Author Archives: Brett Williams

Module #2 – Post #5: Witnesses

Witnesses, a series of works by aboriginal artists across Canada, has been on exhibit at The Morris and Helen Belkin Art Gallery at UBC since September 6. Its focus is on the representation of the effects of the residential school system from an aboriginal perspective by those that experienced it directly, or those who have experienced the impact that it continues to have on the indigenous population in Canada.

The exhibition is an insightful, educational and sobering experience, as the works included serve to communicate the psychological, social and physical impact of the residential school system in a way that only works of art can convey. Lisa Jackson’s video Savage, for instance, explores a number of themes such as grief, cultural dislocation and assimilation in just over five minutes solely through the use of images and music. Nonetheless, what transpires illicits a great deal of empathy for the characters, their families, and the indigenous peoples of Canada for whom they represent.

The opening of the exhibit coincided with the Truth and Reconciliation Commission of Canada National Event held in Vancouver from September 18-21. In the spirit of that occasion, the focus for this exhibit has been about dialogue and understanding, with a number of events and symposiums with the artists and representatives from First Nations communities to share their experience, knowledge and views with the public. Check out the schedule of events here for more information.

Module #2 – Post #4: An Argument for Arts-Based Education

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At the core of the DAREarts philosophy is the desire to empower students, to build their self-esteem and leadership potential, and to encourage students to become agents of change in their own lives and communities.

With its arts-based, community and holistic approach to education, its no surprise that the DAREarts program has been attractive to many First Nations (mainly in Ontario where the foundation originates) that have struggled with a steady decline in high school completion for decades. This has and continues to lead to issues such as unemployment, poverty and suicide in First Nations communities where a lack of education has resulted in a lack of opportunities for young people especially.

What leaders in communities such as Webequie FN have observed, however, is that the DAREarts program has infused the youth in their communities with a sense of purpose and belonging that the regular curriculum and school system has failed to do. Chief Cornelius Wabasse of the Webequie FN cites the fact that since the curriculum is arts-based, there is greater room for adaptability and a general feeling of accomplishment. I’d go a bit further by placing a value on indigenous knowledge, skills and culture, in addition to the holistic philosophy of the program, provides students with a greater sense of emotional fulfillment that translates into greater confidence.

Click here to read more about the impact of the DAREarts program on First Nations communities in Ontario and Nova Scotia.

Module #2 – Post #3: Creativity, Connectivity and Culture in the Digital Realm

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The Gulf Islands Film and Television School (GIFTS) has garnered a reputation for delivering excellent film production education, especially for youth, since its inception in 1995. Through intensive courses that often run weeks at a time, students are taught the necessary skills for developing and producing film projects surrounded by the natural beauty of the Gulf Islands in British Columbia.

In researching for this blog, I came across an article in the Georgia Straight from 2009 highlighting a new program aimed directly at aspiring First Nations filmmakers from across BC. Through a special grant, the school was able to invite students from nine First Nations across the province, and equip them with cameras and computers that they were able to take with them upon returning to their communities. The program also placed an emphasis on training students on how to use the internet and social media to promote their work and connect with other First Nations artists across the country.

What I found unique and refreshing about the program was that it placed an emphasis on creating content by First Nations for First Nations. The instructors were primarily of aboriginal descent, and the school hoped that in years to come that current students would return to serve as mentors to new students going through the program. The students also came together to create a kind of artist collective called REZolutions Media, which served to advance their online presence and build a community of aboriginal media artists from a variety of backgrounds.

The article is a few years old, however, upon checking the GIFTS website, it appears as if the program is still being offered. Unfortunately, it’s not entirely clear of REZolutions Media continues to function, or whether it has any connection with Rezolution Pictures, a mostly First Nations-run production company, whose films, documentaries and TV series focus on contemporary First Nations issues (the trailer for Mohawk Girls is certainly worth a look).

Module #2 – Post #2: The Work of Sonny Assu

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I first encountered Sonny Assu’s work a few years ago as part of the Beat Nation exhibit at the Vancouver Art Gallery. What struck me about his work was the fusion of traditional coastal motifs with pop sensibilities, which had the unique effect of presenting imagery that incorporated what is considered to be traditional First Nations iconography with familiar objects derived from a Western, consumer culture. Assu appropriates aspects of consumer culture as a means of exploring the impact of Western culture and colonialism on the culture, history and identity of First Nations in Canada, something that is well-represented in works such as “Ellipsis” and “Breakfast Series.”

With “Ellipsis,” Assu forged 136 vinyl records out of copper that served to represent the audio recordings taken during the early-twentieth century of coastal First Nations songs (and also represent the 136 years of the Indian Act at the time of the instillation), which at the time of their recording were prohibited from being sung in any context, apart from requests by anthropologists who wished to document the last remnants of First Nations cultures before their perceived (at the time) demise. What is reflected in the work, therefore, is the apprehension by many indigenous cultures to make available through mass produced technologies certain cultural traditions that might be appropriated or misused for purposes that are disrespectful. In addition, the work speaks out against the racist policies that the Canadian government has inflicted upon First Nations peoples for centuries, a theme that Assu explores in a number of works including “The Happiest Future” and “Product (RES).”

I was also intrigued by the works presented in the series iDrum and iPotlach, both of which explore the contentious relationship between digital technologies and First Nations oral traditions, which the tagline: “5000 Ancestors in Your Pocket” delivers in a perhaps less than subtle fashion.

To see more, and to read some of Assu’s intriguing artist statements, make your way to http://sonnyassu.com.

Module #2 – Post #1: The Power of Music

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Mike Stevens is a non-aboriginal folk musician who has found a new calling as the founder of ArtsCan Circle, a non-profit organization aimed specifically at providing Aboriginal youth in several remote communities in Canada with access to musical instruments and visits by experienced musicians from different parts of Canada to provide instruction and support.

The idea for ArtsCan Circle emerged after Stevens had been invited to visit Sheshatshiu in 2000, an Innu village in Labrador that at the time had the highest suicide rate in Canada. He was struck by the level of poverty , substance abuse and especially the lack of opportunities for youth. When he began playing his harmonica during a fireside chat with members of the community, he noticed how many youth in particular seemed to be drawn to the music and stopped whatever they were doing to listen. Since then he has devoted his efforts to getting instruments into the hands of as many kids as he can.

The article on Stevens, featured in the September issue of Vancouver’s Common Ground, is worth a look as it underscores the harsh reality that many Aboriginal communities in Canada live in a level of poverty that is substantially lower than the rest of the country. It also provides a message of hope as the healing power of music is described to have a tremendous impact on the community.

Ultimately, what I do find lacking from the article is an Innu perspective. While Stevens observes the benefits and positive influence that an influx of art and music have had on revitalizing the communities he’s worked with, what I would like to know is how the Innu themselves view how the role of the arts have had on their community. Do they see a marked difference in the attitudes of youth in the community? Have young people shown a greater interest in their traditional music and art forms as a result? How is the community itself taking control of the development of the music development program begun by Stevens and ArtsCan Circle? I feel that without this perspective, the Innu and other Aboriginal communities benefitting from this program come across as passive participants with no voice of their own.

Research Interest: Identity, the Arts, and New Media Technologies

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Through the use of this blog, I would like to gain a greater understanding of contemporary Aboriginal cultural identity, specifically in a Canadian context. I feel that the arts provide a valuable lens from which to explore this topic, as art forms such as music, dance, carving, and textiles have long played a pivotal role in First Nations culture. The arts provided artists and communities with ways of preserving traditions, history and affirming a shared sense of tribal identity, something that was adversely affected by the federal laws that restricted or prohibited traditional practices, and of course the residential school system that separated children from their families over several generations.

As First Nations communities attempt to heal the scars of these traumatic experiences, I’m curious to know what role the arts are playing in revitalizing Aboriginal cultural traditions and strengthening a sense of purpose and identity in the twenty-first century. In addition to revitalizing traditional art forms, new technologies such as video, audio recording and digital art software provide First Nations artists with an opportunity to create new works of art that merge tradition with modernity. The integration of new technologies, re-interpretations of traditional art forms and the influence of media produced by non-aboriginal artists, however, presents new challenges and questions about the meaning, purpose and sanctity of Aboriginal art that I feel is worth exploring.

Module #1 – Post #5: Contemporary Inuit and Innu Music

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Music provides a natural outlet for Aboriginal artists to carry-on an important aspect of their oral culture. With advances in recording technology and the ability to share content online, Aboriginal musicians have more opportunities than ever before to share their work with the international community. Similarly, technology has afforded isolated communities the opportunity to experience music of other cultures, which has surely influenced many contemporary Aboriginal artists. I found this to be an interesting notion, placing into question how we might perceive work by Aboriginal artists that transcend aspects of their musical traditions. In other words, what does music produced by Aboriginal (or even non-aboriginal artists) that incorporate elements from other cultures reveal about Aboriginal identity and interaction with a wider world? Should they be criticized for not adhering to tradition, or is there value in seeking ways to bridge cultural divides through art? What significance lies in the appropriation of Aboriginal language and music by Western artists and vice-versa?

I’ve selected a few artists whose work occupies a unique milieu of traditional Aboriginal and Western influences. Specifically, I sought out work by Inuit musicians to see what kind of a presence their work has online. I was pleasantly surprised by the diversity of musical styles that have emerged in the past couple of decades and the interesting cross-pollination of cultural influences evident in the music being produced. In the case of Quebecois musician Chloe Ste. Marie, the influence went the other way, as she decided to record her 2009 album, Nitshisseniten e tshissenitamin, entirely in the Innu language. Follow the links below to sample some of the diverse music produced by a few of today’s top talents:

Susan Aglukark – an Inuk singer who began her career in 1993 and has amassed 6 albums and multiple Juno awards.

Tanya Tagaq – Inuk throat singer who often incorporates Celtic influences; has recorded and toured with Icelandic singer, Bjork.

Lucie Idlout – Inuk singer/songwriter in English, whose work is heavily influenced by modern rock.

Chloe Ste. Marie – Quebecois singer/songwriter who in 2009 recorded Nitshisseniten e tshissenitamin, an album sung entirely in the Innu language.

Module #1 – Post #4: Song

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Earlier this week, I created a post that focused on one example of contemporary Aboriginal dance that incorporate traditional elements with modern dance sensibilities. This got me thinking further about how the internet might serve as an effective tool for the preservation and continuation of Aboriginal arts. Media Smarts, a website devoted to digital and media literacy in Canada, provided a good jumping off point for me, with links to artists pages and informational websites organized by medium – all with an Aboriginal focus. The coverage here is, as I said, a good jumping off point, but it is limited in scope as it is not the sole focus of the website. Needless to say, there’s a lot more to explore.

This took me to the Library and Archives Canada website, which houses information and audio files specific to Inuit, First Nations and Metis music, its history and influences. Unfortunately, the sound clips are limited to 30 seconds each, so the full breadth of each song can’t be experienced. (As an interesting aside, many elders were resistant to the idea of having White anthropologists record Aboriginal music during the late 19th century and early 20th when recording technology first became available. As songs were often tied to sacred rites and rituals, they feared this music would be misappropriated and taken out of context, which incidentally is what happens here as no information is given regarding the origin and significance of each audio clip). What I did find useful was that each category of Aboriginal music is divided into traditional and contemporary sections, providing listeners with an opportunity to experience the diversity inherent in Aboriginal music. This also provides listeners with a way to experience traditional sounds married with contemporary influences, which are particular evident in the Inuit and Metis sections of the archive.

Module #1 – Post #3: Kaha:wi Dance Theatre

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As I’ve been exploring the notion of contemporary Canadian Aboriginal identity, it seemed quite obvious that I should be see how this is manifesting in the arts. As with many ‘images’ of First Nations cultures that I’ve encountered growing up, I was often left with a very fixed notion of what Aboriginal art is, giving it the appearance of something that is static and has remained largely unchanged for hundreds of years. We see this kind of work lining the shelves of souvenir shops in Gastown or YVR, always the appearance of something that is a replica of something from the past, rather than a conduit through which contemporary Aboriginal artists explore aspects of identity and history.

From what I’ve read and seen through the promotional trailers, the Kaha:wi Dance Theatre, operating in one form or another, is a great example of Aboriginal art that transcends stereotypes and blends tradition with modernity. According to the company’s mandate, their philosophy is “To explore the intersection of Indigenous and new dance performance, to create and present theatrical productions, and to educate and engage artists, audiences and diverse communities through Indigenous performing arts encompassing disciplines of music, storytelling, theatre and design.”

Among the numerous productions the company has staged, I found the concept of The Honouring quite interesting, as it portrayed these historical events from an Aboriginal perspective. The dance conveys the importance of their role in aiding the British defend Canada from American forces, specifically as sovereign Nation allies to the British. Considering that the Canadian government was making a big push last year to celebrate the 200th anniversary of the War of 1812, I made a point of looking at the official government website and press releases. Predictably, very little was mentioned of the roles of First Nations, apart from key players who fit nicely into the existing, dominant narrative. Check out The Honouring Trailer for a sampling of the Kaha:wi Dance Theatre’s unique interpretation of history through Aboriginal song and dance storytelling.

Module #1: Post #2 – Chinese-Aboriginal Identity

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After thinking about the difficulties that many women and children face obtaining Aboriginal status according to Dr. Lynn Gehl, I began thinking about other segments of the Aboriginal population in Canada that experienced discrimination by the government. I recalled watching a documentary last year called Cedar and Bamboo, which examined the challenges faced by the children of mixed Chinese/Aboriginal parentage. The 2009 film, by Kamala Todd and Diana Leung, can be viewed in its entirety here, or if you’d simply like a sample, check out the trailer here. The Chinese Canadian Stories Project also has some resources on this topic, the most useful being an interview with Larry Grant, who like those featured in Cedar and Bamboo, shares his stories about growing up in mid-century British Columbia amidst the racial prejudices that both branches of his ethnicity had to endure.

Looking beyond the systemic racism these individuals faced (children with Chinese fathers were not allowed to claim First Nations status, nor could they go to school on the Reserve with their Aboriginal cousins and friends, and they were often shunned by both Aboriginal and Chinese communities), the issue that seemed to be the underlying theme of these stories concerned identity. Most of those interviewed in these films convey the sense that at one point or another in their lives, they felt torn between two, sometimes three worlds – none of which truly gave them a strong sense of belonging. As Larry Grant recounts, once he was school age, he and his brother were boarded with a Chinese family off the reserve to attend public school. Because of his Aboriginal background, he was treated as an inferior member of the household and of the Chinese community. This disconnect between individual, place and family seems to be echoed in the larger narrative of First Nations in Canada and an important feature in the formation of Aboriginal identity. In that sense, these stories of cultural displacement are worth examining.