This study uses the Centennial Celebrations of 1967 and Expo 67 to explore how religion informed Canadian nation-building and national identities in the 1960s.

Who’s Minding the Story? examines the trajectory of the United Church of Canada since its heyday in the mid-1960s. Jeff Seaton argues that the denomination accepted the criticisms leveled at it by proponents of secular theology in the 1960s and made sweeping changes to its practices, its presentation of the Christian story, and its engagement with the world. Seaton argues that these “adjustments,” which continue to exert strong influence in the denomination today—as witnessed in the approaches of influential contemporary United Church leaders John Pentland and Gretta Vosper—have seriously weakened the United Church’s Christian identity and contributed to its decline. Engaging the work of Canadian philosopher Charles Taylor in his magisterial volume A Secular Age, Seaton questions the assumptions that undergird secular theology. The book concludes with an invitation to the United Church to make a course correction by reengaging with the Christian tradition while maintaining its commitment to social justice, in a formulation Seaton names “progressive orthodoxy.”

Folk art emerged in twentieth-century Nova Scotia not as an accident of history, but in tandem with cultural policy developments that shaped art institutions across the province between 1967 and 1997. For Folk’s Sake charts how woodcarvings and paintings by well-known and obscure self-taught makers - and their connection to handwork, local history, and place - fed the public’s nostalgia for a simpler past. The folk artists examined here range from the well-known self-taught painter Maud Lewis to the relatively anonymous woodcarvers Charles Atkinson, Ralph Boutilier, Collins Eisenhauer, and Clarence Mooers. These artists are connected by the ways in which their work fascinated those active in the contemporary Canadian art world at a time when modernism – and the art market that once sustained it – had reached a crisis. As folk art entered the public collection of the Art Gallery of Nova Scotia and the private collections of professors at the Nova Scotia College of Art and Design, it evolved under the direction of collectors and curators who sought it out according to a particular modernist aesthetic language. Morton engages national and transnational developments that helped to shape ideas about folk art to show how a conceptual category took material form. Generously illustrated, For Folk’s Sake interrogates the emotive pull of folk art and reconstructs the relationships that emerged between relatively impoverished self-taught artists, a new brand of middle-class collector, and academically trained professors and curators in Nova Scotia’s most important art institutions.

Rebellious youth, the Cold War, New Left radicalism, Pierre Trudeau, Red Power, Quebec's call for Revolution, Marshall McLuhan: these are just some of the major forces and figures that come to mind at the slightest mention of the 1960s in Canada. Focusing on the major movements and personalities of the time, as well as the lasting influence of the period, Canada's 1960s examines the legacy of this rebellious decade's impact on contemporary notions of Canadian identity. Bryan D. Palmer demonstrates how after massive postwar immigration, new political movements, and at times violent protest, Canada could no longer be viewed in the old ways. National identity, long rooted in notions of Canada as a white settler Dominion of the North, marked profoundly by its origins as part of the British Empire, had become unsettled. Concerned with how Canadians entered the Sixties relatively secure in their national identities, Palmer explores the forces that contributed to the post-1970 uncertainty about what it is to be Canadian. Tracing the significance of dissent and upheaval among youth, trade unionists, university students, Native peoples, and Quebecois, Palmer shows how the Sixties ended the entrenched, nineteenth-century notions of Canada. The irony of this rebellious era, however, was that while it promised so much in the way of change, it failed to provide a new understanding of Canadian national identity. A compelling and highly accessible work of interpretive history, Canada's 1960s is the book of the decade about an era many regard as the most turbulent and significant since the years of the Great Depression and World War II.

Did Canada come of age in the 1960s, or does it remain a British country?

Examining cases such as the introduction of the Maple Leaf to replace the Canadian Red Ensign and Union Jack as the national flag, Champion shows that, despite what he calls Canada's "crisis of Britishness," Pearson and his supporters unwittingly perpetuated a continuing Britishness because they - and their ideals - were the product of a British world. Using a fascinating array of personal papers, memoirs, and contemporary sources, this ground-breaking study demonstrates the ongoing influence of Britishness in Canada and showcases the personalities and views of some of the country's most important political and cultural figures. An important study that provides a better understanding of Canada, The Strange Demise of British Canada also shows the lasting influence Britain has had on its former colonies across the globe.