S02E05: Dr. Tiffany Prete: Beadwork Methodology

Indigenous Insights: An Evaluation Podcast

In this episode Tiffany shares her journey to develop an Indigenous beadwork methodology, how beading shows up in her work, and the stories she has witnessed as a community embedded scholar.

CW: Discussion of Indian Residential Schools

Bio

Dr. Tiffany Prete is a member of the Kainai (Blood Tribe) of the Siksikasitapi (Blackfoot Confederacy), located in the Treaty 7 area. She is an assistant professor in the Department of Sociology at the University of Lethbridge. Her program of work consists of implementing the Truth and Reconciliation Commission’s Calls to Action on the Blood Reserve.

Dr. Prete’s background is in educational policy studies, specializing in Indigenous Peoples education.She completed her master's of education and doctor of philosophy in education at the University of Alberta.

Her area of expertise includes: Indigenous secondary retention rates within the public school system, Blackfoot historical research, impacts of colonization, intergenerational trauma, and Indigenous research methodologies. In her spare time, she is a Native American beadwork enthusiast, and published a research paradigm grounded in an Indigenous worldview that is guided by Native American beadwork.

Resources from this episode

Prete, T. D. (2019). Beadworking as an Indigenous Research Paradigm. Art/Research International: A Transdisciplinary Journal, 4(1), 28–57. https://doi.org/10.18432/ari29419

Prete, T. (guest curator). (23 Sept 2023 – 3 Mar 2024). Stolen Kainai Children: Stories of Survival. Galt Museum & Archives. Lethbridge, AB. https://www.galtmuseum.com/exhibit/2stolen-kainai-children-stories-of-survival

Walter, M. and Andersen, C. (2013). Indigenous Statistics: A Quantitative Research Methodology. Routledge. https://www.routledge.com/Indigenous-Statistics-A-Quantitative-Research-Methodology/Walter-Andersen/p/book/9781611322934

The transcript from this episode can be found here.

These episodes in Season 2 have been made possible through support from Canada Council for the Arts. I am grateful for their support!

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