Arts and Culture
Main article: Culture of Saskatchewan See also: Tourism in Saskatchewan- Museums and galleries
- Norman MacKenzie Art Gallery
- Mendel Art Gallery
- RCMP Heritage Centre
- Saskatchewan Western Development Museum
- Artist-run centres
- PAVED Arts
- Artists
- Joe Fafard, sculptor
Canadian television sitcoms Corner Gas and Little Mosque on the Prairie are both set in small Saskatchewan towns. The novels of W. O. Mitchell, Sinclair Ross, Frederick Philip Grove, Guy Vanderhaeghe, Michael Helm and Gail Bowen are also frequently set in Saskatchewan, as are children's novels of Farley Mowatt. The English naturalist "Grey Owl" spent much of his life living and studying in what is now Prince Albert National Park.
The Arrogant Worms' song "The Last Saskatchewan Pirate" about a disgruntled farmer who takes up piracy on the namesake river mentions various parts of the province such as Saskatoon, Regina and Moose Jaw. Popular Québécois band Les Trois Accords recorded a song in French called "Saskatchewan" on its first album, Gros Mammouth Album. It was the third single of that album and met moderate success in French Canada. The region is also referenced in the titular Buffy Sainte-Marie cover "Saskatchewan", by British Band Red Box; it was released as a single in 1984 and a reworked version appeared on their 1986 début album The Circle & the Square.
The Saskatchewan Roughriders are the province's only major professional sports franchise, and are extremely popular across Saskatchewan. The team's fans are also found to congregate on game days throughout Canada, and collectively they are known as "Rider Nation".
In 2006, the founder of One Red Paperclip, Kyle MacDonald, ended his trading-game after swapping a movie role in the film Donna on Demand for a two-story farmhouse in Kipling, Saskatchewan.
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Famous quotes containing the words arts and, arts and/or culture:
“I won’t undertake war until I have tried all the arts and means of peace.”
—François Rabelais (1494–1553)
“As far as the arts and the sciences are concerned, the German mind appreciates most highly that which it does not understand of the latter, and that which it does not enjoy of the former.”
—Franz Grillparzer (1791–1872)
“... we’ve allowed a youth-centered culture to leave us so estranged from our future selves that, when asked about the years beyond fifty, sixty, or seventy—all part of the average human life span providing we can escape hunger, violence, and other epidemics—many people can see only a blank screen, or one on which they project fear of disease and democracy.”
—Gloria Steinem (b. 1934)