Author Archives: anak

Module 2- Post 5: Who owns the Healing Secrets of Plants

This is an interesting article that addresses the ownership issues concerning the Traditional Knowledge, its and plant exploitation, and much more. For example, Nancy Turner was given certain knowledge about medicinal plants, however this was never published or shared publicly. Find out why. This is of importance to my topic of plants, traditional knowledge, art, etc.

“As the Haida know, the rainforest can yield cures for sickness. But sharing such knowledge may create other ills.”

See here: http://thetyee.ca/News/2005/01/20/WhoOwnsHealingSecretsofPlants/

Module 2-Post 4: Medicines to Help Us by Christi Belcourt

While researching Nancy Turner and Christi Belcourt’s works, I stumbled upon a book with a title called Medicines to Help Us by Christi:

“Christi Belcourt fuses her evocative artwork with Indigenous Traditional Knowledge and Western Science. With contributions from Métis Elders Rose Richardson and Olive Whitford, as well as key Michif phrases and terminology, Medicines to Help Us is the most accessible resource relating to Métis healing traditions produced to date.”

See here: https://gdins.org/product/medicines-to-help-us-book-only/. I guess I would need a hard copy here.

Module 2 – Post 3: Nancy Turner on the importance of BioDiversity to First Nations

Nancy Turner addresses the importance of biodiversity and its importance to First Nations  in maintaining the same and enhancing it throughout the history.

She goes on to say:

“Not only is biodiversity important in food systems, technology, and medicine, but plants, animals and fungi are also prominent in First Nations’ belief systems, art, songs and ceremonies (Turner 1988, 2005). Ceremonial species and those featured in art and narrative are often the same ones that had practical application (Garibaldi and Turner 2004). The richness of Northwest Coast First Peoples’ intense connections with biodiversity is reflected perhaps most famously in their world- renowned artforms representing stylized animals, birds, fish and other beings, in magnificent wooden sculptures, totempoles, masks and dishes, as well as in exquisite jewelry and paintings (cf. Holm 1965, 1990; MacDonald 1996).

Please see here:

http://www.biodiversitybc.org/assets/Default/BBC%20Importance%20of%20Biodiversity%20to%20First%20Peoples.pdf

Module 2- Post 2: Christi Belcourt’s Story behind one of her works

This is a .pdf file from Aboriginal Affairs and Northern Development Canada. Christi tells us a story behind her work. Although there is more to it than just focusing on plants, while reading it, it made me think of Nancy Turner’s mention of holistic knowledge and how plants are tied to linguistics, knowledge, tradition, history, and therefore, are inseparable from each other.

Christi while explaining one part of her work “Looking Ahead” says:

“This section represents the time before residential schools existed. Important ceremonies marking the transition from childhood to adulthood, such as the strawberry fast, were taught and practiced. Harvesting blueberries, learning about medicines and knowledge of plants and animals were passed from one generation to the next.”

Please see here: http://www.aadnc-aandc.gc.ca/DAM/DAM-INTER-HQ-NR/STAGING/texte-text/nr-2012-irsart-pdf_1349887907130_eng.pdf

 

 

Module 2-Post 1: Deconstructing Dinner with Nancy Turner

After this week’s interview with Nancy Turner, I have realized that I could try and make a connection between her ethnobotany work to Christi Belcourt’s plants inspired paintings based on traditional knowledge with stories behind them.

I listened to a radio interview with Nancy Turner from May 2010 for the program called Deconstructing Dinner where she talks about ethnobotany, Indigenous knowledge, linguistics, foodprint, permaculture, biodiversity, Indigenous foods, and much more:

http://deconstructingdinner.ichannel.ca/exploring-ethnobiology-ii-nancy-turner-2/

 

Module 1 Post 5 – Resignifying the Traditional: Art & Music & Dance

My post collection wouldn’t be complete by forgetting to do research on Music and Dance. However, I am aware that for the future I will need to focus on a very specific topic. Maybe just one of the arts? What do you think? In the meantime, I will share a few videos I came across that resignifies the traditional music done by A Tribe Called Red and youth who is having so much fun in the video:  

 

While researching Jingle Dress Dancing, I came across the following that describes dancing as an art situated in ceremonies before hunting, wars, and other traditional activities. It becomes clear how art is tied to everyday living and traditions. Indigenous Institute of the Americas has a comprehensive list/videos of different dances, their meanings and narratives behind them. See here:

http://www.iiamericas.org

Ana K.

Background: 

My interest was piqued by Ginsburg, Faye D., “Screen Memories: Resignifying the Traditional in Indigenous Media, “ in Media Worlds: Anthropology on a New Terrain and my R. and Perkins’s work re: aboriginal filmmaking. I would like to extend this theme of Resignifying the Traditional in Indigenous Media to other forms of art. My goal would be to further explore the relationship of technology/media that is used by indigenous peoples on their own terms and possibly without any cultural appropriation.

I am interested in Indigenous Art a part of everyday life/being that I have witnessed while living on a First Nation community where Art is place-based, inseparable from nature, land, well-being, surrounding living beings, spirituality, narrative, healing, the artist, etc. and it situated closely within each and comes an expression of this tight interconnectedness (and as such comes within a different set of relationships than when looking at Art as a separate discipline that is to be studied). I believe that knowing about this topic more in depth would enrich me as a person and consequently, as a teacher.  

 

Module 1 Post 4-Resignfying the Traditional: The Art of Narratives & Language Revitalization

This project was supported by The Halifax Media Co-Op and it is a first podcast in the series to come called by ‘Pjilasi Mi’kma’ki’, which, in Mi’kmaq, means ‘Welcome to Mi’kma’ki’. The author focuses on doing the first part of the podcast “in Mi’kmaq and then English because “I want my people to keep their language, or in many cases to get it back.” Through the art of narrative Annie keeps her language alive, and shares with others the horrors of “The survivors of a phenomenon called the ‘Sixties Scoop’. The ‘Sixties Scoop’ refers to the decades between the late 1950s to early 1990s, when Aboriginal children in Canada were removed from their families at a young age, en masse, and placed into largely non-Aboriginal homes. Many survivors of the ‘Sixties Scoop’, who are now grown ups, are trying to reconnect with their families, their languages, and their cultures. In a sense, they’re trying to find themselves.” (an example of continued colonization, etc). The next episode will be exploring language and education.

See here: https://pjilasimikmaki.wordpress.com

Listen here: http://www.mediafire.com/listen/iog1mofcno5fmfu/Episode+%231-60%27s+scoop.mp3

The art of narratives in the context of technology resignifies the language, and the personal histories done, and healing created by Annie Claire.

Ana K.

Background: 

My interest was piqued by Ginsburg, Faye D., “Screen Memories: Resignifying the Traditional in Indigenous Media, “ in Media Worlds: Anthropology on a New Terrain and my R. and Perkins’s work re: aboriginal filmmaking. I would like to extend this theme of Resignifying the Traditional in Indigenous Media to other forms of art. My goal would be to further explore the relationship of technology/media that is used by indigenous peoples on their own terms and possibly without any cultural appropriation.

I am interested in Indigenous Art a part of everyday life/being that I have witnessed while living on a First Nation community where Art is place-based, inseparable from nature, land, well-being, surrounding living beings, spirituality, narrative, healing, the artist, etc. and it situated closely within each and comes an expression of this tight interconnectedness (and as such comes within a different set of relationships than when looking at Art as a separate discipline that is to be studied). I believe that knowing about this topic more in depth would enrich me as a person and consequently, as a teacher.  

Module 1 Post 3 – Resignifying the Traditional: Walking with our Sisters

I stumbled upon Walking with our Sisters on Christi Belcourt’s projects webpage. This commemorative art installation is about addressing the histories of murdered and missing aboriginal women in Canada and The USA. This made me think of Helen Betty Osborne from Manitoba and the book I have read with my students: Conspiracy of Silence. There is a film that could be found with this title.

“Over 1,181+ native women and girls in Canada have been reported missing or have been murdered in the last 30 years. Many vanished without a trace with inadequate inquiry into their disappearance or murders paid by the media, the general public, politicians and even law enforcement. This is a travesty of justice.”

Moccasin vamps (uppers) artwork represent missing/murdered women and they are left as it to tell a story of an unfinished life, to remember, to mourn, to heal…Please see how art/ & technology is used here:

http://walkingwithoursisters.ca/about/

This collection also has a collection of songs contributed for this purpose. For example:

http://walkingwithoursisters.ca/artwork/music/

Ana K.

Background: 

My interest was piqued by Ginsburg, Faye D., “Screen Memories: Resignifying the Traditional in Indigenous Media, “ in Media Worlds: Anthropology on a New Terrain and my R. and Perkins’s work re: aboriginal filmmaking. I would like to extend this theme of Resignifying the Traditional in Indigenous Media to other forms of art. My goal would be to further explore the relationship of technology/media that is used by indigenous peoples on their own terms and possibly without any cultural appropriation.

I am interested in Indigenous Art a part of everyday life/being that I have witnessed while living on a First Nation community where Art is place-based, inseparable from nature, land, well-being, surrounding living beings, spirituality, narrative, healing, the artist, etc. and it situated closely within each and comes an expression of this tight interconnectedness (and as such comes within a different set of relationships than when looking at Art as a separate discipline that is to be studied). I believe that knowing about this topic more in depth would enrich me as a person and consequently, as a teacher.  

Module 1 Post 2: Re-Signifying The Traditional: Art, Earth & Birth

  1. Post One research has made me think of fashion, beading, plants and it took me back to Christ Belcourt’s work that I was introduced to by her family member back in 2011. I remember seeing Christi’s work online on her website; her carefully painted medicinal plants in beadwork style and much, much more. I couldn’t sleep that night  as I was blown away by what I saw – it was highly educational as I watched her YouTube narratives about her art and to this day I can’t articulate it in a way I would be happy with. Please see here: http://christibelcourt.com/belcourt-shortlisted-for-premiers-award-2014/. 
  2. On this page Christi talks about ecological concerns that inspired her work The Wisdom of The Universe: ““In Ontario, over 200 species of plants and animals are listed as threatened, endangered or extinct. Of those, included in this painting are the Dwarf Lake Iris, the Eastern Prairie Fringed Orchid, the Karner Blue butterfly, the West Virginia White butterfly, the Spring Blue-eyed Mary, the Cerulean Warbler and Acadian Flycatcher…”
  3. My son was a baby #8 born at the first birthing centre here in Toronto that has just opened up in 2014. When I came to our room (called the Ash Birth Room) that wasn’t used ever before us this is what I saw of Christi Belcourt. I couldn’t believe my faith and pure joy: http://www.thestar.com/life/2014/01/22/first_look_inside_revolutionary_toronto_birth_centre.html 

See the traditional narrative behind this stunning work that is here and where elders join us: http://www.torontobirthcentre.ca/christi-belcourt/

“…The painting “What We Teach Our Children” was painted in 2008 in honour of children, inspired by my daughter Jeana who was 10 years old at the time.

Within the painting there are several important elements: bees, plants, roots, animals, the spirit world & televisions….”

This research is the third time I am brought to Christi and her artwork. I wonder where it will take me next, but it is obvious how her work  and the narratives are about resignfying the traditional in Indegenous Media. I am looking forward to learning more from the above sources and how this could be tied to my topic. Maybe an interview with the artist herself?

Ana K.

Background: 

My interest was piqued by Ginsburg, Faye D., “Screen Memories: Resignifying the Traditional in Indigenous Media, “ in Media Worlds: Anthropology on a New Terrain and my R. and Perkins’s work re: aboriginal filmmaking. I would like to extend this theme of Resignifying the Traditional in Indigenous Media to other forms of art. My goal would be to further explore the relationship of technology/media that is used by indigenous peoples on their own terms and possibly without any cultural appropriation.  

I am interested in Indigenous Art a part of everyday life/being that I have witnessed while living on a First Nation community where Art is place-based, inseparable from nature, land, well-being, surrounding living beings, spirituality, narrative, healing, the artist, etc. and it situated closely within each and comes an expression of this tight interconnectedness (and as such comes within a different set of relationships than when looking at Art as a separate discipline that is to be studied). I believe that knowing about this topic more in depth would enrich me as a person and consequently, as a teacher.  

Module 1 Post 1: Re-Signfying The Traditional & Art&Fashion

My interest was piqued by Ginsburg, Faye D., “Screen Memories: Resignifying the Traditional in Indigenous Media, “ in Media Worlds: Anthropology on a New Terrain and my R. and Perkins’s work re: aboriginal filmmaking. I would like to extend this theme of Resignifying the Traditional in Indigenous Media to other forms of art. My goal would be to further explore the relationship of technology/media that is used by indigenous peoples on their own terms and possibly without any cultural appropriation.
I am interested in Indigenous Art a part of everyday life/being that I have witnessed while living on a First Nation community where Art is place-based, inseparable from nature, land, well-being, surrounding living beings, spirituality, narrative, healing, the artist, etc. and it situated closely within each and comes an expression of this tight interconnectedness (and as such comes within a different set of relationships than when looking at Art as a separate discipline that is to be studied). I believe that knowing about this topic more in depth would enrich me as a person and consequently, as a teacher.  
My first part of this research has taken me to an interesting online article about fashion, culture and where art/narrative is tied to strong ancestral roots and a sense of identity. As a designer Bethany Yellowtail’ says: “It’s beautiful to see the continuity of our people from then to now,” she told Mic. “I wanted to convey that with my collection — we’re still here, we’re still a reflection of our ancestors.”   See here:

Stunning Images Show How Native American Fashion Looks Without Cultural Appropriation

The article comes with a spoken word art done by B.Yellowtail and is powerful. See here:

https://youtu.be/IGRiAWzqIPc.
Cheers
Ana K.