The composition and colour scheme of this early piece illustrate the distinct influence of traditional Anishnaabe themes and aesthetics, a direction highly recommended by one of Morrisseau's close associates and mentors, Selwyn Dewdney.

During the late 1950s, Dewdney undertook a project to map, document, and decipher the pictographs discovered on the Canadian Shield. His investigation incorporated interactions with local inhabitants to gather insights about the themes portrayed at the 290 sites he inspected in Ontario. Norval Morrisseau, knowledgeable in Anishinaabe oral traditions and shamanism, was among the informants that Dewdney connected with. The two established a rapport in 1960, spurred by a shared enthusiasm for modern art. Recognizing Morrisseau's artistic prowess, Dewdney was committed to introducing Morrisseau's art to southern markets. He suggested that Morrisseau adopt an earthy colour spectrum and portray his figures in a rudimentary style reminiscent of the rock paintings.

For works of a similar vintage, see: Norval Morrisseau, Moose Dream Legend, 1962, illustrated in

Carmen Robertson, Norval Morrisseau: His Life & Work, (Toronto: Art Canada Institute, 2016), p. 40.