River is Life

Tiffany WollmanCurator

7 stops · 30 min · 2.5 km

"River is Life" explores past and present Indigenous connections to this place, the rivers and all our relations. For thousands of years, tens of millions of plains bison roamed and thundered across the Prairies. They shaped the landscape, sustained Indigenous Peoples and supported the ecosystem. The tour begins here, west of the Elbow River where the Elbow meets the Bow River. A life-sized bronze plains bison, The Mighty and the Once Many, reminds us of the importance of the bison. The confluence of these two rivers is the harmonious meeting place where Indigenous Peoples have gathered, camped, traded and held sacred ceremonies since time immemorial, as reflected in many of the artworks on this tour. It is important to recognize that we are on traditional Siksikaitsitapi (Blackfoot) territory, home to the Siksika (Blackfoot), Kainai (Blood), Piikani (Peigan) and Aamsskáápipikani (Blackfeet in Montana), and we are guests here. In the Blackfoot language this geographical location is known as Mohkinstsis, referring to the elbow in the river. Taking care of one another through relationships and kinship is central to Indigenous cultures. In Cree, this principle is known as ᐋᐧᐦᑰᐦᑐᐃᐧᐣ (Wâhkôhtowin). This way of life, and the interconnectedness of all our relations, is reflected in the story of the whitebark pine in ᐋᐧᐦᑰᐦᑐᐃᐧᐣ (Wâhkôhtowin) and West Gateway Mural, where stories of this place and its people are woven together. The seven pathways in the Ripple walking circle represent the Seven Sacred Teachings, also known as the Seven Grandfather Teachings, which are practiced by many First Nations, Métis and Inuit communities. These teachings provide a moral compass for living a balanced, healthy and respectful life in harmony with all creation. Through these artworks, the deep connection Indigenous People have always had to this land, the Elbow and Bow rivers, and all their relations is conveyed with care and compassion.

Stops

1
The Mighty and the Once Many
Note: The pathway shown is generated by this the Calgary Public Art Guide website. To experience artworks as intended, follow the written directions provided in with each artwork description. The life-sized bison serves as a reminder of what the Great Plains once looked like when plains bison still roamed the region, and the important role of bison to Indigenous cultures and ways of life. The Blackfoot hunted bison in this area for thousands of years prior to first contact with Europeans. In the mid to late 1800s, settlers overhunted and decimated bison populations, driving them to near extinction. Some estimates suggest there were once as many as 80 million bison across North America. This destruction of bison populations contributed to the starvation, displacement and cultural disruption of many Indigenous Peoples and supported colonial expansion, including the construction of the Canadian Pacific Railway. The Métis also hunted bison in the area as an important part of life and survival. This bison bronze sculpture was created by Lethbridge-based artist Don Toney. The bison was created in partnership with the Nature Conservancy of Canada through its Great Plains Project as part of the Bison Pathway project. Next Stop: Turn south on 8th Street SE. Your next destination is nestled between the parking lot and the Deane House. After visiting the second stop, head north on 8th Street to 8th Avenue SE and follow the path through Jack Long Park until you reach the Alexandra Centre Society.
2 min · 162 m to next stop
2
Hunt House and Métis Cabin
Hunt House is Calgary’s oldest home in its original location. The distinctive Métis dovetail construction suggests the small cabins were likely built and inhabited by Métis people. The building was floated up the river when the Hudson Bay Company relocated from Ghost River area. Reconstructed in 1875, Hunt House and the Métis Cabin formed part of the Hudson’s Bay Company’s trading post, known as Elbow Post until 1878 and operating until 1884. These historic buildings tell the stories of the First Nation, Métis and settlers who traded furs at the Elbow Trading Post. They also reflect a period of transition for the Hudson Bay Company as it expanded its retail operations, eventually opening its first department store in Calgary in 1910. Hunt House is named after the building’s last resident, William Hunt. He was a local railway worker who lived there until his death in the mid-1970s. An earlier occupant may have been John Bunn. John was Métis and began working for the Hudson’s Bay Company in 1867. From 1875 to 1878, he served as chief trader at the new Elbow trading post. Afterward, he retired and returned to Red River Settlement. Many Métis families have long-standing connections to the Hudson’s Bay Company. Hudson’s Bay Company buildings were usually built using post-on-sill construction. However, Hunt House and the Métis Cabin feature dovetail corners. The distinctive construction style of these buildings indicates that they were likely built by Métis people. The Hunt House and Métis Cabin not only represent the contributions the Métis made to the fur trade but also symbolize how the Métis established the area’s first non-nomadic civilian community decades before the Canadian Pacific Railway arrived in Calgary in 1833. Between 1866 and 1875, the population east of the Elbow River grew significantly as Métis families and members of the North-West Mounted Police settled in what is now Inglewood.
2 min · 178 m to next stop
3
ᐋᐧᐦᑰᐦᑐᐃᐧᐣ (Wâhkôhtowin)
“In her mural ᐋᐧᐦᑰᐦᑐᐃᐧᐣ (Wâhkôhtowin), Kamâmak reflects on the whitebark pine species and its ability to provide for many other forms of life in its ecosystem. In naming her mural Wâhkôhtowin, she further pushes a message of the interconnectedness between us and all our relations. Wâhkôhtowin is the Cree law of taking care of one another through relationships and kinship, seen here through the whitebark pine.” (Parks Canada website, 2026). Mackenzie Kamâmak Brown is an award-winning artist, performer, drummer, tourism entrepreneur, philanthropist and advocate for at-risk youth. She performs and educates internationally with her mother as part of the acclaimed duo Warrior Women. Rooted in tradition and ceremony, they share their knowledge through cultural education, performance and storytelling. They share Cree culture and teachings through drumming, storytelling, singing and dance. Next stop: The next artwork is around the corner.
<1 min · 42 m to next stop
4
Convergence Inglewood
This art piece celebrates many special and little-known details of the Inglewood/Ramsay area, home to the Alexandra Centre Society.
The Convergence Inglewood mural series celebrates the histories and cultures of the First Nations and Métis peoples who have lived on this land. At the Alexandra Centre Society, Blackfoot artist Smith Wright of Siksika Nation, Métis artist Edwin McGowan and artist, project manager Karen Scarlett collaborated to create the Convergence Inglewood mural. The four-panel mural celebrates Blackfoot and Métis cultures and the history of the Inglewood and Ramsay area before it became the community we know today. Before the turn of the 20th century, the area was predominately Métis. A red ribbon flows across the paintings like a Chinook arch, representing the ties that connect and converge our cultures. From left to right, the mural begins with Tipis: Winter Count (Smith Wright), which reflects how the Blackfoot were a nomadic tribe, always following the bison. It depicts seasonal movements across the Plains, with hunting and gathering during the warmer months, and travel to the mountains in colder periods, where the forests provided shelter from the winds and snow. The next panel, Tent Town: Following the Railroad (Karen Scarlett), tells the story of tent communities where people lived and conducted business when the railway arrived. Red River Cart: Métis Arrive (Edwin McGowan). The Red River Cart is an iconic symbol of the Métis. These carts were built in the Red River Settlement, in what is now Winnipeg, for journeys west, where Métis people sought to farmland, hunt bison and facilitate trade. McVittie's Cabin: Calgary's First House (Karen Scarlett). Built around 1882 by A.W. McVittie, a Dominion Land Surveyor. The cabin was moved to the zoo on St. George's Island in 1933 and was later relocated to Heritage Park. Next stop: Walk west on 9th Avenue SE towards the river and stop to experience the mural on the westside of Fair's Fair.
2 min · 126 m to next stop
5
West Gateway Mural
The West Gateway Mural, which includes an augmented reality experience, weaves together stories of the First Nations and Métis who have gathered on this land. Visitors entering Inglewood, Calgary’s oldest neighbourhood, from the west are greeted by the West Gateway Mural, painted by Métis-Papaschase Cree artist Jesse Gouchey. The mural honours the area’s rich Indigenous history and natural heritage while highlighting the historical and spiritual significance of the confluence of the Bow and Elbow rivers, where Indigenous Peoples gathered, traded and continue to maintain connections to this place. The mural is stitched together like a quilt, with each square sharing a different story that traces the region’s history. Some squares depict the confluence of the Elbow River and Bow River, as well as the grasses, plants, birds and animals that inhabit the surrounding land and water. Other squares feature Indigenous geometric patterns, beadwork and the woven Métis sash. The mural also represents the signing of Treaty 7 on September 22, 1877, by The Blackfoot Confederacy (Siksika, Kainai and Piikani Nations), the Tsuut’ina Nation and Îyârhe Nakoda (Bearspaw, Chiniki and Goodstoney First Nations). One square features a tipi, while another depicts the Métis cabin. Another square shows a Canadian Pacific Railway train, reflecting the railway’s historical significance to the area. Symbols of present-day Inglewood, including shops, dogs and bicycles, also appear throughout the mural. Scan the QR code to be directed to a digital presentation created by Simpli.AR. A multicoloured bison roams across the artwork. The Métis quilt maker displays historical photographs while traditional Métis jig dancing music plays in the background. Next stop: Walk east on 9th Avenue and turn left on 11th Street. Alternatively, you could enjoy a peaceful walk along the river path and head north when just past the 11th Street bridge. The artwork is east of the Ingelwood Parking Lot.
12 min · 1.0 km to next stop
6
Ripple
Inspired by a River Blessing and generated in consultation with the local Inglewood community and representatives from the Blackfoot and Cree Nations, this walking circle is designed to be a meaningful vantage point from which to consider the river.
Overlooking the river, the Ripple walking circle symbolizes living in harmony with nature, honouring ancestors and creating a positive legacy for future generations. Sky Spirit Studio is a family-operated urban and environmental design studio with an office in the Squamish Nation village of Slhá7an (Eslhá7an). Their practice is rooted in etiological design, Indigenous Ways of Knowing and story of place. Following extensive community consultation and engagement, site visits and a River Blessing held on April 18, 2015, Wade Baker and Mary Tasi of Sky Spirit Studio researched walking circles and river mythologies from various cultures. This walking circle is designed as a meaningful way to reflect on the river. The east entrance faces the rising sun, and seven walking pathways wind inward toward a meditative space featuring buffalo, eagle, otter and beaver motifs that represent the four compass directions and the four seasons. Four seasons: Birth: Eagle (East) Youth: Otter (South) Middle age: Beaver (West) Wisdom age: Buffalo (North) The seven paths also represent the Seven Sacred Teachings, also known as Seven Grandfather Teachings: humility, respect, truth, courage, honesty, love and wisdom.
12 min · 973 m to next stop
7
Mountie on Horseback