Making Treaty 7 on stage at the National Arts Centre for Canada Scene.
Another performance focusing on Indigenous storytelling hits the NAC this week. Making Treaty 7 follows Children of God, a play about the experience of residential school, and the opera Louis Riel, both of which were on stage last week.
From the National Arts Centre:
The Making Treaty 7 Cultural Society explores 140 year later, the historical significance of the events at Blackfoot Crossing in 1877. Their mission is to inspire reconciliation among all treaty peoples and to build bridges of understanding across cultures and generations. (read more…)
Making Treaty 7 is a breathtaking collaboration . . . an incredibly important and moving depiction of the history of Southern Alberta.
CALGARY MAYOR NAHEED NENSHI
WHEN: Tuesday, June, 19, 2017 at 7:30 pm WHERE: Babs Asper Theatre, National Arts Centre, 1 Elgin Street, Ottawa
The Performance is Pay What You Can and tickets can be purchased here.
“A cosmic combination of storytelling, dance, aerial silks, song, myth, sound, and shadow play.”
“Partitioned from land and love in Sindh, Rani travelled to present day India, and eventually to Turtle Island (North America), also Partitioned Indigenous land. After her passing, Rani’s ashes are taken from her granddaughter, Asha, who calls Rani into her dreams for answers on how to move forward after this interrupted ritual. In the cosmos with grandmothers from other places and times, Rani roots into ancestral wisdom and her life during the Partition and Independence of South Asia all the while longing for her love, Farah.”
Written & Performed by nisha ahuja Director/Dramaturge: Yvette Nolan Choreography & Performed by Kumari Giles Set, Costume & Sound Design: Melissa Moore Lighting Design: Michelle Ramsay Production Manager: Shawn Henry Stage Manager: cassy walker
730 Bathurst St, Toronto, ON
September 5, 6 and 7
Left to right: Actor / Writer Cliff Cardinal, youth worker Rob Chief, co-creator of huff Elizabeth Kantor and Sarah Garton Stanley, Associate Artistic Directory of English Theatre at the NAC.
Bravo to the National Arts Centre / Centre National Des Arts Ottawa for creating safe spaces for tough conversations.
As the Q & A (Talk Back) session wrapped up after NAC’s Tuesday night performance of huff Sarah Garton Stanley (Associate Artistic Directory of English Theatre at the NAC) passionately declared “We are so proud of having this piece and it’s a piece we want everyone to see!”
If you don’t know about huff it’s a play by Cliff Cardinal that explores what he believes is the most taboo subculture existing in Canada – Aboriginal children who are addicted to solvents. And because of the subject matter the play is understandably intense and difficult to watch. Cliff’s strategy of immediately making the audience complicit as witnesses pulls people in so they can’t back out despite the uncomfortableness. It’s the right tactic because now Canadians can no longer say they aren’t aware of issues facing First Nations children. This country’s shame is ever present in the media and as witnesses we have a moral obligation to be part of the process that will lift this intergenerational burden off these children.
Local Métis artist and tour guide Jaime Koebel (www.indigenouswalks.com) was so moved by the play seeing it once wasn’t enough. She has now seen it three times in order to absorb what Cliff accomplished with this piece. She says:
“Cardinal’s ability to take on 16 characters in a one hour time span mirrors the intensity of the content within the show itself and provides a peephole’s view of life on a reserve soaked in destitution. Despite the heaviness of the subject matter, the fact that Cardinal is presenting this play at all is a testament to the resiliency of the fastest growing population in Canada.”
When a gentleman in the audience asked “Is there any way of knowing that we are progressing in the treatment of Aboriginals” panelist Rob Chief, a youth worker, answered “Cliff is here [performing the play] and you are here [watching].” Perhaps for all the steps forward that seem to follow with several steps back, slowly but surely, there is an illumination that leads out of the darkness and artists are leading the way!
A friend who accompanied me was impressed by all the interconnecting issues that were touched on beyond the issue of addiction – the educational system on the reserves, poverty as well as incest. “The parts on incest were hard to watch but these are the things we should be talking about because it is the first step to collectively contribute to the solution.”
She feels that “having these stories on stage is a good starting point to build connections between First Nations people and Canadians around the issues” and she “appreciated that all of the people on the panel mentioned that this is all of our history.” She reflects that “by watching a play like huff and talking about these stories we create the on-going dialogue that needs to happen.”
An experience that leaves you with action steps as to how you can help.
Another strategy Cliff and co-creator Elizabeth Kantor deployed was to have resources on hand for each person in the audience to leave with. These resources give lists of organizations, both Aboriginal and non-Aboriginal, that provide services around these issues. They also gives online links you can visit to read up and become more informed.
This was the most effective part of the performance – the “Talk Back” and provision of educational and support tools. So often we leave a performance (or film or lecture) dealing with heavy topics stunned by what we have just discovered but also lost as to how we can grapple with it. To create an experience that goes beyond just a performance to ensure the audience walks away with action steps as well as support is a strategy I hope to see more of.
I love that the NAC understands the important role they play in fostering these types of safe spaces! Sarah provided the audience with name after name of Aboriginal artists who “shine a path by either entering into the academy [to teach arts education with a different perspective] or not entering but teaching in their own way.” These are the cultural provocateurs who will lead this country to a renewed place.
So the future is hopeful but only if we all reach into our deepest empathetic places. I had some trouble with the play’s ending and final message that the help the main character needed lay just beyond in the spirit world because the help needed in these desperate times lies in the here and now. We need to make intentional decisions around moments when we are intimately faced with another person’s pain to that turn the experience into action.
When asked by an audience member “What do you think can be done?” Cliff addressed us all by saying “In this room you each know people who have influence, perhaps you yourself have influence. Give your time. Write a cheque. I know you can come up with something! I don’t have the answers but I know you have the solution!”
huff runs until Saturday. Performances are as follows:
How one woman changed a community then went on to change the world.
So much of the way we think and act around neighbourhood, community and city building in the 21st Century is because of the ideas of a single woman – Jane Jacobs. If you need an example of how one human being can have huge impact, Jane is that inspiring person who walked her talk and went on to inspire an international movement. Her ideas of what a community should be resonated with many because it articulated what people already knew to be true as to why certain spaces become thriving communities.
Every year, to honour Jane’s legacy, cities world-wide hosts walks that allow people to discover some brilliant nuance of the place where they live that they may never have discovered otherwise. All of this is possible due to the thousands of volunteers who get out into their community and share their knowledge during Jane’s Walks.
I just discovered the above video highlighting a great walk I participated in a few years back. This walk, that featured the work of Toronto’s many street artists, had us meandering through the downtown core via the back alleys where a technicolour world awaited us. The tour was given by Jason of the Tour Guys, an organization in Toronto that specializes in giving offbeat tours of one of North America’s most interesting cities.
Women who are Indigenizing city spaces.
This year, in both Toronto and Ottawa, walks will be given that highlight the history of Indigenous Peoples.
“This walk will explore historic land use along Davenport Rd and the lands along the ridge while providing excellent views of the city. How did First Nations people get around? Who were some of the early movers and shakers? What was the origin of Wychwood Park?”
In Ottawa there is a newly launched initiative, Indigenous Walks, and IW’s tour guide, local Metis artist and educator Jaime Koebel, will be sharing her knowledge and passion for Indigenous history on Saturday and Sunday at 2pm each day. Jaime uses the experience of sight-seeing the beautiful monuments in the Capital city to allow people to experience the history of Ottawa, as well as the history of Canada, by walking in the shoes (or moccasins) of an Indigenous person. The tour starts at the Human Rights Monument at City Hall. More info can be found here.
And speaking of Indigenizing public spaces, artist Dana Claxton’s (Lakota) “Indian Candy” is part of CONTACT, Toronto’s annual festival celebrating the art of photography.
Each year CONTACT commissions work to be put up on billboards around the downtown core, activating what is normally a space reserved for spreading a message of commerce to instead spread messages on social issues.
Dana’s work “interrogates the presentation of Indigenous iconography through the digital archive in Indian Candy.
Working from found images of the “Wild West” sourced online, the artist focuses on those connected to Sitting Bull, the iconic tribal leader who led a resistance against government policies in the United States. As a descendant of Sitting Bull’s band who came to Canada, Claxton simultaneously mines her own personal family history and the legacy of racism. Her diverse range of images present aspects of Indigeneity in a new light; from the buffalo, which represents spirituality for Lakota people and was a main source of sustenance until their near annihilation, to signed souvenir cards from Buffalo Bill’s Wild West show. As a whole, Indian Candy uncovers truths and performs as a provisional archive of Aboriginal imagery seen through the lens of colonialism.”
For the month of May you will be able to see Dana’s billboards along Dundas St. West. For more information on the exhibit as well as a map click here.
Also part of CONTACT, some of MIXED BAG MAG’s favourite people, projects and art spaces!
And another favourite MIXED BAG MAG space for the arts, this time in Ottawa, is The National Arts Centre. This week “huff” has opened at the NAC and runs through until May 10. This provocative work has left everyone I know who has experienced it, changed. It’s not a piece of theatre that is easily digestible but despite the heavy subject matter, substance abuse among First Nations’ youth, people seem to walk away feeling that the experience of being uncomfortable witnessing Cliff Cardinal’s one man show was a positive one that includes a message of hope!
FYI- Be a part of the Samba Launch Party Procession Tonight at 6 pm. MIXED BAG MAG’ fave Zahra Ebrahim of archiTEXT will be one of the procession leaders of this walk that is all about PLAY! Details here.
WISHING EVERYONE A WEEKEND WHERE YOU LEARN SOMETHING NEW & HAVE FUN!
All above images of Jane’s Walk 2011 (Graffiti Tour & Samba Procession) by Leah Snyder for Mixed Bag Mag.