More important and inspiring programming by the NAC
This winter, as part of the National Arts Centre’s programming for Art and Reconciliation, I Lost My Talk premiered. This incredible and poignant performance included the beautiful choreography of Kaha:wi Dance Theatre‘s Santee Smith and stunning visual design by Montreal’s Normal. Tomorrow evening I Lost My Talk will be part of three other orchestral works premiering as part of Life Reflected. The National Art Centre Orchestra’s Director Alexander Shelley “brought together four remarkable Canadian composers to collaborate with Donna Feore to create an immersive symphonic experience celebrating youth, promise and courage, revealed in the compelling and diverse portraits of four women.”
Tomorrow’s performance will include:
ALICE MUNRO – Dear Life with music composed by Zosha Di Castri “Dear Life” by Alice Munro, is a reflection on memory, childhood and the formative stages of life. The NAC Orchestra’s Dear Life was composed by Zosha Di Castri.”
AMANDA TODD – My Name is Amanda Todd with music composed by Jocelyn Morlock My Name is Amanda Todd tells the story of a vibrant 15-year-old who, after suffering for years from cyber abuse, spoke out against harassment and bullying on YouTube. Music composed for the NAC Orchestra by Jocelyn Morlock.
ROBERTA BONDAR – Bondarsphere with music composed by Nicole Lizée Dr. Roberta Bondar’s remarkable expertise as an astronaut, physician, scientific researcher, and photographer have been interpreted in Bondarsphere by Nicole Lizée for the NAC Orchestra through soundtrack and video.
RITA JOE – I Lost My Talk with music composed by John Estacio “I Lost My Talk” – by Mi’kmaw elder and poet Rita Joe, C.M. expresses her experience at Residential School. The NAC Orchestra’s I Lost My Talk was composed by John Estacio.
Curator Alexandra Nahwegahbow presents an thematically strong and visually stunning show at the Âjagemô Art Space.
Consider the concepts of Decolonizing and Indigenizing. One feels heavy with past burdens, forward movement decelerated by arguments with ignorance. The other is charged with the quantum lightness of dreams. The time traveller moves forward swiftly and at the speed of light arrives back into the present with a renewed vision and the tools to construct an imagined future. To Indigenize is to banish colonization to a peripheral edge, advancing over the primitive mess to get on with the business of building improved systems that dramatically alter the landscape.
Moving around within time and the power this strategy provides for transformation is what foregrounds Temporal (Re)Imaginings, the current exhibit at the Âjagemô, Canada Council’s art space on Elgin Street in Ottawa. Curator Alexandra Kahsenni:io Nahwegahbow writes that “in Indigenous traditions, storytellers and artists frequently challenge and disrupt Western perceptions of time as a linear, progressive unfolding of events. Rather, our stories and histories exist in places where time is round, open, malleable, and can fold and fluctuate.”
The exhibit begins with Carl Beam’s impactful Burying the Ruler and sets the intention for letting go of a colonial concept of time. This exhibit also presents an imagined future. While Canada is considering what ‘reconciliation’ with the past will look like as a cultural product, many of the works in this show feel unencumbered by history
They float within the space.Clouds (Hannah Claus) hovers on a sky blue wall.
They speak of time travel.Navigating by our Grandmothers (Rosalie Favell) is set in a scenery of stars.
They alter landscapes. In Here on Future Earth Joi T. Arcand “presents snapshots of Saskatchewan towns, cities and First Nation reserves in an alternate futuristic reality where Cree is the dominant language.”
They traverse the in between space of visions finding powerful antidotes to bring back from the other side. Meryl McMaster’s Victoria “explores the artist’s bi-cultural heritage (Indigenous/European) by engaging in an extraordinary liminal reality. Rather than viewing her identity as two opposing cultures in historical conflict, she fearlessly transforms it into a site of synergistic strength.”
At a time when centres of culture tend to slot alternate narratives in with reductive simplification, as an emerging curator, Alexandra offers elegant complexity. Beyond the concepts and cosmologies embedded in the selected work the choice of the pulsating palette – hot oranges and azurite blues – plays off the predominately white space to stimulate the eye, even energize the body.
Temporal (Re)Imaginings is both potent and curative, a compelling case for a future that is (re)imagined as it is Indigenized.
Temporal (Re)Imaginings closes this weekend on Saturday, April 30. Canada Council’s Âjagemô art space is on the main floor of 150 Elgin Street. Hours of operation 7 am – 9 pm.
Below images from top to bottom: Weesahkay Jack and the Great Flood (Roy Kakegamic 2005) & clouds (Hannah Claus 2008)
Detail of clouds (Hannah Claus 2008) image by Georges Khayat, provided courtesy of artist Navigating by our Grandmothers (Rosalie Favell 2000) image courtesy of artist Other Worlds (Alex Janvier 1984), Here on Future Earth (Joi T. Arcand 2010) & Alice from the series Modern Tipi (Caroline Monnet 2008) Here on Future Earth by Joi T. Arcand (2010) Victoria (Meryl McMaster 2013) image courtesy of artist
Alexandra Kahsenni:io Nahwegahbow is Anishinaabe and Kanien’keha:ka, and a member of Whitefish River First Nation with roots in Kahnawake. She grew up just outside of Ottawa and is currently pursuing her PhD in Cultural Mediations in the Institute of Comparative Studies in Literature, Art and Culture at Carleton University. She has a strong interest in stories, oral history and Indigenous art and material culture, and believes that creativity, art and processes of imagining and art-making have the ability to change the world.
Saturday, April 23 Carleton University will convene conversations on conservation
Last year I attended an engaging symposium on heritage conservation put on by Carleton University Students. Last year’s theme was Unsettling Heritage. This year the conversation will be focused on New Identities / Voices in Conservation and will pose the questions:
Whose heritage are we conserving?
Whose heritage is being unrepresented or underrepresented in the heritage conservation discourse of the 21st century?
“This theme aims to critically address missing identities and voices in the heritage field and/or highlight alternative stories and perspectives in heritage conservation.”
“In recent years, the identification and conservation of cultural heritage resources—the built environment, cultural landscapes, or intangible heritage—by heritage professionals, has needed to expand and broaden its understanding of community histories to address the plurality and the multi-narratives that exist in our communities. Events such as: the release of the Final Report on Residential Schools by the Truth and Reconciliation Commission, the Occupy movement, the protests for gender equality rights, the push for youth engagement in civic duties (voting), and the global issue of refugees and immigration, have recently highlighted some of these ignored or unknown identities and voices that exist, and which have been underrepresented or unrepresented in the field of heritage conservation.” Read more…
Online registration closes tomorrow at noon. Tickets will also be available at the venue door Mill Street Brewery, 555 Wellington Street, Ottawa.
WHERE: Mill Street Brewery, 555 Wellington Street WHEN: Saturday, April 23 from 9:00 am to 4 pm COST: $15 Students / $45 General Admission (Online Registration) $20 Students / $50 General Admission (At the Door)
Club SAW hosts Black History Month Doc & Talk in partnership with One World Film Festival.
WHAT: Screening of Invisible City WHERE: Club SAW at 67 Nicholas Street, Ottawa WHEN: Thursday, February 25 at 7 pm COST: Suggested donation is $5 for the general public & $4 for One World Arts members. **Seating is limited**
One World Arts and the One World Film Festival are marking Black History Month with a screening of the award-winning documentary INVISIBLE CITY and a post-film talk with Saide Sayah (Program Manager for the Affordable Housing Unit at the City of Ottawa) and Chelby Daigle (Community activist and long-term resident of social housing).
The evening will also feature a new Heritage Minute about Canadian civil rights icon Viola Desmond, a Nova Scotian woman who challenged racial segregation and is often referred to as “Canada’s Rosa Parks,” courtesy of Historica Canada.
INVISIBLE CITY follows the lives of two black teens from Toronto’s Regent Park neighbourhood, Kendell and Mikey, as they make the transition from adolescence to adulthood. Their mothers and mentors root for them to succeed as the teens grapple with issues of race, crime and notions of manhood and the social pressures of an environment that places them at risk.
Turning his camera on the often ignored inner city, Oscar-nominated director Hubert Davis sensitively depicts the disconnection of urban poverty and race from the mainstream. INVISIBLE CITY was the winner the Best Canadian Feature award at the 2009 Hot Docs Canadian International Documentary Festival.
Click here to join, like and share this event on Facebook!
Also, this week INTERGALACTIC NOISE:: A partnership between Black Future Month & the Art Gallery Mississauga
WHAT: Panel Discussion and Reception WHERE: Art Gallery of Mississauga WHEN: Friday, February 26 at 7 – 10 pm
“Intergalactic Noise invites a re-engagement with the concept of Black History Month, as artists, designers, and multi-media creatives explore the concept of Afrofuturism. In using the date of 3016, Black Future Month offers an entry point to imagine utopic Black realities beyond the assigned month. Rather than accepting a naïve concept of a future full of advanced technology, the featured artists instead contemplate the possibilities of an advanced humanity.
The extended cultural influence of urban space in Africa.
My childhood experience of Africa was urban. Inside photo albums wrapped in 70s textiles, I flipped through the photographs of my parent’s honeymoon in South Africa and saw images of cities and ports.
Gratefully, my adult experience of Africa wasn’t confined between a front and back cover. This time I was riding the waves of the Mediterranean towards an ancient metropolis. I arrived at the opposite end of the continent as my mother and father. From the sea the city of Tangiers stretched out before my eyes. Breathtakingly beautiful, it contained within its borders stories of commerce, trade, and cultural admixture – African, Moorish, Spanish, and French. This Moroccan city was flourishing a thousand years before the cities built by European settlers in Canada. Another trip to Africa would have me arrive by air to Nairobi with its nightclubs, bank machines and matatus. I left travelling overland by bus to the port of Mombasa, on the Swahili coast, where hundreds of years of African, Arab, Portuguese and even Chinese cultural influence made an impact on all my senses; from there I made my way to other cities – Harare, Gaborone and Johannesburg. When I recall Africa I recall urban spaces. The cities I encountered reminded me of the ones back home where people from different cultures come then go about the business of life, all the while creating new cultural expressions.
“February 1998 ceramic tile panel designed by Malian artist Abdoulaye Konaté (b. 1953) and produced by the Viúva Lamego tile factory. Trained at Bamako and Havana, Cuba, Konaté lives and works in Bamako. He was one of the 11 prominent international artists who were commissioned to produce works of art for the Oriente metro station, Lisbon, where this panel is installed.” Image by Bosc Anjou
Samito is an African born artist with the experience of living his life in port cities. From his birthplace of Maputo, Mozambique, then onto Cape Town, South Africa, he now calls the port of Montréal home. I was interested in his reflections on living in places where pluralism, within the urban setting, is the social structure and how that influences one’s artistic practice and culture production.
In our rush to celebrate diversity sometimes we discount how discombobulating the experience can be when you are the minority within the larger cultural context you inhabit. “My 11 years of living in Montreal has pushed me to think about my past identity and new identity, pushing me into a fragile place. As an immigrant you have [to face] a wall of judgement before you are accepted.” Samito goes on to express that as an artist arriving from somewhere else, people superimpose their (mis)conceptions on you as well as on your work. “Because of that I went into a profound reflection regarding who I was and who I became with immigration. I realized I was in a tangled place. Music allowed me to shape some things that reflect my present space. On one side, you want to talk about your culture and everything you have observed in life, including your past, but you still want to communicate to people in this space, now.”
For five years Samito has been working on an album that will be released Spring 2016. “When I started working on my record I went through a lot of questioning, [you realize] that when you are too ‘African’ people don’t like you. It can change you in profound ways. I started censoring myself. How do I want people to see me? This can help shape the narrative but it can make you less effective. It was a really difficult thing for me. It was part of the shaping of my own artistic persona – figuring out who I am in Canada – how I present myself as a Black man from Africa while still having an impact on how people perceive Africa.”
To negotiate, with a certain amount of grace and artistic integrity, between the roles of cultural producer versus cultural ambassador is the existential knot that newcomers have to unravel. You must keep your wits about you as your senses acutely feel the current city that surrounds you, breathing it in even if the air becomes acrid with xenophobia. If you are mindful you can apply an artist’s alchemy to the experience – producing something beautiful and solid from the confusion. With his music, Samito does just that.
During a vacation back home, Samito worked with three women from the Northern region of Mozambique whose articulate sound – Tufo, a traditional dance and music style thought to be of Arab origin – shifted aspects of his music. “It took two or three years to reflect on what I wanted.” The soundtrack of the multicultural Cape Town that he experienced while living there in his twenties is also crafted into his music. He was influenced by Shangaan electro beats. This style of music originated in the townships of South Africa and was produced by the mixing of traditional Shangaan music from Limpopo with 21st Century digital technology. The mixture, as it seems to happen with everything technology touches, stimulated the speed. Traditional Shangaan music was part of Samito’s auditory memories of childhood. The music was imported into the city of Maputo by Mozambican miners who would go to South Africa for employment. In the diversity of the city of Montréal, Samito heard new sounds that were added to his repertoire. The result is what he shares with us now, in his latest single Tiku La Hina.
Samito bestows upon his adopted city his own brand of Afro aesthetics – guiding principles that recognize the continent of Africa and the African Diaspora’s influence on the culture of cities, both historically and in the contemporary context. Samito’s cultural production is his contribution to the urban. This contribution, in it’s own way, will go on to change the rhythm of the city – not just in Montréal, but in all the cities Samito has called home in the past and the ones he will arrive at in the future.
Samito will play this coming Thursday, February 25 at the National Arts Centre on the 4th Stage, part of Black History Month.
Tickets can be purchased here & Trinity Life Rush Student Tickets here.
TRC Commissioner Marie Wilson moderates a panel of cultural provocateurs speaking on Art & Reconciliation.
“It’s time for the rest of Canada to do the heavy lifting” ~ I Lost My Talk composer John Estacio
On Thursday, January 14 the National Arts Centre hosted a panel discussion on ART & RECONCILIATION prior to the opening night of I Lost My Talk, a performance inspired by the poetry of Mi’kmaq elder and poet Rita Joe. The response to this event was tremendous. Hundreds of people swelled up the stairs from the lobby where the 100 Years of Loss exhibit on the impact of Residential Schools is installed until the end of this week. The event also drew political support. In attendance was the Prime Minister’s wife Sophie Grégoire-Trudeau, the Governor General’s wife Sharon Johnston, National Chief of the Assembly of First Nations Perry Bellegarde and former Prime Minister The Right Honourable Joe Clark. I Lost My Talk was a commission by Clark’s family for his 75th birthday. A moving and lovely gift that we all got a chance to participate in and benefit from.
Canadian writer Joseph Boyden speaks on his commission to write the libretto for the Royal Winnipeg Ballet’s Going Home Star.
It’s encouraging to see a National cultural institution take such a leadership role in implementing the Truth and Reconciliation Commission’s Calls to Action. It’s also poignantly symbolic to have a National cultural institution recognize, in the present moment, a fact that history has tried to obscure. Both the panel and the performance of I Lost My Talk opened with the National Arts Centre acknowledging that “we are on UNCEDED Algonquin territory.”
On the panel, along with Canadian writer Joseph Boyden and John Estacio, the composer for the musical score of I Lost My Talk, was Rachel Maza, “acclaimed Australian theatre director of Jack Charles V The Crown.“ I had the opportunity to attend this incredible play that delved into the impact of assimilation policies on Indigenous people in Australia. Over the course of 75 minutes Jack charmed us with his beautiful way of presenting his biography – a life full of identity confusion and much loss but also an amazing amount of grace due to Jack’s own incredible resilience. I left with many mixed emotions. Find out more about the play…
Jack Charles receives a standing ovation at the closing of his performance of Jack Charles V The Crown at the NAC.
Going Home Star opens this week in Ottawa at the National Arts Centre.
“Going Home Star – Truth and Reconciliation is the brilliant result of a star-studded collaboration between the Royal Winnipeg Ballet, award-winning Canadian author Joseph Boyden, acclaimed choreographer Mark Godden, and renowned Canadian composer Christos Hatzis. Going Home Star was ten years in the making, first envisioned by late Cree elder/activist Mary Richard and RWB Artistic Director André Lewis. Searing and sensitive, this powerfully emotional classical ballet is the deeply resonant love story of Annie and Gordon, a pair of contemporary Aboriginal young people coming to terms with a souldestroying past. Hatzis’s multi-layered score incorporates music by Inuk throat singer Tanya Tagaq (winner of the 2014 Polaris Music Prize), Steve Wood, and the Northern Cree Singers.” Read more…
The creative team and performers of Going Home Star speak at the NAC about the ballet during the Truth and Reconciliation Commission gathering in May/June 2015
Also, this weekend at the NAC is Innu author, composer and singer Florent Vollant performing on Saturday, January 30.
“born in Labrador in 1959 and grew up on a reserve named Maliotenam, east of Sept-Îles. He began his musical career in the middle of the 80s and helped to create the Festival Innu Nikamu, which, since its founding, has brought together many musicians and singers from various Amerindian nations.”read more…
Image from Have a Heart Day 2014 on Parliament Hill, Ottawa with former NDP MP for Ottawa Paul Dewar.
First Nations Child and Caring Family Society of Canada files complaint and wins after a long battle!
Congratulations to Cindy Blackstock and the First Nations Child and Caring Family Society of Canada. Today is an important moment as the Canadian Human Rights Tribunal has ruled that the Federal Government is guilty of racial discrimination against First Nations, Inuit and Métis children.
“Over and over the federal government, under former prime minister Stephen Harper, tried to stop Blackstock with Department of Justice lawyers doing all they could to have her human rights complaint dismissed.
Each attempt was defeated allowing the complaint to proceed.” Read full article on APTN
Below is the livestream of the Press Conference following the Tribunal’s announcement with Cindy Blackstock of First Nations Child and Family Caring Society of Canada and National Chief Perry Bellegarde of the Assembly of First Nations
In the fight for justice for Indigenous children Cindy Blackstock has engaged local youth. Each Valentine’s Day kids arrive on Parliament Hill to give speeches in support of their peers who have been continually denied equitable education. This popular and positive event has leveraged social media and you can find out more by following #HaveAHeartDay on twitter. You can also join this year’s gathering on Wednesday, February 10 from 10:30 – 11:15 am on Parliament Hill.
Saturday night, due the national and local popularity of A Tribe Called Red, was sold out for the NAC Presents turns 5!event.The NAC basically turned their main foyer into a night club. The effect was brilliant. The NAC definitely knows how to throw a sexy #Decolonize party.
Mehdi Cayenne was also amazing bringing a francophone presence to the event. The importance of the evening was not lost on him and he got the crowd engaged in celebrating the diversity that Canada represents – but a diversity that needs to broaden to recognize First Nations, Inuit and Métis as significant contributors of culture.
Dancer James Jones charmed the crowd during ATCR’s performance combining breakdancing moves with hoop dancing. It was clear from the crowd’s reaction that contemporary Indigenous culture is celebrated and the impact is positive.
If you missed Saturday’s event you can still take advantage of the events the rest of the week. And if you are not in the Ottawa area the Art & Reconciliation Panel Discussion moderated by Truth and Reconciliation Commissioner Marie Wilson will be livestreamed at this link here.
TUESDAY – SATURDAY (January 12 – 16 at various times): Jack Charles V The Crown “Aboriginal. Actor. Addict. Residential School Survivor. Cat Burglar. Homosexual. Jack Charles is an Australian tribal Elder and a living legend. This highly entertaining and autobiographical presentation, which includes a three-piece band, runs the gamut of a life lived to its utmost, spanning Charles’ career as an actor/musician, a lifetime of political activism, and a terrifying descent into heroin addiction and petty crime. His experience as a stolen child echoes the plight of Canada’s own Indigenous people – and his heart-warming presence, generous spirit and unswerving optimism make his journey one of resilience and reconnection. Jack Charles is a theatrical marvel.”
WEDNESDAY (January 13 from 5:30 – 6:30 pm): Rita Joe National Song Project “Students from schools in Nova Scotia and Quebec will perform music they created based on Rita Joe’s I Lost My Talk poem.”
Mi’kmaq youth from ABMHS High School, Eskasoni, Cape Breton, N.S.
Algonquin youth from Kitigan Zibi Kikinamadinan School, Maniwaki, QC
Frances Joe, the daughter of poet Rita Joe
Moe Clark, Host and Multi Media Métis Artist
Alexander Shelley, Music Director of the NAC Orchestra
Annie Smith St-Georges, Algonquin Elder
Jessica Bolduc, 4R’s Youth Movement
THURSDAY (January 14 at 6:30 pm) : Art & Reconciliation FREE & LIVESTREAM! A timely panel discussion on art in the context of reconciliation moderated by Dr. Wilson, Commissioner, Truth and Reconciliation Commission of Canada, and featuring panelists Rachael Maza, acclaimed Australian theatre director of Jack Charles V The Crown, Joseph Boyden, author of the award-winning novels Three Day Road and The Orenda, and composer John Estacio. The panel discussion will be introduced by the Right Honourable Joe Clark. The event will be live streamed at nac-cna.ca/live. Guests to attend the event include Their Excellencies David Johnston the Governor General of Canada and his wife Sharon Johnston, Mrs. Sophie Grégoire-Trudeau, and National Chief Perry Bellegarde of the Assembly of First Nations.
THURSDAY – FRIDAY (January 14 – 15, 8 pm & 7 pm): I Lost My Talk “World premiere of I Lost My Talk, composed by John Estacio and performed in Southam Hall by the NAC Orchestra under the direction of NAC Music Director Alexander Shelley. This immersive, multidisciplinary work – based on the poem by the late Mi’kmaw elder and poet Rita Joe – was commissioned for the NAC Orchestra to commemorate the 75th birthday of The Right Hon. Joe Clark by his family, and features an extraordinary film produced by Barbara Willis Sweete.”
Legacy of Hope exhibit looks the impact of the Residential Schools opens tomorrow at the National Arts Centre
And finally from now until the end of the month the exhibit 100 YEARS OF LOSS: The Residential School System in Canada will be available for viewing from 2 pm onwards each day.
“This bilingual exhibition, created by The Legacy of Hope Foundation, raises awareness and understanding of the history and legacies of the Residential School System in Canada. Through archival photographs and documents, first-person testimonies, and evocative works of art, the exhibition encourages us to learn about this difficult history, to recognize its legacies in our country today, and to contribute our own acts of reconciliation.
This edition of C Magazine is on Citizenship and features:
“Derrick Chang, Victor Wang on the 12th Bienal de la Habana, Yaniya Lee on citizenship and Canadian art criticism, Krista Belle Stewart, Scott Benesiinaabandan, David Garneau and Cathy Busby responding to Canada’s Truth and Reconciliation Commission Report, and Justin A. Langlois, Amanda Shore, Rinaldo Walcott, Leah Snyder, Elle Flanders, Tamira Sawatsky and Adrian Blackwell questioning citizenship at the Venice Biennale; plus an artist project by Tyler Coburn. Also included are reviews of exhibitions and books, as well as our regular sections On Writing by Critical Art Writing Ensemble, Inventory by Bambitchell and Artefact by acqueline Hoang Nguyen” Read more…
To purchase or download the digital version click here.
From the Creative Time Summit Venice 2015 website:
“As the Director of the American Indian Program and Associate Professor in the History of Art and Art Departments at Cornell University, Jolene Rickard is primarily interested in issues of indigeneity within a global context. Her recent projects include serving as the advisor for “Sakahàn: 1st International Quinquennial of New Indigenous Art” at the National Gallery of Canada in 2013, conducting research through a Ford Foundation Research Grant in 2008-11, participating in New Zealand’s Te Tihi Scholar/Artist Gathering in 2010, and co-curating the inaugural exhibition for the Smithsonian’s National Museum of the American Indian in Washington, D.C. in 2004. She is from the Tuscarora Nation (Haudenosaunee). Her book,Visualizing Sovereignty will be published in 2016.”
Watch all the Creative Time Summit 2015 Venice presentations here.