Final day to see Transactions by curator Cara Tierney at CUAG
This amazing show “celebrating queer experiences” closes today after it’s run at the Carleton University Art Gallery (CUAG) in Ottawa. Curator Cara Tierney has created a space that pulsates with jubilation. The artists flesh out what it means to be deeply connected to your community as well as deeply loved by your community. The work in the show positions joy and empathy as resilience. Beautiful portraits of the Queer and allied community are created through visuals, words, and performance. Transactions is a visually stunning show that includes in situ graffiti by Ottawa based artist Kalkidan Assefa that wraps around corners softening the space “as the show unfolds in the visual embrace of this unswerving ally.” This is a not-to-be-missed exhibit!
WHEN: Sunday, February 12 from 1 – 5 pm WHERE: Carleton University Art Gallery, St. Patrick’s Building, Carleton University,
“Celebrating queer experiences that emerge from transactional creative exchanges, the artists in TRANSACTIONS define, refine, redefine, exult themselves today for the (a)genders of tomorrow, linking communities and challenging ideas of authenticity, allyship, belonging and being.”
Images from top to bottom: Portrait of Kama La Mackerel; graffiti by Kalkidan Assefa with work by Elisha Lim in the background; work by Elisha Lim; more work by Elisha Lim, graffiti by Kalkidan Assefa.
J’net AyAyQwaYakSheelth – Nuu-chah-nulth Textile Artist, Cedar Bark Weaver, and Indigenous Outreach and Learning Coordinator at the ROM
For the Winter 2017 semester with support from its Aboriginal Education Council, the School of Fashion at Ryerson University developed Aboriginal curricula for its mandatory first year course FSN 223: Fashion Concepts and Theory, instructed by Dr. Ben Barry, Associate Professor of Equity, Diversity & Inclusion. A lecture was researched and delivered by Ojibway MA Candidate Riley Kucheran, and a panel event featured Angela DeMontigny, Métis Fashion Designer; Sage Paul, Setsuné Indigenous Fashion Incubator; and J’net Ayayqwayaksheelth, Nuu-chah-nulth Textile Artist, Cedar Bark Weaver, and Indigenous Outreach and Learning Coordinator at the ROM. ‘Fashioning Reconciliation’ is a conversation about Truth & Reconciliation, Cultural Appropriation and Indigenizing the Fashion Industry.
Manif Solidaire de la Marche des Femmes à Washington DC. La rencontre d’Ottawa est une de plusieurs événements ayant lieu au pays et sert aussi de lieu officiel de regroupement au Canada.
Parcours: Débute au Monument aux Droits de la personne, se poursuivra via Laurier pour se conclure àu Bronson Centre où auront lieu des présentations à l’intérieur.
Le 21 janvier 2017, nous marcherons.
Nous marcherons en solidarité avec les centaines de milliers de femmes à Washington alors qu’elles investiront la rue de leurs buts communs et de leurs voix distinctes.
Nous exprimerons notre solidarité envers celles et ceux faisant partie de rassemblements semblables partout au Canada et dans le monde pour soutenir les droits des femmes en tant que partie intégrante du respect des droits de la personne. Nous nous unissons contre les paroles, les attitudes et les actions qui causent des clivages telles que nous avons observé au cours des événements de l’année dernière.
Nous affirmerons haut et fort notre soutien envers les droits des femmes de tous horizons.
**ESPRIT DE LA MARCHE & CONSIDÉRATIONS ÉTHIQUES**
Cette marche non-violente, inclusive et intersectionnelle a pour objectif de manifester en faveur des droits des femmes – toutes les femmes – peu importe leur appartenance ethnique, leur croyances religieuses, leur affiliations politiques, leur identité de genre cis/trans ou leur orientation sexuelle. La violence, qu’elle soit pour ou contre la droite, la gauche, le centre ou les indépendants, n’est pas la bienvenue et ne sera pas tolérée. Nous sommes résolument engagées envers le féminisme et l’inclusion sociale.
Femmes et filles, Personnes transgenres ou au genre fluide
Hommes et garçons
Personnes vivant avec un handicap
Personnes oeuvrant au sein d’un métier du sexe
Toutes les communautés religieuses
Défenseurs du changement climatique
Toute autre personne voulant offrir son soutien
Cet événement a été mis sur pied suite à l’élection de Trump à la Maison Blanche en réponse aux attitudes, messages et actions discriminatoires, incitant à la haine, qui ont émergé pendant la campagne et qui continuent d’être véhiculés par les discours politiques partout au monde. Nous reconnaissons que même au Canada, il reste beaucoup de chemin à faire. La violence conjugale, l’harcèlement en milieu de travail, le sexisme à l’école et la dénégation des victimes d’agressions sexuelles représentent tous des réalités d’ici qu’il presse toujours de solutionner. Cette marche servira de plateforme où les femmes les plus marginalisées de notre pays pourront s’exprimer et se faire entendre.
À ce jour, aucun pays au monde n’a encore atteint l’égalité entre les sexes, mais cela ne signifie pas que nous devons y renoncer. Nous ne tolérerons aucune discrimination ni aucune victimisation des femmes, ni aucune violation des droits des femmes, que ce soit par des mots, des actions ou des politiques. Nous ne permettrons pas que nos droits durement gagnés soient floués et nous continuerons notre quête d’une égalité intersectionnelle et substantielle!
“Assez égales”, ça ne suffit pas!
Nous espérons que nos frères, pères, fils, maris et autres alliés masculins marcheront à nos côtés — les droits des femmes font partie intégrante des droits de la personne!
Cet événement n’est que le début. Unissons-nous. Soyez solidaires.
Image: Oo Aqpik “Crown for Sedna” 2016. Provided by Studio Sixty Six.
Countering celebrations of nationalism with alternate narratives.
Graduating just last year from Carleton University with a Masters in Art History, Rose Ekins has already made her mark on the Ottawa art scene with her ambitious programming at Studio Sixty Six, a commercial gallery located off of Bronson Avenue. Gallery owner Carrie Colton trusted Rose’s vision allowing her the opportunity to consider how a commercial gallery could also play a role in creating a space for art that wasn’t just about saleability but also about provoking tough questions. “I was able to carve out a mandate for myself” and that mandate includes diversity not only in the media that artists work in but more importantly cultural diversity and the stories that get communicated through the work.
In an effort to offer a counter-narrative to the stories of nationalism that will be getting lots of air time in the 2017 celebrations of Canada’s Sesquicentennial, Rose has curated KANATA 150? a show that questions what the celebrations are about and who the celebrations are for. Featuring predominantly Ottawa based artists, KANATA 150? is “a nod to the origin of the country’s name,” and “presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”
Image: Barry Pottle “Creeping South.” Provided by Studio Sixty Six
One of these artists is Barry Pottle, whose work documenting the Urban Inuit experience has previously been featured on Mixed Bag Mag. Also, the work of fellow Inuk, artist Oo Aqpik, will be presented in this show that roots Studio Sixty Six’s 2017 provocative programming that will include emerging artists Florence Yee (Menu of Exoticism) and Kosi Nnebe (Coloured Conversations) later on in the year. Originally from Nunavut, Oo is “well known for her roles in the Inuit language programs in television, radio and recently a feature film documentary, Arctic Defenders.” Like Oo, the artists of KANATA 150 are working in the capacity of activists and ambassadors of culture. Their work is about communicating to Canadians that it is a great risk if Indigenous perspectives, on where this country is headed, are not moved to the centre of all national debates.
KANATA 150? opens tomorrow evening and promises to be an engaging way to start a critical year in Canada’s history. ARTISTS:
WHEN: Thursday, January 12 @ 6 – 9 pm WHERE: Studio Sixty Six, 202-66 Muriel Street, K1S4E1
Free – Bar & Food
Physically accessible building
This event is taking place on the unceded territory of the Algonquin Anishinabeg Nation
“The City of Ottawa and Government of Canada are celebrating the 150th anniversary of the Dominion of Canada with events, promotions, and other ambitious goals to increase Canadian pride and patriotism. These festivities are promoting both the history and future of the nation state confederated in 1867. Canada is a country built from settler colonialism, which leaves the question of how the Indigenous peoples of this land are meant to participate in these celebrations. KANATA 150? (January 12 – February 18), a nod to the origin of the country’s name, presents seven emerging Indigenous artists reflecting on the nature of “Canada 150”.”
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.
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…