CITIES, CULTURAL PRODUCTION & AFRO AESTHETICS: Mozambican / Canadian musician SAMITO performs at Ottawa’s National Art Centre


Sea Point and Lion’s Head, Cape Town, South Africa. Image by David Stanley.

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.

FOLLOW SAMITO:

twitter @Samitotv

Instagram @Samitotv

Facebook

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www.samito.tv

CLOSING THIS WEEKEND: Micah Lexier @ The Power Plant & Beat Nation @ Musée d’art contemporain de Montréal


Image of Micah Lexier and More Than Two courtesy The Power Plant.

Polar opposites in the continuum of contemporary art. 

Beat Nation and One, and Two, and More Than Two lie at the contradictory ends of Contemporary Canadian Art and within Micah Lexier’s One, and Two, and More Than Two show more contractions occur. In his video piece and Two refuse is moved around on a clean slate. This is Micah’s collection of cardboard cast-offs that he has curated based on similarities. He carefully choreographs the debris. This is my favourite work in the show. I will miss its precise impreciseness.


Image of Micah Lexier and Two courtesy The Power Plant.

In and More Than Two Micah has gathered together a slice of Toronto’s art community. He visited the studios of over 100 artists working in Toronto and took something from each place. The controversy with this collection is around the issue of whether it is a proper survey of Toronto’s current art scene as it is a selection of predominantly white artists. And More Than Two is the antithesis of how most people regard Toronto – the quintessential Multi Culti city. And for all the material diversity encased in the vitrines the process of categorization renders the work even more homogenous. And More Than Two seems less about diversity and collaboration and more about curation based on a chosen aesthetic. Regardless, the effect is stunning.

Micah’s way of organizing randomness carries over into his own solo work One where what seems like an  arbitrary selection of his work notes becomes contained within the even flow of frames spaced without pause across four walls.


Image of Micah Lexier and More Than Two courtesy The Power Plant.

Without a doubt this entire show is visually impactful. It is ordered disorder, asymmetrical symmetry, and the visual polarization of black juxtaposed with an abundance of white space. The immediate evaluation tends to be that this exhibit reads as sterile but upon closer inspection it is anything but. What I notice about this show is it slows people down as they meander through the vitrines and then onto the other rooms all the while mesmerized. People stop to take a long look because as you walk through it you get the sense that each object, each page, each cardboard cutout has been chosen with reverence. And therein lies the warmth.

Provocative and engaging One, and Two, and More Than Two closes tomorrow, Sunday, January 5.


Beat Nation: Art, Hip Hop and Aboriginal Culture
from Musée d’art contemporain de Mtl on Vimeo.

The content of Beat Nation (also at the Power Plant earlier this year) brings us to the intersection where the choice around aesthetics is motivated by agency – a re-mixing of the conscience soul of Hip Hop as applied to the right to embody one’s Indigeneity in a contemporary context. 

“Beat Nation:  Art, Hip Hop and Aboriginal Culture describes a generation of artists who juxtapose urban culture with Aboriginal identity to create innovative and unexpected new works that reflect the realities of Aboriginal peoples today.” read more…

This show is also about a multi-layered experience using music, dance, and mixed media to indigenize the white cube gallery space. 

Beat Nation is an example of another beautiful show that challenges what is contemporary Canadian Art. Originally an online exhibition, it has been hugely successful as it has traveled back and forth across the country at various venues. Each iteration of the show brings in a new arrangement of artists with the MACM show including the following:

Jackson 2bears, KC Adams, Sonny Assu, Bear Witness, Jordan Bennett, Raymond Boisjoly, Corey Bulpitt & Aime Milot, Kevin Lee Burton, Raven Chacon, Dana Claxton, Dustinn Craig, Nicholas Galanin, Maria Hupfield, Mark Igloliorte, Cheryl L’Hirondelle, Duane Linklater, madeskimo, Dylan Miner, Kent Monkman, Marianne Nicolson, Skeena Reece, Hoka Skenandore and Rolande Souliere

Both of these exhibits showcase how Canadian  Art is coming into its own a powerful contemporary voice.

ONE, AND TWO, AND MORE THAN TWO
The Power Plant
231 Queens Quay W, Toronto, ON M5J 2G8
Tuesday–Sunday 10–5 PM
Free admission

BEAT NATION
Musée d’art contemporain de Montréal
185 Rue Ste-Catherine Ouest, Montréal, QC, H2X 3X5
Tuesday to Sunday: from 11 a.m. to 6 p.m.
$12 adults

RECOMMENDED READING
Museum Pieces: Toward the Indigenization of Canadian Museums
“Ruth Phillips argues that these practices are “indigenous” not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere.” Read more…

Inside the White Cube: The Ideology of the Gallery Space
“….O’Doherty was the first to explicitly confront a particular crisis in postwar art as he sought to examine the assumptions on which the modern commercial and museum gallery was based. Concerned with the complex and sophisticated relationship between economics, social context, and aesthetics as represented in the contested space of the art gallery, he raises the question of how artists must construe their work in relation to the gallery space and system.” Read more…


Beat Nation artist Geronimo Inutiq (madeskimo), curator Candice Hopkins and Beat Nation artist Dylan Miner speak on moving between the past and the present in contemporary Indigenous art in Canada and America.

CONTEMPORARY ABORIGINAL ART: Resources for All The Talent

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdropKaha:wi Dance Theatre performing The Honouring at Fort York, Toronto. Image by Leah Snyder for Mixed Bag Mag.

Experiencing “The Honouring” by Kaha:wi Dance Theatres

It was a mad dash to Fort York from the MacMillan Theatre just coming out of Feng Yi Ting, the contemporary Chinese opera directed by Atom Egoyan as part of Luminato ’13.

I was determined and praying to the Gods & Goddesses of Transport that they would remove all obstacles one may encounter when riding the TTC.

I made it. A little late but it was worth the sprint up to Fort York from Bathurst, camera bag and all.

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdrop

What a stunning venue! The open air, the smell of the fires, the grass covered hills, old rock walls and the cityscape in behind. The context was beautiful but the visual juxtaposition points to an unfortunate history. The Honouring is:

“a site-specific multi-disciplinary performance honouring First Nations warriors of the War of 1812, featuring Onkwehonwe families who sacrificed to protect Haudenosaunee sovereignty, culture and land. Audiences have the opportunity to understand the complexity of the War of 1812 through the experiential lens of First Nations, offering a human face to our history.  All First Nations took part in the War of 1812 as sovereign Nation allies to Britain. 
The Honouring pays homage to their personal sacrifices and belief in what was the best for their family, community and future generations.”  More info…

Here’s a sampling of just how stunning the work of Kaha:wi is:

“Kaha:wi Dance Theatre (KDT) is one of Canada’s leading contemporary dance companies, recognized for its seamless fusing of indigenous and contemporary dance into a compelling signature choreographic vision.”  Read more…

As part of a continuation of MIXED BAG MAG’s post on National Aboriginal Day and the challenge put out there to Canadians to find out more about contemporary Aboriginal art here are some MIXED BAG MAG recommendations to get everyone started.

All of these organizations, programs, artists, and exhibitions work to dismantle the legacy of stereotypes that has stopped the dominant culture from seeing the dimensionality that we all carry within us as creative human beings as well as offer a critical voice regarding not only Canada’s First Peoples but Indigenous Peoples from around the world.

The below list focuses on Aboriginal arts in Canada and predominantly new media /visual artists. Stay tuned for a part two that will  include much more!

ARTS ORGANIZATIONS AND GALLERIES THAT FOCUS ON CONTEMPORARY FIRST NATIONS, MÉTIS, INUIT & INDIGENOUS CULTURE

ImagineNATIVE Film & Media Festival (Toronto)
The imagineNATIVE Film + Media Arts Festival celebrates the latest works by Indigenous peoples at the forefront of innovation in film, video, radio, and new media. Each fall, imagineNATIVE presents a selection of the most compelling and distinctive Indigenous works from around the globe.”  More info…

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Planet Indigenus (Toronto)
Since 2004, Planet Indigenus, in partnership with Brantford, Ontario’s Woodland Cultural Centre, has explored such ancestry and cultures through Indigenous artists. Through a 10-day, international, multidisciplinary arts festivals attended by over 700,000 people… Planet IndigenUS has raised public awareness, broken stereotypes and fostered a cross-cultural dialogue between Canadians.”  More info…

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Woodlands Cultural Centre (Brantford)
“The Woodland Cultural Centre was established in October 1972 under the direction of the Association of Iroquois and Allied Indians upon the closure of the Mohawk Institute Residential School. The Centre originally began its focus on collecting research and artifacts to develop its library and museum collections.  More info…

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Installation in art gallery
Installation by Roland Souliere at Urban Shaman. Image from www.rolandsouliere.com.

Urban Shaman (Winnipeg)
“Urban Shaman Contemporary Aboriginal Art is a nationally recognized leader in Aboriginal arts programming and one of the foremost venues and voices for Aboriginal art in Canada.”  More info…

Young naked females wrapped in Hudson Bay blanket holding a teddy bear between the two of them.
Blanket 1 by Keesic Douglas part of Close Encounters exhibit at Urban Shaman. Image from www.artsforall.ca.

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Installation in gallery of patchwork flags and dolls
Work by Natalie Ball at Grunt Gallery. Image from www.grunt.ca.

Grunt Gallery (Vancouver)
Grunt is an artist-run centre founded in 1984 in Vancouver, BC, with a vision to be an international renowned artist-run centre furthering contemporary art practice. Through the exploration of our diverse Canadian cultural identity we offer innovative public programming in exhibitions, performances, artist talks, publications and special projects.” More info…

Gallery room full of canvases painted in West Coast art style
Work by Andrew Dexel at Grunt Gallery. Image from gruntarchives.tumblr.com.

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AbTec (Montreal)
AbTeC is a network of academics, artists and technologists whose goal is to define and share conceptual and practical tools that will allow us to create new, Aboriginally-determined territories within the web-pages, online games, and virtual environments that we call cyberspace.”  More info…


Work by Skawennati Fragnito of AbTec. Image from www.facebook.com/skawennati.

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Large painting by Isaac Narciso Weber of OCADU’s Indigenous Visual Culture Program, exhibit as part of  Planet Indigenus Festival. Image by Leah Snyder for Mixed Bag Mag.

Indigenous Visual Culture Program @ OCAD U (Toronto)
The program prepares students to engage in complex and evolving global discourses in Aboriginal history, art history and contemporary art practice across a range of expressions, material and media.”  More info…


Work in foreground by Tara Bursey from OCADU’s Indigenous Visual Culture Program, exhibit as part of Harbourfront Centre’s Planet Indigenus Festival. Image by Leah Snyder for Mixed Bag Mag.

CURRENT & RECENT EXHIBITIONS CONTEMPORARY FIRST NATIONS, MÉTIS, INUIT & INDIGENOUS CULTURE

Logo that says Indigenous And Urban

Indigenous & Urban @ The Museum of Civilization (Ottawa)
OPENING TODAY!
“Live. Engaging. Diverse. Inspired and challenged by contemporary urban life,Canadian Indigenous artists address issues of identity and stereotypes through humorous and thought-provoking works. Indigenous and Urban is a summer-long program featuring visual and media arts, music, dance, film, readings and interactive workshops.”  More info…

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IN THE FLESH (Ottawa)
“In the Flesh examines the hierarchical relationship between humans and animals within a cultural and museological context, and investigates colonial politics, as well as issues of gender as they relate to the mastery of the natural world…In the Flesh grants us visual access to nature while calling into question the politics of representation. As the guest catalogue essayist Ariel Smith notes: “With In the Flesh, the Ottawa Art Gallery participates in a city-wide indigenization of gallery spaces to coincide with the National Gallery of Canada’s Sakahàn: International Indigenous Art exhibition. This indigenization does not exist within a vacuum, and we must reflect on the ways in which these acts of claiming space respond to and are in conversation with both the current and historical politics of Indigenous cultural sovereignty.””
More info…

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Sakahàn: International Indigenous Art (Ottawa)
CURRENTLY RUNNING UNTIL SEPT 2, 2013
“Sakahàn—meaning “to light [a fire]” in the language of the Algonquin peoples—brings together more than 150 works of recent Indigenous art by over 80 artists from 16 countries, celebrating the National Gallery’s ongoing commitment to the study and appreciation of Indigenous art. This exhibition is the first in an ongoing series of surveys of Indigenous art. The artworks in Sakahàn provide diverse responses to what it means to be Indigenous today. Through their works, the artists engage with ideas of self-representation to question colonial narratives and present parallel histories; place value on the handmade; explore relationships between the spiritual, the uncanny and the everyday; and put forward highly personal responses to the impact of social and cultural trauma. The artworks range from video installations to sculptures, drawings, prints, paintings, performance art, murals and other new, site-specific projects created specifically for this exhibition.”  More info…


Cover of Sakahan Catalogue. Image from www.amazon.com.

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Border Cultures Part One: homes, land (Windsor)
2013

“Border Cultures: Part One (homes, land) brings together artists working locally and nationally with those exploring these issues in Ireland, Mexico, Palestine to list a few. Using drawing and printmaking, sculpture and photography, video and sound-based installations, artists in this exhibition develop nuanced critiques and perspectives on questions of nationhood, citizenship and identity in the border-lands” More Info…


Installation by Dylan Miner. Image by Frank Piccolo on wcontemporaryart.wordpress.com.

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Contemporary Aboriginal art in a large gallery space with white wallsInstallation view of Beat Nation: Art, Hip Hop and Aboriginal Culture at The Power Plant, Toronto, December 2012 – May 2013. Photo by Toni Hafkenscheid.

Beat Nation (Toronto)
2013
Beat Nation describes a generation of artists who juxtapose urban youth culture with Aboriginal identity to create innovative and unexpected new works that reflect the current realities of Aboriginal peoples today. ”  More info…

Contemporary Aboriginal art in a large gallery space with white walls
Installation view of Beat Nation: Art, Hip Hop and Aboriginal Culture at The Power Plant, Toronto, December 2012 – May 2013. Photo by Toni Hafkenscheid.

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Poster for Fashionality featuring the work of Dana Claxton.

Fashionality @ The McMichael (Kleinberg)
2012
“Fashionality” is a newly coined term that refers to the visual culture and semiotics of dress and adornment. Combining the words “fashion,” “personality,” and “nationality,” it reflects the interplay between clothing, identity, and culture.”  More info…


Poster for Fashionality featuring the work of KC Adams.

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Art work by Luke Parnell. Image by Leah Snyder for Mixed Bag Mag.

Not So Fast | NSF (Toronto)
2012
“Objects tell a story and reveal a history through the way they are made. In the current state of late-capitalism, value is often measured in terms of speed and efficiency. NOT SO FAST | NSF invites a reconsideration of time and place to present different kinds of value. This exhibition brings together works by seven Indigenous artists who address the many products and by-products of consumer society.”  More info…


Work by Tania Willard. Image by Leah Snyder for Mixed Bag Mag.

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AboDIGITAL (Kelowna)
2012
“In aboDIGITAL, Mi’kmaw artist Jordan Bennett examines the interface of audio-visual technologies and the internet with his First Nations heritage. Bennett’s art deftly blends such seemingly disparate elements as Mi’kmaq worldview, hip hop culture, ceremonial practice and graffiti aesthetics, creating dynamic works that express the fluidity, vitality and continuity of Aboriginal cultures in the present.More info…

Painting of a google search with the words "why are native americans' and the resulting drop down of resultsPainting by Jordan Bennett. Image from www.alternatorcentre.com.

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Artist Sonny Assu with Decolonize Me curator Heather Igloliorte.

Decolonize Me (Ottawa)
2011
“Decolonize Me features six contemporary Aboriginal artists whose works challenge, interrogate and reveal Canada’s long history of colonization in daring and innovative ways. Deliberately riffing on the title of Morgan Spurlock’s film, the pop-cultural phenomenon Super Size Me (2004), the exhibition’s title emphasizes the importance of recognizing the role of the individual within larger discussions of shared colonial histories and present-day cultural politics.” More info…


Decolonize Me show at Bishop University. Image from www.ubishops.ca.

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Image from www.ago.net.

Inuit Modern @ The AGO (Toronto)
2011
The exhibition considers how the Inuit have coped with and responded to the swift transition from a traditional lifestyle to one marked by the disturbing complexities of globalization and climate change.  More info

& The Inuit Modern Symposium
“Inuit artists and thinkers reflected on this statement during a three-part online symposium..
. It explored the questions: What are the current issues affecting Inuit art today and how has modernity complicated life in Canada’s far North? How has Inuit art changed the way that Canada and Inuit are viewed internationally?”  More on…

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Image from the cover of Close Encounters Catalogue.

Close Encounters: The Next 500 Years
2011
“A banner project for Winnipeg Cultural Capital of Canada 2010 Program comprised of a large-scale exhibition focused on presenting Indigenous art from around the world. This is an incredibly important show, featuring the work of a number of renowned Canadian Indigenous artists, complemented by some of the most innovative and engaging work drawn from Indigenous populations across the globe” More info…


Work by Pudlo Pudlat. Image from www.closeencounters.ca.

Aboriginal dance troupe performing outside on hills at night with city of Toronto as backdropKaha:wi Dance Theatre performing The Honouring at Fort York, Toronto. Image by Leah Snyder for Mixed Bag Mag.