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.
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.
Mixed Bag Mag joins Artists & Curators from Canada at the Venice Biennale.
Mixed Bag Mag has been invited by The Power Plant Contemporary Art Gallery in Toronto to participate in the Creative Time Summit 2015 at the Venice Biennale. The Creative Time Summit’s theme this year is “Curriculum” and “throughout the Summit, conversations on curriculum will examine the social, infrastructural, administrative, and private conditions under which knowledge is produced and intertwined with social contracts.”
Mixed Bag Mag’s coverage will focus on how art has the potential to change the way we engage with social and political issues. With the appointment of Nigerian curator Okwui Enwezor as the head curator, this year’s Biennale has taken on a more political tone. He is the first African to be in this position. He has pushed the discussion around immigration and economy using the vehicle of art. I will be exploring his curatorial approach to engaging with the intersections of art, politics and commerce.
10 Artists from Canada will also be attending along with The Power Plant Delegation.
• Adrian Blackwell (Ontario)
• Deana Bowen (Ontario)
• Carole Condé and Karl Beveridge (Ontario)
• Jen Delos Reyes (Manitoba)
• Elle Flanders and Tamira Sawatzky, of Public Studio (Ontario)
• Justin Langlois (British Colombia)
• Duane Linklater (Ontario)
• Nadia Myre (Quebec)
Thank you to The Power Plant for this opportunity. Also thank you to each of organizations that made it possible for this trip to happen! Thanks to Galerie SAW Gallery in Ottawa for their support.
I’ve tried to write this post many times. Every time another man or woman is killed by the police and the news comes up on my feed. Another friend, usually a Black friend, sharing, yet again, a sickening story.
I am going to try and write about how it makes me feel as someone who isn’t black but has loved ones who are. I am going to breakdown what happens to my body – the taste of fear that starts to hit the back of my mouth, the hot tingling that runs from my feet up my spine. My mind goes to a place that I can’t explain, it’s primal, and my ability to offer myself some sort of logic ceases. Even inside my own head there here is no passage out. I stop thinking and my body takes over. I panic wondering how the hell I am going to protect my loved ones.
What if they have a moment where they are pushed too far and that tension breaks costing them their life? Will others be around to intervene on their behalf? As we have already seen that often doesn’t even matter.
That’s my body’s reaction. And so what is the reaction of the parents, wives, husbands, and children who find out, that at the hands of someone whose job is to serve and protect, their loved one’s life has been taken? Their bodies must sink into a spot they will never fully recover from. And if they are Black themselves, they have to continue to go out into a world that has proven it’s hostile. There is no way they can reconcile this. Not everything happens for a reason and has a silver lining if you just look hard enough. Things happen because there are systems in place that allow for racism to continue despite the fact that slavery, in North America, has legally ended. Things aren’t in the past because the mechanisms, social structures and economic drivers that positioned slavery as acceptable are still in place.
Andrew Loku. The most heartbreaking thing I read was a friend of Andrew’s who cried out that he survived war in Sudan to be killed by police in Canada.
It’s happening here folks. Close to home.
Do you have someone in your family who is Black? What about your favourite teacher? Or your high school sweetheart? A good friend, your dentist, your therapist, the great neighbours you grew up beside? If these people matter to you what will you do to protect them?
I brought my body to the Black Lives Matter Toronto Die-in for Eric Garner back in December. And who did I see there? Black people.
For all the talk of how Multicultural our society is and for all the families I see that are multi-racial I wondered where were all the people whose cousins are Black, whose friend or lover or business partner is Black? Where were all the people who don’t have to carry skin colour as a burden? Why aren’t they here to help share lighten that burden for the people they care for?
How does this craziness end? By non-Black bodies saying enough – by standing their embodied with a physical presence in the moment to say I am here committed to this cause. Let those being targeted know that you get it that there is a hatred for Black bodies and that even in saying BLACK BODIES it allows a way for us to distance ourselves. Yes, all lives matter but at this time Black Lives are the ones at risk. So what are you going to do?
Because I want you to help protect my loved ones. I want you to help be the buffer that creates a circle of safety around the people I care about who need to be protected.
I want you to show up to Black LIves Matter events because when everyone shows up, not just those who are targeted, that will be how we change this thing.
This just came through my feed:
“For all you crying about this damn lion while it’s open season on black people but remain silent… I see you.” ~ Dayna Danger
Don’t be that person.
#BlackLivesMatter Tonight in Ottawa
Friday, July 21 at 8:22 pm
Vigil for Sandra Bland
More info on the Facebook Event Page
The Truth and Reconciliation Commission’s Walk for Reconciliation Ottawa, Rideau Hall Ceremony for Survivors and Buffy Sainte-Marie.
There is always that one little girl, at whatever march or demonstration I am attending, that grabs my attention. I begin to follow along to her skips and steps in an effort to come close to the lightness she contains in her little being. She is at once a promise but also a ghost of all the other little spirits who came before her, with similar promise, but who didn’t make it.
It’s been a few weeks now since the Truth and Reconciliation Commission had their final series of events here in Ottawa closing the process of investigating and documenting the Residential School experienceon generations of Indigenous children in Canada. Much has been written and said about the TRC. As I attended the events each day I came to the realization that what I witnessing was going to best be expressed without the use of words so here I deliver a message through the images of women. Throughout the four days I ran into many friends and made some new ones. One thing was clear, that despite the heaviness of what we were participating in, there was a lightness contained inside each of the women who you see here and that lightness will continue on as a promise for a different type of tomorrow.
Below are women, both Indigenous and non-Indigenous, who are putting their energies into ensuring this country will be accountable to the children lost and to the children yet to arrive.
“BlakCollectiv invites you to join us in our Black Lives Matter March. We will be meeting at 5:00pm in front of the U.S. Embassy, 490 Sussex Dr. on May 30th 2015. We will be marching in remembrance of the Black lives lost to police brutality, including cis and trans black women.
We would like everyone to join us in this march to shed light to the issues that our communities are currently facing, and to let the world know that we will not be silent!
This is a peaceful protest so feel free to bring your own posters, family and friends to support. However , we do ask that any organizations that attend to please refrain from using this march as a promotional opportunity. This march is meant for healing and remembering the lives lost, do not come with intentions to disrespect this message.
Allyship: an active, consistent, and arduous practice of unlearning and re-evaluating, in which a person of privilege seeks to operate in solidarity with a marginalized group of people. Allyship is not an identity—it is a lifelong process of building relationships based on trust, consistency, and accountability with marginalized individuals and/or groups of people.”
SUNDAY MAY 31th Truth and Reconciliation Commission “Walk for Reconciliation”
WHEN: 11 am program begins & 12 pm starts WHERE: The Walk will start from École secondaire de l’Île, 255 rue Saint-Rédempteur Street in Gatineau (next to the Robert Guertin Arena, where there will be parking) and the walk will end at The Walk will end at Marion Dewar Plaza (Ottawa CIty Hall), 110 Laurier Ave. West.
SHUTTLE BUSES FROM TORONTO & MONTREAL: Round trip buses for youth depart from downtown Toronto @ 6:00 am & Montreal @ 8:00 am and will depart home for Toronto & Montreal @ 6PM
“The Walk for Reconciliation is designed to transform and renew the very essence of relationships among Aboriginal peoples and all Canadians. It sounds so simple, but just the act of gathering and walking and sharing our stories can join us all in a shared commitment to creating a new way forward in our relationships with each other. Our future depends on being able to simply get along, respecting each other for the unique gifts we bring.
On May 31, we will walk together in Ottawa to express our determination in rebuilding the relationships among Aboriginal peoples and all Canadians. Join Us.”
Oh my! Where does one start?! First let me say this. There is nothing boring about Ottawa. So let’s just put that “it’s the city that rolls up the sidewalks at night” myth to rest. Just when I think I might get a breather from events the Writers Festival ends by seguing this city into another festival celebrating the arts – The National Arts Centre’s Ontario Scene. “Imagine 600 Ontario artists, from all disciplines, performing in the national spotlight on the stages of Ottawa/Gatineau: that’s Ontario Scene.”
The biggest limiting factor to Ontario Scene is that my body only allows for me to be in one place at one time. I may have to settle for 300 Artists, 30-ish events and maybe 1 less day.
I have already clocked two events with back to back nights at Carleton University Art Gallery for the Opening and Artist Walk Thru of the current exhibit “Human Nature.” This show “presents fourteen contemporary Ontario artists whose works look at the state of the natural world and our impact on it.”
Images by Leah Snyder for Mixed Bag Mag.
Graffiti Boxman Project. Photo Flips BSC. Kwende Kefentse.Credit James Park Photography.
“Century Song is a live performance hybrid showcasing the extraordinary Canadian soprano NEEMA BICKERSTETH. A radical revisioning of the recital form from one of Canada’s most exciting theatre companies, it is part classical song, part dance, part projection, and entirely theatrical.” Find outmore…
Digging Roots. Raven Kanatakta and Shoshona Kish. Photo Ratul Debnath.
DECLARATION is a great Ontario Scene initiative that will be running from April 29 to May 3.
“DECLARATION is a celebration of Indigenous peoples’ right to engage in the creation and evolution of arts and culture, as asserted in Article 11 of the 2007 United Nations Declaration on the Rights of Indigenous Peoples. Created by Toronto-based ARTICLE 11, DECLARATION is an immersive, live, sound and image installation and performance-creation lab. It offers the rare opportunity to witness established Indigenous artists mid-process as they take risks and explore new approaches and collaborations in a responsive, interdisciplinary environment.”
Read more about the full DECLARATION programming here.
Santee Smith. Image by Red Works.
John Morris, NAC Executive Chef
Also, on the menu, literally, is food – the best of what Ontario has to offer in the culinary arts.
On Monday night:
“le café presents a WINEMAKER’S DINNER that showcases and complements the delightful wines of Pelee Island, Canada’s oldest and most southerly wine region. For this special occasion, National Arts Centre Executive Chef JOHN MORRIS will prepare a sumptuous five-course menu with all-Ontario ingredients, and every course will be paired with the finest varietals that Pelee Island has to offer. Winemaster MARTIN JANZ, of Pelee Island Winery, will be in attendance.”
On Tuesday night:
“Experience the innovative and mouth-watering creations of more than a dozen top chefs from across the province as they vie for the $10,000 top prize in the ONTARIO CULINARY CHALLENGE. Each chef will prepare uniquely Ontario small plates, using a selection of 100% local and regional meats, cheeses, fruits, and vegetables. With the support of Wine Country Ontario, chefs will be partnered with Ontario wineries to produce the perfect food-wine pairings, which attendees can sample throughout the night. Rub elbows with chefs, sommeliers, and media, sample some of the province’s finest wines, and cast your vote to award the first-place prize for the very best of the best in Ontario’s culinary arts.”
Alright, time for a 2nd shot of espresso and I will be ready to go.
Looking at the typography of a city through an Indigenous lens can fracture what we think we know. Chorography is the act of “describing or mapping a region.” The chorography of our cities effectively maps multiculturalism but underneath the Little Italys and Chinatowns original place markers have been trampled under the foot of many a newcomer.
Recent headlines have pointed to Winnipeg as being one of the most racist cities in Canada. For the urban Indigenous population in Winnipeg the city, whose name is derived from the Cree word win-nipi, is marked with anxiety. Marvin Francis was a playwright, author, visual artist and poet from Heart Lake First Nation and his experience of living on the “Urban Rez,” as he referred to Winnipeg, formed itself into a book titled City Treaty: a long Poem.
I was being followed
so I took my usual back alley route
trash can trails
make ’em get their feet dirty
but it was no use
you cannot shake a clown
that mask sees all
we begin the treaty project
we needed money we wrote
on the back maize flake boxes expensive
knows ever since sky ripples
mingles clown city native
write new treaty cost heap big money
the clown surveys post/city/modern/after treaty/after
lawyer = life
finds the reality:
As a teenager, moving off his reserve to the city, Marvin developed a complex relationship with Winnipeg.
“The urban Aboriginal experience is dependent upon the circumstances of the individual, and speaking in general terms is always dangerous, but I think it is a fair statement that, for the average Native who comes from the Rez, the city contains a spectrum that ranges from new possibilities to that social monster, crack.” Read more…
It’s hard to know where you are standing when the original place markers become impossible to find. But they are still there for those who are tenacious enough to search. Sometimes names hint at the histories that lay just below the surface of maps made for our ‘modern’ times.
tkaronto (Kanien’kehake), onitariio (Wyandot)
Where the trees are standing in the water, the beautiful lake
Counter-mapping is a term used to refer to the intentional use of mapping methodology and technology such as GIS, cartography and geomatics to make visible how dominant power systems have used maps as a way to assert control over territories often for the purpose of resource extraction and/or settlement.
Beyond the legal applications counter-mapping combined with visual ways of expressing space are being used by artists as a way of marking places with counter-narratives.
Sarah Yankoo “is Algonquin, Irish, Hungarian, Romanian and Scottish and edge walks between the bush and the city that gathers in Toronto.” While in York University‘s Environmental Studies program she discovered the poetry of Marvin Francis in a class titled Indigenous Literature, Survival and Sovereignty and for her, the earth moved. Her response was to become one of the tenacious ones who seeks to uncover what some have tried to make us forget. Her photographic work is about creating an image bank demonstrating that in urban spaces a counter-mapping movement is taking place – graffiti tagging, arts activism, and even random formations seem to be giving us a message.
In underpasses, subway stairs and skyscrapers Sarah finds markers that signify we may be at the moment before a seismic shift is about to go down. The ‘Urban Rez’, as Indigenous populations explode, can become a place of renewal and a city, like Toronto / Tkaronto is capable of flexing intuitively – as though it remembers. The shape of the map may not be changing, but the rigid borders of colonial mindsets shift to create a dynamic that will forever change the emotional contours of a city.
Top image of Haida artist Corey Bulpitt’s mural. Bottom image Métis symbol replicates on subway stairs. Both by Sarah Yankoo.
Sarah has also found a way to continue the work that Marvin started by “writing her own treaty poems while exploring the piece [City Treaty] as an installation work and political engagement piece.” For the University of British Columbia’s exhibit Claiming Space: Voices of Aboriginal Youth at the Museum of Anthropology she contributed City Treaty Manuscript. (view City Treaty Manuscript image above)
“Claiming Space: Voices of Urban Aboriginal Youth looks at the diverse ways urban Aboriginal youth are asserting their identity and affirming their relationship to both urban spaces and ancestral territories.” Read more…
KIMIWAN ‘ZINE‘s SIXXX edition featured Sarah’s treaty poem push that bush as well as her work titled your X mark (pictured below)
KIMIWAN ‘ZINE is a quarterly publication that showcases words + art from emerging + established Indigenous, First Nations, Métis, and Inuit writers + artists. Kimiwan is independently published by a collective of Indigenous artists, writers, students + community members.
Kimiwan was started by Joi T. Arcand and Mika Lafond in summer of 2012.”
Top image X marks an urban spot. Bottom image peace and moccasins. Both images by Sarah Yankoo.
The Revolution will be Indigenized.
Marvin, who passed away in 2005, wrote of Toronto:
“Winnipeg, with its high Aboriginal population, is one place where you can walk downtown and meet other Aboriginals. Regina is like that, too, but a city like Calgary or Toronto has few Aboriginals visible downtown.”
In Toronto First Nations, Métis or Inuit populations can become invisible, absorbed into the multicultural mix but as the city becomes more inquisitive about Indigenous histories and contemporary realities after the earth moved during Idle No More, the Toronto of Marvin’s recollection is rapidly changing. A growing Indigenous presence comprised of artists, activists and academics is drafting a new city treaty with their work. This isn’t just taking place behind the institutional walls of universities and museums – their work spills out into the streets.
During the summer of 2013 Ryerson professor Hayden King (Anishinaabe from Beausoleil First Nation on Gchimnissing) along with artist and educator Susan Blight (Anishinaabe from Couchiching First Nation) embarked on an intervention under the name Ogimaa Mikana (Leader’s Trail in Anishinaabemewin). In different locations in downtown Toronto street signs and memorial plaques were subtly counter-mapped by placing Indigenous names and text over the ones put in place by the operating Governments of Canada. Spadina was changed to Ishpadinaa and a plaque was covered at Queen’s Park with the words:
With round dances taking place inside shopping malls and pow wows outside on University campuses even the rhythm of the city has changed.
Sarah also uses music as a way to infuse urban streets with Indigenous vibrations. She makes mouth bows out of branches she searches for when out in the bush. Inspired by the music of Buffy Sainte-Marie as well as A Tribe Called Red she also performs and is often remixing the recordings of her mouth bow on her iPad.
This coming Saturday she will performing alongside Skookum Sound System for Native Women in the Arts Catalyst Series hosted with the BOLD As Love Collective at the Musical Gallery, Toronto. Collectives like BOLD As Love, with their spoken word and musical performances, showcase the plurality of Indigenous voices fleshing out a deeper meaning of diversity.
The words of our lost languages have hidden meaning And while business talks a level playing field Native landscapes can contain asphalt back onto our feet As the land itself invents our soundscape (read Sarah’s full treaty poem Edgewalker Remix below)
Counter-mapping and marking alternate meanings into the urban space becomes a therapeutic act. Time to dig down into the bedrock to excavate those solutions.
We all walk these edges uncertain
On border slippery
Between dirt poor
And filthy rich
Between the bush and city
Between sandy hot beach laughter
& heart breaking tears crying in the snow
We point out the edges that cut off our mind
Invisible borders stronger than barbed wire
Cement our paths to our edge walking ways
To lost children
& a Trail of Beers
When all you really want is to do is just go home
Play in a garden where pedals do not bite
Where the fingers fold in prayer
Where the smile heals eyes
Burnt by too much evening
For the young
& The old experienced love that still dares
The smoke is white and the crackle is electric
So pull your thoughts of others from history into today
And we all emerge from
Actual treaty lines
into the native-aboriginal- First Nation- last chance Indian status- cuz you went
trapping that day universe
The words of our lost languages have hidden meaning
And while business talks a level playing field
Native landscapes can contain asphalt back onto our feet
As the land itself invents our soundscape
What words describe agony of kids torn away
Language ILL legal
Of a circle of a people with their hearts in the fire
spirits in the electric smoke
& Minds in the crackle with knowledge for
To those treaties smouldering and collecting our dust
To loop the difference in times zoned
Flash present to a disguise that fools nobody’s god
Flash back again and again over and under and through the flashing
To the territory as large as the land itself
Reach the borders and the sounds that fit the land contours
And while the rivers wash from the inside and the prairie undulates from the Canadian
Shield up one side of the Rockies and down the Mackenzie. Remember there is no
linear in the bush, and the city only thinks it does. so you can finally figure out that the
land is owned only by our children and never by us
Argue/bitch/question/probe/tear apart/challenge/discuss until everyone is sick of it
Then do it again
For you must remember what the people went through
Above images of Sarah Yankoo by Leah Snyder for Mixed Bag Mag.
EDITOR’S NOTE: Sarah is rocking a jacket by Toronto based Dene designer Sage Paul and boots by Métis owned company Manitobah Mukluks. You can support Indigenous designers by signing a petition against DSquared’s #DSquaw collection from Milan Fashion Week at Change.org. The petition asks that Dan and Dean Caten apologize for their actions and as Canadians donate the profits from their collection to an organization that supports the rights of Indigenous women here in Canada. Click here to sign.
Listen to Sage Paul speak on the issue to Metro Morning’s Matt Galloway here.
Last night at Pecha KuchaKevin Yuen Kit Lo of LOKI (Jay Wall’s partner in crime for the show opening tonight in the Junction) asked me how I knew Jay. I couldn’t recall the exact moment of our meeting but I also don’t remember a time when his presence wasn’t somehow on the periphery of my own investigation on how best to support and promote ‘Toronto the Good\ through an alchemic mix of community building, design thinking and iconic visuals.
I was probably first aware of his presence through his work. Jay’s baby is STUDIO JAYWALL a “Toronto-based team specializing in creative direction and graphic/interactive design for social, culture, environmental and city-building initiatives.”
I liked that this guy was using his creative powers for good and that he understood how beautifully designed visuals could motivate people to change – even encourage an activist spirit!
“Let the Dead Man Rise” t-shirt design by Jay with custom handlettering for Toronto folk musician Joe Zambon.
Jay Wall and Sean Martindale at Pecha Kucha, telling the story of the cARTographyTO ad takeover project.
“The type ‘TBCo.’ stands for the Toronto Brick Company which was historically based at the Brick Works. I live near the Don Valley, and I love visiting the Brick Works. It’s also interesting to encounter bricks like this when walking the shore of Lake Ontario, across town from the Brick Works. It’s not uncommon though to find these. Many of the old bricks that the city was built with have been turned to rubble and used as fill to expand the edge of the city out into the lake.
Besides the charm of holding a worn building block of Toronto with old type on it, the letters ‘TBCo.’ take on new meaning for me now. I read them as “To Be Continued” – a reminder that the story of our city is constantly being written, and that we have an important part to play in that. What is the future city that we want? How will graphic design – and decisions as seemingly small as choosing a typeface – help us to get there?”
These are the types of questions that informed STUDIO JAYWALL and LOKI ‘s upcoming show at Cut The Cheese, one of the newest restaurants in the Junction. Reading/Writing the Junctionopens tonight as part of Toronto Design Offsite but will continue on display until February 28th.
“In a rapidly changing neighbourhood, how does the past meet the future? Through the documentation, re-imagining, and re-composition of vernacular storefront signage, lettering and typography, we present a visual commentary on the changing face of the Junction. We look at how the old and new co-exist – what stays and what gets left behind – in an attempt to spark a conversation about hopes for the Junction’s future.”
Another artifact Jay brought along was the Jane Jacobs pin he always showcases somewhere on his person. Toronto loves their Jane! When I moved to Toronto my (re)introduction to the city I thought I knew from growing up close by was the unknown stories uncovered through Jane’s Walks around the city.
“I always wear Jane on my jacket or bandana. I like having her company as I’m riding, walking, or working in the city. She’s a powerful icon of citizen-led city-building (especially for Torontonians), and the triad of intelligence, love, and resistance.”
The story behind the “W” and why Jay decided to bring it speaks to the ethos of Jay’s way of working.
“This is an artifact from my York/Sheridan Design undergrad class grad show exhibition “YSDN 2010.” The “W” pointed to a table of work created by students whose last names started with W (that’s me). I didn’t actually design this, it’s a typeface that was custom designed by my classmate Jonathon Yule for the exhibition. It’s a simple reminder of my roots and how I’m part of the collective – like how the W is just one of 26 letters in the alphabet, but no other letter can do the job of the W. In fact, one of the slogans of our show was “The whole is the sum of its parts.” This idea relates to my studio’s work, in that we do projects that contribute to the collective good of society.”
Another example of Jay’s love of typographic expression is this shirt produced by STUDIO JAYWALLfor the band Currents.
“We’ve all heard that money doesn’t grow on trees. That was true only until we made this illustration for Ottawa-based post-punk band Currents. The hand-lettered band name fuses into the roots of a money-bearing tree, whose character suits the aggressiveness of the music. We printed the 2-colour illustration onto t-shirts and posters, which have been a hit with fans across North America.”
As designers we are constantly scanning our surroundings to take in and then synthesize what we see. The hundreds, possibly thousands of hours, I have spent walking through Toronto has made me understand it better and helped me find its patterns as well as its anomalies. Jay’s way of scanning the city is on his bike. A passionate advocate for a bike-friendly Toronto, Jay is a member of Cycle Toronto and collaborated with the Urban Repair Squad on “street art pieces drawing attention to cycling issues in the city.”
I like that Jay’s way of living is his way of working. They are one in the same. I would say that the most important (although unintentional) artifact of Toronto design that Jay brought along was his bike. Cycling “gives me a ground-level perspective on the city that informs my work. With my studio working a lot on sustainable city-building projects, where environmental and social issues intersect, we get to advocate for bike infrastructure in our own visual way.”
No doubt those future hours that Jay spends engaging with the city while on wheels will bring us more wonderful visuals that may someday become someone else’s artifacts for good design in Toronto!