The CANADIAN MASTERS Series welcomes Abenaki filmmaker Alanis Obomsawin.
This week NFB documentary filmmaker Alanis Obomsawin will be visiting Ottawa as part of the CANADIAN MASTERS series presented by the Canadian Film Institute in collaboration with Carleton University’s School For Studies In Art and Culture: Film Studies.
The Canadian Film Institute’s Canadian Masters series is an annual celebration of excellence in Canadian filmmaking, featuring extensive onstage interviews, special screenings, and audience discussions with some of the greatest names in Canadian film history. In our 2016-2017 inaugural season, we are honoured to present three extraordinary Canadian masters of the moving image: Atom Egoyan (November), Alanis Obomsawin (January), and Guy Maddin (March). more about the CFI
Alanis Obomsawin, OC, is filmmaker, singer, artist, storyteller of Abenaki descent (born 31 August 1932 near Lebanon, New Hampshire). One of Canada’s most distinguished documentary filmmakers, Alanis Obomsawin began her career as a professional singer and storyteller before joining the National Film Board of Canada (NFB) in 1967.
Her award-winning films address the struggles of Aboriginal peoples in Canada from their perspective, giving prominence to voices that have long fallen on deaf ears. An Officer of the Order of Canada, she has received multiple Governor General’s Awards, lifetime achievement awards and honorary degrees. (The Canadian Encyclopedia)
THURSDAY, JANUARY 26 – Alanis Obomsawin in Person: The Interview
7:30 – 9:30 pm
Arts Court Theatre, 2nd Floor of Arts Court, 2 Daly Avenue, Ottawa
$15 (+HST) Tickets available at the door and on sale here Seating for the interview on January 26th is limited. Get your tickets early! More info here
FRIDAY, JANUARY 27 – Screening of “We Can’t Make the Same Mistake Twice” with Alanis Obomsawin in Attendance
7 – 10 pm (doors open at 6:30 pm)
Theatre at Richcraft Hall (Formerly the River Building)
FREE! More info here
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”.”
Visual Arts created by our local Indigenous Artists.
Tonight starts the first of many art openings this month in Ottawa. SAW Gallery will host Mino Bimaadiiziwin (A Good Life) Art Show. The show is part of the Aboriginal Youth Arts Entrepreneurship Program.
WHEN: Friday, January 6, 2017 @ 7 – 10 pm
WHERE: SAW Gallery, 67 Nicholas Street, Ontario
Traditional appetizers will be served through the evening as well as entertainment by various talented singing artists throughout the event.
Entrance Fee by Donation.
Come on out!
The Parfleche by David Charette, 16″ x 20″, acrylic paint.
Denesuline and Saulteaux artist Alex Janvier’s paintings depict vibrant worlds.
I believe we are all given moments in life where if we pause to be still and present we will know that we have witnessed something truly extraordinary. In the expansive space of the Great Hall of the National Gallery of Canada last night, those of us that were there had the opportunity to feel the burden of history momentarily lifted by the presence of someone who has dedicated his body, mind and soul to beauty and to the upholding of his culture.
The crowd that came out was as expansive as the space. NGC Director Marc Mayer said that he had never seen the place so full for any previous opening. The turnout illustrated how well respected this internationally known artist is and affirmed the place that Indigenous artists hold in the consciousness of the Canadian public.
At 81 years of age, Alex Janvier is a living legend. His paintings are vibrant expressions of dark emotions transformed via vivid memories of his culture that stayed located inside him despite being sent away to residential school. He spoke of his memories of women doing quill work and beading and the “special Friday from 2 to 4” where at school the children were given a few hours to paint. “It was the only time I could express what was down deep within and go back to the creator I believe in…go back to the inside of the little boy…where I wasn’t scared.” He went on to say that in his paintings “you will see what I talked about [the experience of residential school] but also the liberation from it.”
He shared these words on the same day as the US celebrate the arrival of the pilgrims on Plymouth Rock. On thanksgiving eve, in the twilight of the night fall, the backdrop of the American Embassy and Canada’s Parliament Hill was lit up and seen through the glass enclosure of the Great Hall. Ministers and MPs came out to express their admiration. An honouring song was sung. Dances performed. The word reconciliation uttered on more than one occasion.
Has Canada arrived at a new place in time? Has something changed? Perhaps reconciliation is less about a future moment to arrive at and more about a process to begin at.
Last night what we witnessed was the spiritual tenacity that comes from thousands of years of culture stretching back farther than the concept of ‘the West.’ Alex has spent his life time tapping into that “source” as he calls it. What he gave to us all was a gift, pointing to an imagined future in these troubled times. “I believe that this moment is meant for all of us to be here.”
If we accepted his gift, we experienced grace – one moment in a lifetime that has the possibility to change us all.
The exhibit runs through until April 17, 2017. More info on the Alex Janvier exhibit here.
Join curator Greg Hill in conversation with Alex Janvier Saturday, November 25 at 2 pm at the National Gallery of Canada. More info on the Facebook Event Page. Admission is FREE for all.
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.
Colten was a 22 year old man who was murdered on Tuesday, August 9. He was out for the day with friends. On the way back home they got a flat tire. They drove down a farmer’s lane to get help. They chose the wrong farm. While sitting in the back of the car Colten was shot by the farmer whose laneway they drove down. In one article I read the farmer’s wife was reported as saying “that’s what you get for trespassing” to the surviving friends.
Last week the farmer, charged with second degree murder, pleaded not guilty and was let out on $10,000 bail.
After Colten’s murder was released in the news social media was full of people posting in support of the farmer, Gerald Stanley.
1 person posted “In my mind his only mistake was leaving 3 witnesses.” That person was Ben Kautz. Kautz is (was) a councillor for Regina. He was not fired for his post that advocated for the death of 3 people. Rather, he “offered to resign” after social media responses to his post put pressure on him. Kautz’s wife was reported as saying “My husband removed his comment. I wish we could just leave it at that.”
Kautz himself said “It was a stupid thing to say. It wasn’t serious, (but) the damage is done. I’ve got to live with it.”
Why the callousness and such disregard for the lives of these young people as well as lack of grace for what the mourning family, friends and community of Colten’s must be going through? Because Colten was from Red Pheasant First Nation. Colten, as an Indigenous male, was in the wrong place at the wrong time looking for help from a bigot.
Another city councillor was reported saying about Kautz’s comments ““I think everybody says something sometimes that they regret 10 seconds after. I don’t think you’re human if you haven’t.”
Equating hate speech as something we all do? Only people with bad hearts say things like this and don’t consider the weight, the impact and the hurt those words have.
I have been in arguments with people that say Canada isn’t racist. I have had one person concede that that racism is well – “benign racism.” I am not really sure what that means as racism is never benign. Maybe it means that if that person doesn’t have a weapon that the person on the receiving end of the racism won’t be injured or even worse killed, that racism in Canada is different because the gun laws here differ from the States? Maybe Gerald Stanley’s Canadian brand of benign racism might have had different results if he wasn’t holding a gun that he felt justification for shooting because they were on his “property.”
Asinabka Film and Media Arts Festival returns to Ottawa for another year of unique programming.
This year Ottawa’s locally minded but internationally connected Film and Media Arts Festival, Asinabka, turns five. I have been attending this annual festival for the last 3 years and I am looking forward to my 4th year. I have seen it mature and grow its audience while still maintaining an important discourse with the local community of Ottawa especially regarding issues impacting Indigenous communities here on Algonquin Territory. Co-Director / Programmer Howard Adler shares that as “Asinabka Festival returns for our 5th year we couldn’t be more excited about our programming and our local and international partnerships.”
Each year the festival opens on Victoria Island at the site of Aboriginal Experiences, a beautiful location that foregrounds the Indigenous opening night film against the background of Parliament Hill and the Supreme Court of Canada – a highly symbolic vista. This year’s festival opens with Fire Song (Director Adam Garnet Jones), a film about youth suicide, sexuality, family obligations and future options.
Prior to the screening Indigenous Walks will be giving a tour that will begin at the Human Rights Monument (Elgin Street by City Hall) and end at the island where there will be a feast provided to the festival goers to share before the screening begins. Regarding the 2016 Festival programming “this is no doubt our most ambitious festival yet, showcasing more Indigenous film, media art, music, and performance than ever before, utilizing two of Ottawa’s best artist-run Centre’s for our Gallery Crawl (Gallery 101 & SAW), and continuing with our stunning traditional opening night welcome and outdoor film screening on Victoria Island!” states Howard. “There will be more delegates, filmmakers, and guests attending our festival than ever before, and there’s not enough room here to express how excited and thankful we are to host and present so much amazing art! Chi-Miigwech to everyone involved and to our faithful audience who return every year.“
Work by Geronimo Inutiq. Image provided by Asinabka.
Also this year Inuk media artist Geronimo Inutiq will have a solo show (ᐃᓱᒪᒋᓇᒍ – isumaginagu – don’t think anything of it) opening at Gallery 101 (51 Young St. Suite B). Regarding his contribution and involvement Geronimo says that Asinabka “gives us an opportunity to show and see contemporary original art works in a context that goes beyond inter-national boundaries. I am grateful and honoured to exhibit my work with video and images, and – with the Festival – help push the boundaries of what indigenous and Inuit media and art can be today.”
A little bit about the show:
How do you feel? Have you listened to your instinct today? What is your gut telling you? All the combined fields of natural and social sciences have elucidated great intellectual theories as to the nature and function of what we do and the reasons and functionality behind it. To Geronimo Inutiq, the process of artistic expression is an alternative language to all that. Guided by some sort of arbitrary intuition and abstract sense of aesthetics, he produces cultural artefacts that have been shown in galleries and museums in the context of contemporary indigenous and Inuit art exhibits and performance – both nationally and internationally. read more…
“Cowboys N’ Indians” by Alison Bremner in “Neon NDN.” Image provided by Asinabka.
“Urban Inuk” Jocelyn Piirainen is an “emerging curator with a growing interest in indigenous contemporary art. Her entry into the curatorial world began in with the first ever Indigenous Curatorial Incubator program, where she put together the “UnMENtionables” screening program and helped coordinate the “Memories of the Future” exhibition for the 2015 Asinabka Film and Media Arts Festival.” This year Jocelyn returns to Asinabka to curate Neon NDN: Indigenous Pop-Art Exhibition at SAW Gallery (Arts Court Building, 67 Nicolas St.).
From her curatorial statement:
In an article titled “Is There an Indigenous Way to Write about Indigenous Art?”, Richard William Hill recently contemplated “in purely practical terms, how would you bracket off Indigenous culture? Where do you draw the line? No more pop culture?”Had certain Indigenous artists bracketed off pop culture, Neon NDN would have been something quite different. In this Information Age, pop culture is everywhere and it’s not surprising many contemporary Indigenous artists engage with popular characters from film, television, video games, comic books, even corporate symbols and brand names. Through interacting with, reclaiming, and repurposing popular culture, Indigenous artists challenge a number of stereotypes and Hollywood tropes that have been set against Indigenous people and culture.read more…
Jocelyn states that “for this show, I really just wanted to create a sense of fun and bring in lots of colour. The theme is pop art – and for Indigenous artists, this theme isn’t quite so new as one might think.”
Both shows open on Saturday, August 13 and their will be Gallery Crawl with a FREE Shuttle bus provided. The bus will leave SAW Gallery after the 3 pm screening (OKA Legacy) wraps up. The bus will leave Gallery 101 to head back to SAW after the opening of Geronimo’s show that also includes a FREE BBQ. Neon NDN‘s vernissage will begin at 7:30 pm. Stay for the Music Night that will start at 9 pm.
From the Opening Night at Victoria Island to the closing party at Kinki Lounge (41 York St. in the Byward Market) you can find the best in contemporary Indigenous film, media and visual arts at multiple venues across the city from Wednesday, August 10 to Sunday, August 14, 2016.
World Premiere of REsolve by Circadia Indigena’s Jerry Longboat and Byron Chief-Moon this Sunday at the NAC.
The Canada Dance Festival begins this weekend at the NAC. “CDF 2016 will set the Nation’s Capital alight with challenging new ideas showcased through powerful movement and beautiful movers – all telling uniquely Canadian stories through dance.”
Sunday’s performance includes the world premiere of REsolve a collaborative work produced by Ottawa-based choreographer Jerry Longboat (www.circadia-indigena.com) and Bryon Chief-Moon. The work is a companion piece to an earlier collaboration Greed “a themed based examination of today’s exploitative stock market system and the effects of crippling corporate and personal greed. This work is a juxtaposition of Traditional Knowledge and values that maintain a living harmony with the natural environment and provides dynamic balance through “taking only what is needed”. The actions and intentions of greed carry over and compound biospheric destruction affecting the living balance of the planet. This work layers First Nations worldviews on the dissonance of agency that strips the resources from our territories and poisons the environment around us.”
REsolve “layers First Nations worldviews on the dissonance of agency as it addresses issues of de-colonization of self and homeland. Through an awakening of the individual confronting an authoritarian system set on keeping us in a increasingly dependant matrix. Resolve is taking control of your own destiny by exposing the hollow lies from leaders and officials, and challenging our present economic slavery and physiological poisoning. These are transcendent moments of realization and awakening, where one has no choice but to stand up for freedom, and mobilize the ability to act and (self)determine.”
Curator Alexandra Nahwegahbow presents an thematically strong and visually stunning show at the Âjagemô Art Space.
Consider the concepts of Decolonizing and Indigenizing. One feels heavy with past burdens, forward movement decelerated by arguments with ignorance. The other is charged with the quantum lightness of dreams. The time traveller moves forward swiftly and at the speed of light arrives back into the present with a renewed vision and the tools to construct an imagined future. To Indigenize is to banish colonization to a peripheral edge, advancing over the primitive mess to get on with the business of building improved systems that dramatically alter the landscape.
Moving around within time and the power this strategy provides for transformation is what foregrounds Temporal (Re)Imaginings, the current exhibit at the Âjagemô, Canada Council’s art space on Elgin Street in Ottawa. Curator Alexandra Kahsenni:io Nahwegahbow writes that “in Indigenous traditions, storytellers and artists frequently challenge and disrupt Western perceptions of time as a linear, progressive unfolding of events. Rather, our stories and histories exist in places where time is round, open, malleable, and can fold and fluctuate.”
The exhibit begins with Carl Beam’s impactful Burying the Ruler and sets the intention for letting go of a colonial concept of time. This exhibit also presents an imagined future. While Canada is considering what ‘reconciliation’ with the past will look like as a cultural product, many of the works in this show feel unencumbered by history
They float within the space.Clouds (Hannah Claus) hovers on a sky blue wall.
They speak of time travel.Navigating by our Grandmothers (Rosalie Favell) is set in a scenery of stars.
They alter landscapes. In Here on Future Earth Joi T. Arcand “presents snapshots of Saskatchewan towns, cities and First Nation reserves in an alternate futuristic reality where Cree is the dominant language.”
They traverse the in between space of visions finding powerful antidotes to bring back from the other side. Meryl McMaster’s Victoria “explores the artist’s bi-cultural heritage (Indigenous/European) by engaging in an extraordinary liminal reality. Rather than viewing her identity as two opposing cultures in historical conflict, she fearlessly transforms it into a site of synergistic strength.”
At a time when centres of culture tend to slot alternate narratives in with reductive simplification, as an emerging curator, Alexandra offers elegant complexity. Beyond the concepts and cosmologies embedded in the selected work the choice of the pulsating palette – hot oranges and azurite blues – plays off the predominately white space to stimulate the eye, even energize the body.
Temporal (Re)Imaginings is both potent and curative, a compelling case for a future that is (re)imagined as it is Indigenized.
Temporal (Re)Imaginings closes this weekend on Saturday, April 30. Canada Council’s Âjagemô art space is on the main floor of 150 Elgin Street. Hours of operation 7 am – 9 pm.
Below images from top to bottom: Weesahkay Jack and the Great Flood (Roy Kakegamic 2005) & clouds (Hannah Claus 2008)
Detail of clouds (Hannah Claus 2008) image by Georges Khayat, provided courtesy of artist Navigating by our Grandmothers (Rosalie Favell 2000) image courtesy of artist Other Worlds (Alex Janvier 1984), Here on Future Earth (Joi T. Arcand 2010) & Alice from the series Modern Tipi (Caroline Monnet 2008) Here on Future Earth by Joi T. Arcand (2010) Victoria (Meryl McMaster 2013) image courtesy of artist
Alexandra Kahsenni:io Nahwegahbow is Anishinaabe and Kanien’keha:ka, and a member of Whitefish River First Nation with roots in Kahnawake. She grew up just outside of Ottawa and is currently pursuing her PhD in Cultural Mediations in the Institute of Comparative Studies in Literature, Art and Culture at Carleton University. She has a strong interest in stories, oral history and Indigenous art and material culture, and believes that creativity, art and processes of imagining and art-making have the ability to change the world.
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…