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.
This week Gord Downie premieres his project The Secret Path at the National Arts Centre and on CBC
I had the opportunity to attend the premiere of The Secret Path this past Tuesday at the National Arts Centre. It was not an easy event to get through. Gord Downie along with illustrator Jeff Lemire have created a work that invokes discomfort and deep pain – as it should.
Chanie (Charlie) Wenjack was a young Anishinaabe boy from Marten Falls First Nation. He was only one of 150,000 children that were taken from their parents and placed into residential schools often thousands of kilometres away. Far in physical and emotional distance, a large percentage of these children, an estimated 6000, never returned home.
The Wenjack family was present at the NAC and has been a part of this project to bring awareness not only to the past but also to the present – many Indigenous teenagers must leave their community to attend high school. Having high schools on all reserves would allow for kids to stay in their home communities. This is part of the message of Pearl Wenjack, Chanie’s sister, who shared with the audience at the NAC her memories of her little brother and her hope for his legacy.
Along with the production of The Secret Path video and album a foundation (The Gord Downie & Chanie Wenjack Foundation) has also been established to raise money for projects that promote opportunities for cross-cultural dialogue between Non-Indigenous and Indigenous communities. In the spirit of reconciliation, as Gord Downie says “It’s time to get started folks, we had the last 150 years, now we have the next.”
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.”
As a teenager, I was saving my grocery store pay cheque to get to concerts like Fishbone and Red Hot Chilli Peppers at venues such as the Concert Hall in Toronto. I remember seeing The Tragically Hip around the same time. A friend, an early and super enthusiastic fan, convinced me to go a with her. It was a local venue (The Highlands in Cambridge, Ontario) and the ticket price was dirt cheap. If I recall, it was 1989. They had just come out with their album Up to Here and were gaining lots of buzz in alternative music circles. There probably wasn’t more than 300 people in the bar that night but they played as tight as they did in Kingston at their final concert and Gord Downie moved around on stage like his pants were on fire. I was impressed. This band had presence for sure and you could tell they were about to get big. At the time, The Hip wasn’t necessarily my kind of music but I came to realize Gord Downie was my kind of man – a solid, compassionate and politically astute person who stands behind his convictions. And so, because I am a big fan of the person he is, I tuned into CBC to participate, along with so many others across the country, in witnessing an act of grace.
Last night people experienced the stellar human being Gord is. His affection and love for his band mates came through with the closeness of their body language – the way they embraced each other at the end of each set and before yet another encore. By the end of the night it was clear to everyone, if you didn’t already know, that the Hip’s frontman is an exceptional storyteller. Sometimes cryptic, other times unconcealed, whether he takes his audience deep into a mystery or documents a moment in history his songwriting sets up a scene for the listener. All can enter in and feel the emotion he evokes with words and notes. And those emotions he sings of are complex filled with longing, doubt, courage, truth, frustration as well as joy.
And so it was fitting and symbolic that this man who has protested against corporate energy giant Enbridge (Rock the Line), donated hundreds of thousands of dollars to environmental organizations (WaterKeeper) and performed in support of an Indigenous community in crisis (Attawapiskat First Nation) would confront his audience with the complicated, emotionally loaded story of Canada at a historical moment when so much anger, confusion and shame is rising to the surface. Along with those darker emotions we are also seeing goodwill and empathy. Hearts are opening.
Online, in real time, I watched my Facebook start to percolate with feeds of friends thankful that he took this very heightened and intense moment to drop a truth bomb onto the crowd.
Dr. Kahente Horn-Miller is one of those friends. A proud Kanien’kéha (Mohawk) woman from Kahnawà:ke she teaches at Carleton University in Ottawa introducing students to the concepts of Indigenous Governance. She is also a performer who re-enacts the Haudenosaunee creation story of Sky Woman. She “re-matriates” the ethnographic accounts of Sky Woman written down by white men recording what they believed to be a dying culture. She revives the story of Sky Woman by weaving in the reflections of contemporary Haudenosaunee women who use it as a guiding force for their lives asserting spiritual sovereignty. She shares:
His words connected us to the moment. All of us watching across the internet and television screens, the Indigenous and non-indigenous people who grew up loving the music, he brought us together. His last words to us mean so much. He knew the numbers of people that would be watching world wide and used that as a gift to bring his message home. “There are problems in this country…” he said. “The people way up north, that we were trained our entire lives to ignore,trained our entire lives to hear not a word on what’s going on up there. What’s going on up there ain’t good, maybe worse than it’s ever been…. We’re going to get it fixed.” I think he may be right.
Originally from Wasauksing First Nation, Anishinaabe writer and CBC journalist Waubgeshig Rice is now based in Ottawa and was fortunate to see the second-to-last Hip show here at The Canadian Tire Centre. Although he didn’t view CBC’s livestream of the final performance he caught up with the news and comments online after the show.
It’s very heartwarming to know that with an audience of millions during what could be his last public performance, Gord Downie chose to put the spotlight on the plight of Indigenous people and the government’s responsibility to address the issues. He made few other statements or proclamations during the show, so the fact he spoke about the need to pay attention to Indigenous communities during his limited time was very moving. Hopefully Canadian leaders heed his words, and Canadian fans follow his example.
We need a different kind of land.
We need different kinds of cultural expressions and relationships to this land. So if you are a Hip fan who hasn’t considered how our environment is negatively impacted by corporate / government entanglement around natural resources or considered Canada’s complicated and hurtful relationships with Indigenous folks and the intersection where these problems all meet consider the legacy Gord Downie handed off to the audience last night.
Change lies in the hands of Canadians.
This is serious stuff. If this world has a hope in hell of surviving the climate change tipping point we have arrived at it will be because the Inuit elders in the Arctic are heard and consulted. It will be because Canadians decide that a road blockade that asserts First Nations governance isn’t an inconvenience. Rather, these kinds of actions will be understood as the original custodians of the land offering protection for natural resources. Canadians will be able to see that in the long term these actions benefit everyone living here as well as ensure the survival of the entire planet.
Protection of water, trees, and air is the most critical issue at this moment.
Gord Downie gets that. It’s why he has contributed his time and talent as well as put his money where his mouth is. It’s why he’s been a strong ally in support of Idle No Moreraising awareness about Canada’s involvement / non-involvement with issues facing Indigenous people living within the political boundaries of Canada. It’s why he is vocal about Canada’s not-so-pleasant past and the current realities faced by everyone living within these borders.
I would not want any part in propagating, galvanizing or burnishing some of the stupid mythology in this country – that we are this clean pristine place, that we got it all figured out, that we know best for the world, that there is nothing anyone can teach us…these things I write about…the Canada I know…I wouldn’t do it if I thought I just was propping up an old stupid mythology. (Q Interview 2012)
Last night this man who has given much to Canada in terms of fleshing out Canadian identity cautioned about the nostalgic trap ‘Canada the Good’ will land this Nation in if Canadians decide to remain comfortable in this narrative. In his role as a storyteller he summoned his audience to critique as well as re-vision what Canadian identity means. Does being a Canadian include consideration of Indigenous sovereignty and support of those working towards environmental equity? He called out his audience as well as Prime Minister Justin Trudeauto be on the right side of history, to push for change.
As a fan, where on this land do you stand?
“ABOUT THIS MAP” by the Tragically Hip
About this map, here we are, here See, this is us, the exit is here, and We’ve come too far, to just feel like this, yeah We’ve come too far, to be feeling like this
Certain, certain You want to, want to Certain, certain You want to, want to
About this map, it’s a bit out of date, yeah Territories shifted, and things get renamed There’s coups, revolutions, and boundaries blur Volcanoes and earthquakes turn words into birds
It’s certain, certain You want to, want to Certain, certain You want to, want to, want to
But, oh, about this map It goes beyond, beyond And, oh about this map About this map
About this map, here we are, here See, this is me, and there you are, there, and There’s got to be more than just to despair There’s got to be more than just to despair
I’m certain, certain I want to, want to You’re certain, certain You want to, want to, want to
And, oh, about this map It goes beyond, beyond Forget about this map About this map
And, oh, about this map We don’t live in our heads Forget about this map About this map About this map About this map About this map
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…