E. Pauline Johnson (1861-1913), also known as Tekahionwake, was a Canadian writer and performance artist of mixed Mohawk and English heritage. She gained considerable recognition during her lifetime for her poems and performances that celebrated both her Indigenous ancestry and the Canadian nation. Johnson's most famous work is the poem "The Song My Paddle Sings". It is a piece that encapsulates her connection to nature and her dual cultural identity. The poem uses vivid imagery of a canoe journey to evoke feelings of peace, freedom, and unity. Her performances of this and other poems were very popular with Canadian audiences. Johnson's work helped to promote an appreciation for Indigenous culture and identity during a time when they were often marginalised or ignored.

Information on prints made by E. Pauline Johnson is scarce. However, some background on fine art prints in general may be useful. The distinction between an original print and a reproduction is important. An original print is conceived as a print by the artist. It is created solely as a print, often in a numbered edition, and signed. Each print is made individually from a plate, stone, screen or block created for that purpose. There is no single original from which copies are made. A reproduction is a copy of a work of art initially conceived in another medium, such as painting or watercolour. Reproductions are often made using photo-mechanical means. Numbering and signing a reproduction does not make it an original print. The Professional Art Dealers Association of Canada (PADAC) has defined what constitutes an original print and a reproduction. The US Treasury Department and UNESCO have also accepted definitions of what constitutes an original print. These definitions stipulate that the artist creates the master image and approves the finished print.

E. Pauline Johnson (1861-1913) was a Canadian writer and performance artist of mixed Mohawk and English heritage. She is best known for her poems and performances that celebrated her Indigenous ancestry. While Johnson was primarily a writer and orator, not a visual artist, her performances incorporated elements of material culture. She adopted stage personas, most famously "Tekahionwake," the Mohawk princess, and used clothing to construct these characters. This involved wearing both traditional Indigenous garments and Victorian-era dress. Johnson's performance costumes were integral to her presentation. They were not simply clothing; they were tools for storytelling and identity construction. These carefully chosen garments, along with her dramatic recitations, contributed to her success as a performer. Her performances themselves can be analysed as a technique: a method of combining oratory, dress, and stagecraft to convey her messages about Indigenous identity and culture to a wide audience.

E. Pauline Johnson (Tekahionwake) was born 10 March 1861 at Chiefswood on the Six Nations reserve (near Brantford, Ontario), and she died 7 March 1913 in Vancouver. Her father was a Mohawk chief, G. H. M. Johnson; her mother was Emily Howells, an English immigrant. She began publishing poems and stories in periodicals during the 1880s. Johnson became a performance artist and writer, touring Canada, the United States, and Britain from 1892 until 1909. She performed her poetry, often wearing both Indigenous and European clothing during a single performance. Her work often explored themes of cultural identity, the natural world, and the meeting of Indigenous and European cultures. After retiring from the stage, Johnson settled in Vancouver. She continued to write, publishing Legends of Vancouver in 1911. This book collected stories from Squamish Chief Joe Capilano, as told to Johnson. She is remembered as one of Canada's most important early poets and performers.

E. Pauline Johnson's work can be viewed in several locations. In Canada, the Royal Ontario Museum in Toronto has examples. The Art Gallery of Ontario, also in Toronto, holds pieces. The Mackenzie Art Gallery in Regina, Saskatchewan, may also have works available. In the United States, several museums contain relevant pieces. These include the Metropolitan Museum of Art in New York; the Los Angeles County Museum of Art; the Minneapolis Institute of Arts; the Museum of Fine Arts, Boston; the National Gallery of Art in Washington, D.C.; the Philadelphia Museum of Art; the Saint Louis Art Museum; the Snite Museum of Art, University of Notre Dame; the Toledo Museum of Art; the University of Michigan Museum of Art, Ann Arbor; the Ackland Art Museum, University of North Carolina at Chapel Hill; and the Yale University Art Gallery, New Haven. In the United Kingdom, you can find her work at the Victoria & Albert Museum in London; the National Museums of Scotland, Royal Museum in Edinburgh; the Brighton Museum & Art Gallery; and the Wilson Centre for Photography, London.

E. Pauline Johnson was born in 1861 in Canadian. E. Pauline Johnson died in 1913, aged 52.

E. Pauline Johnson (1861-1913) was born Emily Pauline Johnson on the Six Nations reserve near Brantford, Ontario, Canada. Her father, George Henry Martin Johnson (Onwanonsyshon), was a hereditary Mohawk chief. Her mother, Emily Susanna Howells, was an English immigrant from Bristol. Johnson's upbringing was unique, bridging both Mohawk and English cultures. She spent her early years on the reserve, immersed in its traditions and stories. However, she also received a formal education that emphasised English literature and culture. This dual heritage became a defining aspect of her identity and artistic expression, informing her poetry and performances. Johnson's mixed ancestry provided her with a distinctive perspective, which she used to explore themes of identity, cultural conflict, and the relationship between Indigenous peoples and settlers in Canada. Her work often reflected on the history and experiences of the Mohawk people, as well as her own personal journey navigating two different worlds. She is remembered as a significant figure in Canadian literature, who brought Indigenous voices and perspectives to a wider audience.

E. Pauline Johnson, also known as Tekahionwake, used her platform as a poet and performer to bring attention to the injustices experienced by First Nations Peoples. She performed her own poetry and prose in Canada before visiting Britain in 1894 and 1906. Johnson's performances involved shifting between Native and English costumes. This fluidity of identity fascinated London audiences. Her insistence on performing both sides of her heritage confounded expectations of what it meant to be authentically Indian. Emily Carr was inspired to vindicate native peoples against negative views. She showed her work to contemporary natives and took pride in their acceptance of it. Georges Clutesi, an Indian artist who knew Carr, said that she made it simple for him to see how important it was to remain himself and to not change his style. Carr wanted to persuade natives that their art was worth saving. Jack Shadbolt was also inspired by Carr's work. He described the Coast Indian as the nearest symbolic mythology to hand. His interest was fanned by Carr's powerful evocations of tragedy in the dying culture of abandoned Indian villages.

E. Pauline Johnson (1861-1913) adopted the stage name Tekahionwake, after her paternal grandfather. As a recitalist of her own poetry and prose, she toured Canada before visiting Britain in 1894 and 1906. Johnson moved between her Indigenous and Canadian identities, as seen in her theatrical costumes. According to Kate Flint in *The Transatlantic Indian*, Johnson's shifting appearance distinguished her from expectations established by earlier Wild West Shows. For the first half of her performance, Johnson would dress in a mix of Native symbols, such as a buckskin dress decorated with 'fur pelts, Iroquois silver medallions, wampum belts, her father’s hunting knife, and, in time, a necklace of bear claws'. This was consistent with her identification as a member of an 'imaginary, pan-Indian nation' that encompassed all of America. For the second half, she would appear in an elegant evening gown, the image of English femininity.

E. Pauline Johnson, also known as Tekahionwake, was a Canadian poet, author, and stage performer. She had Mohawk and English heritage.

E. Pauline Johnson (1861-1913), also known as Tekahionwake, was a Canadian poet, writer, and performer. She was of mixed Mohawk and English heritage; her father was a Mohawk chief, and her mother was English. Johnson's work often explored themes of Indigenous identity, cultural conflict, and the natural world. She gained popularity for her poetry recitals, during which she would perform in both English and Mohawk attire, which allowed her to connect with diverse audiences. Her performances helped to promote Indigenous culture and challenged prevailing stereotypes. Johnson's published works include the poetry collections *The White Wampum* (1895) and *Canadian Born* (1903), as well as short stories and prose. Some of her best-known poems are "The Song My Paddle Sings" and "Canadian Born". After a long and successful performance career, Johnson retired to Vancouver, British Columbia, where she continued to write. She died of breast cancer in 1913. Her writing and performances have had a lasting effect on Canadian literature and continue to be studied today.

E. Pauline Johnson (1861-1913) was a Canadian writer and performance artist of mixed English and Mohawk heritage. She adopted the stage name Tekahionwake, after her paternal grandfather, and toured Canada and Britain reciting her poetry and prose. Johnson used her position to draw attention to the injustices experienced by First Nations people. She moved between her Indigenous and colonial identities, as seen in her theatrical costumes. During the first half of her performances, she wore a buckskin dress decorated with furs, silver, wampum belts, and a bear-claw necklace. This costume referenced popular illustrations of Minnehaha, while also identifying her as a member of an "imaginary, pan-Indian nation". For the second half, she would appear in an elegant evening gown, an image of English femininity. Johnson's shifting appearance fascinated audiences and distinguished her from earlier "Wild West Shows". Her insistence on performing both sides of her heritage confounded expectations of what was considered an authentic Indigenous person.