Cris Derksen Trio. Image provided by Ottawa CHAMBERFEST.
#ChamberFringe promotes performances that reach new audiences for Classical music.
Ottawa’s CHAMBERFEST has begun and as part of the #ChamberFringe programming Chamberfest is bringing Cree / Mennonite cellist Cris Derksen to the stage. The mandate of the The Ottawa Chamber Music Society (OCMS) is to “make classical music accessible to everyone.” Acts like the Cris Derksen Trio fit the bill perfectly with Cris “weaving her classical training together with electronics and her Aboriginal ancestry” and then combining the performance with “master hoop dancer Nimkii Osawamick and percussionist Jesse Baird.” (read more…)
Cris is also known for her collaborative work with other Indigenous artists like Buffy Sainte-Marie, Leanne Betasamosake Simpson, Tanya Tagaq and A Tribe Called Red. I have seen Cris perform on numerous occasions, most recently with Cree / Dene / Irish performer Iskwé. As a cellist, Cris’ compositions add rich depth and resonance to the music of all of the artists she works with. With the addition of Indigenous hoop dancer Nimkii Osawamick Tuesday’s performance promises to be a special night for CHAMBERFEST.
“Electrified and covered in flecks of gold, you exit gasping for air.”– Weird Canada
This weekend the city of Ottawa hosts two talented women. Filmmaker Alethea Arnaquq-Baril will be screening her doc “TUNNIIT: Retracing the Lines of Inuit Tattoos” at Carleton University, a CIRCLE(Centre for Indigenous Research, Culture, Language & Education) event.
WHEN: Friday, October 7 @ 6-8:30 pm WHERE: St. Patrick’s Building (Behind the Residence Commons) Rm 100 at Carleton University, 1125 Colonel By Drive, Ottawa, ON K1S 5B6, Paid Parking Lot P6
On Saturday night singer / songwriter Iskwéwill be performing at the Mercury Lounge along with cellist Cris Derksen.
WHEN: Saturday, October 8 Doors Open @ 8pm Show starts @ 9pm WHERE: Mercury Lounge
$12 Advance Tickets. More at the Door.
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.