of L was easy to make, largely because he remembers what it’s like to be a struggling student.

The Msson family, including (back row L to R) Danny and Gordon, (front row L to R) Cathy and Richard.

“I started with pretty meager financial resources, so I’m a big believer in helping students out financially,” says Masson, who is now the Chief Executive Officer at the Alberta Petroleum Marketing Commission. “Thankfully, I’ve been very fortunate in my career, thanks in part to the start I got at the U of L.”

Working in the resource industry, Masson says he sees challenges between business, government and First Nations people in relation to the development of natural resources.

“There’s a lot of opportunity for First Nations students to become strong leaders in their communities. That’s something I want to support,” he says.

The Masson Family Endowment will award an annual scholarship for a promising student who has successfully completed the one-year transition program, and also help to fund various aspects of the FNTP, including a speaker series, workshops and materials such as laptop computers.

Dr. Michelle Hogue (MEd ’04), U of L professor and coordinator of the FNTP, says the endowment and award will promote post-secondary education among First Nations people, and ultimately help many FNMI students and communities.

“The award is a celebration of student success,” says Hogue. “It’s a tremendous honour to receive a scholarship for academic work, so not only will the award help students financially, it will help them believe in themselves as well. It will encourage retention, and foster mentors for new First Nations students down the line.”

The recipient of the first annual Masson Family First Nation’s Transition Program Award will be chosen in spring 2014, and be presented with it at the start of the fall term. Masson is looking forward to the occasion.

“We’re really excited and thankful to be able to help others find their path,” says Masson. "That’s what this is all about.”

Oral History Project brings the past to life

david.kirby — Fri, 22 Nov 2013 15:31:23 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.” ��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

U of L master’s student Karissa Patton (BA ’13) and undergraduate student Maria Livingston are investigating the past as part of the Oral History Project. (Photo by Leslie Ohene-Adjei)

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and the Centre for Oral History and Tradition.

Today Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the U of L Art Gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist, Mike Perry (MEd ’06), and professor Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for and interviewing people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

“Collecting individual narratives is important because people aren’t writing things down as much as they once did. Also, the stories that have been included in historical archives in the past have often just been those of famous people and politicians,” says Patton.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program for high school students and an online resource for middle school students. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

“I’m thankful for the opportunity to work on this project,” she says. “Along with hearing great storytelling, I’ve learned more about First Nations culture and history, and that complements what I’ve been learning in school.”

The ��Ѹ��Դ��߿�Ƭ officially launched the Centre for Oral History and Tradition on Tuesday, November 26, 2013 at the Galt Museum & Archives. To view the news release, follow this link.

Oral History Project brings the past to life

trevor.kenney — Tue, 22 Oct 2013 22:38:48 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.”

��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

Karissa Patton, left, and Maria Livingston are helping to bring the past to life through the Oral History Project.

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American Studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and Centre for Oral History and Tradition.

Today, Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the art gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for – and interviewing – people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program and online resource for high school students and middle school students, respectively. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

Oral History Project appeals for contributions

trevor.kenney — Mon, 17 Jun 2013 17:37:50 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and ��Ѹ��Դ��߿�Ƭ Archives is calling on Albertans to assist in a historical project in support of their vast Nicholas de Grandmaison collection of artworks and artifacts.

A cultural icon of southern Alberta, artist Nicholas de Grandmaison (1892-1978) captured the history of the region and its First Nations people in an entirely distinctive and personal manner.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His unique lifestyle, character and attitude having left a plethora of interesting experiences that augment the context of his paintings.

It is these stories that the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and the ��Ѹ��Դ��߿�Ƭ Archives are looking to tell through an Oral History Project that will complement the ��Ѹ��Դ��߿�Ƭ's de Grandmaison collection of artworks and artifacts. They are currently seeking contributions from the Alberta community.

"By compiling an oral history, we really want to give the de Grandmaison collection another layer of meaning," says Karissa Patton (BA '13), a recent U of L graduate who is returning for graduate studies this fall and who is working with third-year Native American Studies student Maria Livingston on compiling the oral history pieces.

"The collection is remarkable, but in some instances we might only have the name of the person featured in the painting, and in others, we have no information at all. When you look at how the subjects are depicted, you can see that there is a story there that is just waiting to be told."

Working under the guidance of ��Ѹ��Դ��߿�Ƭ Archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston have contacted various members of the Kainai, Siksika and Piikani First Nations, searching for those people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

"It doesn't have to be a story from someone who was actually painted, it can be anything from that era that adds to the story of
de Grandmaison's visits and work," says Patton. "Even the smallest of recollections help to create a larger narrative."

BMO Financial Group recently donated 67 original de Grandmaison pastel portraits to the ��Ѹ��Դ��߿�Ƭ of Lethbridge's already comprehensive collection of artworks and artifacts. They have been featured in the
U of L Art Gallery exhibition Nicholas de Grandmaison: Recent Acquisitions, which concludes Thursday, June 27. On Tuesday, June 25, a Closing Reception and Hoop Dance Performance will be held at 7 p.m. in the U of L Art Gallery.

"It's been wonderful to be able to present these de Grandmaison works to the public," says Director/Curator of the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, Dr. Josephine Mills. "The BMO donation has significantly enhanced our collection and really inspired us to search for ways in which we can encourage new work from First Nations artists. I think this Oral History Project is an excellent way to give even more context to these works and bring our Alberta history to life."

For those looking to take part in the project, access the following website for more information: http://www.uleth.ca/artgallery/?page_id=5452, call 403-380-1868 or e-mail degrandmaisonstories@uleth.ca

Livingston finds success with FNTP support

trevor.kenney — Tue, 07 Feb 2012 17:35:40 +0000

Growing up in Slave Lake, Alta., some 200km north of Edmonton, you might think the ��Ѹ��Դ��߿�Ƭ of Lethbridge would seem like a distant place. But for Maria Livingston, the campus embedded in the coulees was always close to mind.

Several of Livingston's friends and family had already attended and highly recommended studying at the U of L. Still, when the thought of attending university crossed her mind, it often provoked feelings of anxiety and intimidation. Livingston wasn't sure if she could succeed at university, or if she would even fit in to the university culture. That was until she entered the First Nations Transition Program (FNTP).

"It was intimidating at first, attending university, but everything they did for us in FNTP really helped," says Livingston, who credits program services such as academic workshops and the First Nations speaker series with helping her to excel in the classroom and express her cultural identity.

A traditional hoop dancer, Livingston participated in the 2011 Native Awareness Week celebrations.

Now a second-year art and Native American Studies double major, Livingston is an active member of the U of L's vibrant First Nations student community. In addition to her art, she practices traditional hoop dancing and was involved in the 2011 Native Awareness Week celebrations.

In the future, Livingston would like to work with First Nations' youth and encourage them to pursue post-secondary education.

"��Ѹ��Դ��߿�Ƭ has opened a lot of doors for me," she says. "I have met so many new people and been given so many opportunities. I want others to have a chance to do the same."

Livingston says she's glad she never succumbed to her feelings of anxiety about attending university and is grateful for all the academic and social experiences she has had at the ��Ѹ��Դ��߿�Ƭ of Lethbridge.

Looking at a print she created that was later showcased at the 2011 Career Fair, she remarks, "I just couldn't see myself doing this before I came here."

When asked about the meaning of the artwork, Livingston says the hoops speak to the circle of life, renewal and regeneration.

"They represent struggles. The more hoops you pick up, the harder it is, but you just keep going."

This story first appeared in the January edition of the Legend. For a look at the Legend in a flipbook format, follow this link.

Livingston finds success with FNTP support

trevor.kenney — Mon, 16 Jan 2012 23:20:35 +0000

A traditional hoop dancer, Livingston participated in the 2011 Native Awareness Week celebrations.

In the future, Livingston would like to work with First Nations' youth and encourage them to pursue post-secondary education.

"��Ѹ��Դ��߿�Ƭ has opened a lot of doors for me," she says. "I have met so many new people and been given so many opportunities. I want others to have a chance to do the same."

Looking at a print she created that was later showcased at the 2011 Career Fair, she remarks, "I just couldn't see myself doing this before I came here."

When asked about the meaning of the artwork, Livingston says the hoops speak to the circle of life, renewal and regeneration.

"They represent struggles. The more hoops you pick up, the harder it is, but you just keep going."

This story first appeared in the January edition of the Legend. For a look at the Legend in a flipbook format, follow this link.

UNews - Maria Livingston

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