Orange issue | Nîkihk ᓃᑭᕁ

SUPPORT US IN MAKING ART INTENDED TO HEAL ILLS CAUSED BY ALL KINDS OF OPPRESSION

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Cover: Makhena Rankin Guerin

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Angélique Marguerite Berthe Diène Estelle Wallis Janaina De Oliveira Laura Bonnieu

Anaïs Monino

Adrienne Sauriol Amel Madjoudj Anaïs Monino

Angélique Marguerite Berthe Diène Camille Basso Chiara Jacazzi Jeanne Gignoux Josée Anne Mallette Laura Bonnieu Mégane Luzayadio

Anaïs Monino Benjamin Villard Christel Caulet Matthias Gray Coline Priyono Monique Duc Nadia Kaïd Olivia Moran Oumar Lam

Adrienne Sauriol Anaïs Monino Ariane Raffy Clara Nencu Coline Priyono Christine Knox Estelle Wallis Matthias Gray Oumar Iam

Laura Bonnieu

Angélique Marguerite Berthe Diène

A word from the publisher

After Blue issue | Autism and Creative Approaches and Ebony issue | Black Success, we are back to present you our Orange issue entitled Nîkihk (ᓃᑭᕁ) which means "My home" in Cree. This third edition highlights the First Nations, Métis and Inuit populations.

More than 700 Aboriginal communities live in Canada; this represents dozens and dozens of nations as well as languages and therefore, for each, its own story to tell.

Discover the story of some of the sons and daughters of these peoples!

Angélique Marguerite Berthe DIÈNE General Manager of R Magazine

THE ART OF WEAVING LINKS

This artwork, called NUNALIK,

and

was conceived

created by Marie-Chantal Lachance and Nathaly Lessard of Sautozieux in collaboration with the Kangiqsumiuk community.

B Y A D R I E N N E S A U R I O L

The NUNALIK (community) mural was designed by Marie Chantal Lachance and Nathaly Lessard of Sautozieux in the village of Kangirsuk, in Quebec's Far North, more precisely in Payne Bay, about 1,600 kilometers away from Montreal.

This village of approximately 500 inhabitants is home to the Sautjuit school where its primary and secondary students were able to participate in a collective work of art which they are very proud of.

Marie Chantal Lachance from Sautozieux was kind enough to answer our questions.

This is a heartfelt project of a social nature that we wanted to realize since 2019, but the pandemic had put it on hold. This year, we were inally able to make it happen We wanted to create along with the Inuit an artwork focused on dentity It is “L'Art de voir Grand", a non profit organization (NPO) whose mission is to support collective public mural art projects, that made it possible

Sarah Frederic, the Kangirsuk village’s nurse, was our contact. She wanted to give these young people a "meaningful" project that they could ake part in and be proud of

How did you end up working for this kind of project in the Great North?

Nathaly Lessard

Marie-Chantal Lachance

What were the steps?

At the beginning, we thought of doing several small paintings on the sheds of the inhabitants and thus spread the art in each corner of the village Nonetheless, there was a beautiful wall in the center of the village, on the water treatment plant, visible to everyone because they had to walk by there when getting their drinking water

Our wish was to develop the mural relying on local ideas and culture, so we interviewed Kangiqsumiuqs of all ages to understand the intrinsic characteristics of the community We asked them to tell us about themselves They were very open and welcoming. There were lots of things to be proud of in the stories they told about themselves

We developed a model based on iconographic documents that we validated back and forth until it was unanimously accepted by the people we consulted Then we reproduced it on 16 panels of 4 feet by 4 feet to form 8 feet high by 32 feet wide mural. We used an architectural paint and UV varnish to protect it from fading and from the high winds of blizzards Above the mural, we can see flying geese as well as an aurora borealis

The project lasted a total of 3 weeks We partnered with Sautjuit's school Principal Prinsch, principal Sylvie Roussy, as well as art teacher Christopher Duffin, who connected us to the youngsters, and culture teacher Kitty Kudluk, who educated us on several elements of identity The community's new mayor, Daniel Verreault, also helped us throughout the process.

In total, more than 150 students, teachers, elders, and people from the local Kangirsuk community took part in the project, whether it was to share their ideas, paintings or install the mural

Germaine Arnaktauyok's

legends

by Laura Bonnieu

Originally

HER LIFE HER WORK HER HONORS

from the Canadian Arctic, Germaine Arnaktauyok is recognized for her multidisciplinary artistic talent. Her artworks are inspired by her childhood as well as by her historical readings. A woman of art and literature, Germaine knows how to transport the spectator into the cold of life in an Inuit camp.

HER LIFE

Germaine Arnaktauyok was born in 1946 in Maniitsoq, a part of Greenland, from two sculptor parents. She lived with her parents and uncles, and she is the third child of eight siblings Her parents decided to move to an Inuit camp near Igloolik when she was still young and was raised the traditional way

“I grew up in dirt hills, with seal skin tents and dog sleds. This is how I grew up As a real Inuit, I would say ” (Interview with Lindsay Lachance for the National Arts Centre during national autochthone history month)

She went to school in a Catholic boarding school in Chesterfield for seven years Her teachers already saw a creative mind and a rare artistic talent in her. She drew and sold her first painting when she was only eleven years old She studied fine arts at University of Manitoba, commercial art and fine arts at Algonquin College as well as engraving at Nunavut Arctic College

She started to work at Frobisher Bay Arts and Crafts Center in Iqaluit, Nunavut, during the 70’s She then moved to Yellowknife where she is an illustrator for books and manuals from the Department of Indian Affairs and Northern Development

She got married in 1976 and gave birth to her only daughter, Amber, in British Columbia She decided to dedicate her life to her family up until 1989, when the couple broke up and she went back to Yellowknife to focus on her career

The First Light

HER WORK

“Inuit people have lots of legends that are told from generation to generation up until today ” (Interview with Lindsay Lachance for the National Arts Centre during national autochthone history month)

After illustrating teaching books, she embellished youth literature books such as Those That Cause Fear by Neil Christopher in 2016 and Tuniit by Rebecca Hainnu in 2017

Germaine Arnaktauyok is a complete artist as she shines in several domains, such as drawing, engraving, serigraphy and lithography Some of her artworks are world known and she has expositions at Canada’s Fine Arts Museum in Ottawa, the British Museum in London as well as at Fine Arts Academy of Pennsylvania, among many others

She seeks her inspiration in stories and legends that were told to her as a child, as well as in known traditions from the Inuit ancestral culture Having left the camps early, Germaine also explored and discovered several aspects of this culture by reading historical writings such as the ones of Knud Rasmussen. She likes illustrating Inuit myths and traditional ways of living

When thinking about Inuit culture, it is impossible to ignore its link with Earth and animals Even if she claims she prefers to draw humans than animals, she feels obligated to depict them as they are very present in writings.

In 1971 then again in 1973, Co Hoedman called on her to conceive two animated movies: The Owl and the Lemming: An Eskimo legend and The Owl and the Crow: An Eskimo Legend She was responsible for the puppets in both motion pictures and for the set design in the first one

She is the illustrator for several adult books such as Unikkaktuat: An Introduction to Inuit’s Myths and Legends by Neil Christopher It inspired a performing art show performed by a troupe with performances across Canada Germaine is a major part of this project since she is a consultant, illustrator, and she takes part in the direction She also brilliantly illustrated The Harpoon and the Hunter by Markoosie in 1970 and ᑕᑲᓐᓈᓗᒃ, Takananaluk by Herve Panic in 2018

Passionate about literature, Germaine Arnaktauyok became the co writer, alongside Gyu Ho, of a book entitled My Name is Arnaktauyok: The Life and Art of Germaine Arnaktauyok. This book is an autobiography which tells her story and is illustrated with around a hundred drawings

The Owl and the Crow: An Eskimo Legend

Those who caused fear by Neil Christopher

Tuniit by Rebecca Hainnu

Thunder and Lightning

HER HONORS

Germaine’s work wa by the Royal Canad decorate its rooms serigraphy entitled put on a 2 dollar co foundation of Nuna the drumroll to reso whole country for t Nunavut’s creation autochthone people year, in 2000, the artist conceived a gold coin in special edition worth two hundred dollars as part of the “Autochthone cultures and traditions” series

In February 2021, Germaine Arnaktauyok received an award for her body of work, the Governor’s Prize for Visual Arts and Mediatic Arts from Canada’s Art Council.

“Arnaktauyok’s rich and beautifully colored drawings depict a kaleidoscope from her heritage, from astronomy to mythology through forgotten times’ philosophy ” (Canada’s Art Council)

My Name Is Arnaktauyok, The Life and Art (avec Gyu Ho)

“Inuit people have lots of legends that are told from generation to generation up until today ”

Interview with Lindsay Lachance for the National Arts Centre during national autochthone history month

The Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial Land Back

by Laura Bonnieu

The theme chosen for the 2022 Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial is Land Back. This strong theme chosen for the 6th edition, refers to stolen territories and the actions taken in order to recover them and preserve them for future generations. This summer, 8 exhibition spaces opened their doors revealing artworks celebrating nature, the return to ancestral techniques and denouncing the loss of morals, racism or colonialism.

The Contemporary Native Art Biennial is a non profit organization whose objective is to recognize and support Indigenous artists Their first edition took place in 2012 at the Art Mûr gallery in Montreal The works of 26 indigenous artists on the theme of one’s attachment to the territory were exhibited. Over the years, this cultural event has gained in popularity and has become an indispensable event of Quebec’s art scene

The 2022 edition

The 2022 edition, entitled Land Back, that’s been open to the public since April and until December 2022, will be exhibited in 8 different venues and in four Quebec cities: Montreal, Quebec City, Sherbrooke and Saint Hyacinthe, as chosen by the Contemporary Native Art Biennial. Michael Patten and Alexandra Nordstrom are directing these exhibitions and have selected approximatively 50 artists from North America who’s works have previously never been exhibited in the past five Biennials.

Land Back evokes the activist movement for land restitution, as stated, "The theme of the Contemporary Native Art Biennial is Land Back, referring to the mobilization of indigenous people to regain stewardship of traditional lands and ecosystems, with the goal of preserving them for future generations "

In addition to calling for action, the exhibitions inquires about the environment and the future of our planet In its press release, BACA proposes certain solutions, such as "returning the land to its traditional and legitimate protectors. The revaluation of indigenous knowledge goes beyond symbolic gestures of recognition or inclusion; it aims to significantly change practices and structures."

What is the Land Back movement?

The Biennial's website answers this question at length: "Since time immemorial, indigenous peoples have preserved biodiversity despite the continued growth of the human population Shortly after the time of first contact with Europeans, indigenous communities were stripped of their ancestral lands; the Land Back movement aims to restore governance and stewardship of the land for a sustainable future "

In a nutshell, the Land Back movement is about returning ancestral lands, resources, and waterways to the indigenous nations that were present on those territories before colonization. It is also about seeking reparations and respect for the indigenous rights, languages and traditions

Land Back

The catalog of the exhibition 6th Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial Alexandra Nordstrom, Michael Patten

What is the Biennale d’art contemporain autochtone (BACA) / Contemporary Native Art Biennial ?

Land Back in a few works

The Strata of Many Truths

by Roxanne Charles – 2019

The Strata of Many Truths leaves no one indifferent. This white wall with plastered hands is a tribute to the victims of the St Mary's residential school in British Columbia This boarding school was open from 1863 to 1985 and was the last school in the province to close its doors Its primary purpose was to educate, teach Sunday school and assimilate Indigenous children.

According to the CBC, "More than 150,000 First Nations, Métis and Inuit children were forced to attend residential schools in Canada.” According to the Truth and Reconciliation Commission of Canada, 3,000 to 6,000 children went missing Many survivors have spoken out about the physical, psychological and sexual abuse they suffered

"Rock woman" in Cri language

by Lori Blondeau – 2016

Asinily Iskwew is a series of four photographs celebrating the rocks of the ancient Plains It pays tribute to Mistaseni, a 400 ton sacred rock that was destroyed by the Saskatchewan government in order to build an artificial lake According to history, this rock was a place of gathering, of passing on customs and legends, but also a place of sacred ceremonies. The photographs are self portraits showing the artist at the top of a rock, looking defiantly at the horizon Lori Blondeau spoke about her work on Resilience Project "I stand atop rocks, draped in blood red velvet cloth, reflecting the resilience of Indigenous cultures "

Amelanchier alnifolia and Artemesia cana

by Carrie Allison

This Biennial also offers the opportunity to work with ancestral materials and techniques This is the case of Carrie Allison who utilises beadwork to represent plants used in the medicine of the Indigenous peoples of northwestern Alberta. This type of medicine is based on the power of plants, which have nourished some and healed others, the ancestors

The artist's website expresses gratitude for said plants: "We must care for these plants so they can continue their important work for future generations

Curator and art history doctoral student Alexandra Nordstrom has written an essay to accompany the Biennial. She says of the artist, "Her works evoke our connection to the Earth, which is so long ago They evoke a relationship of care They have a calming and healing capacity for me."

Works by Duane Issac – 2020

Duane Issac is a photographer and also a mask maker This untitled series of photographs with symbolic significance was created in response to a question regarding sovereignty By the word sovereignty, we evidently mean "sovereignty of indigenous lands", but also that of indigenous organizations

These photographs are inspired by nature, the land and the connection between the land and Indigenous bodies. They are a representation of the intimate relationship that these bodies have with their territories Indigenous people see themselves as part of their territory On the Canadianart website we can read: "We implement land and body sovereignty as two sides of the same coin: when we have thriving Indigenous Lands, we have thriving Indigenous People; when we have healthy Indigenous People, we have healthy Indigenous Lands."

Nothing Happened Here

by Jeremy Dennis – 2016

Nothing Happened Here is a series of photographs depicting the violence of colonialism on Native lands. The central use of the arrow and flowing blood is symbolic of this fury The artist's website states, "The arrows in each image act as a symbol of everlasting indigenous presence in each scene."

Jeremy Dennis explains that he got this artistic idea from observing his community, the Shinnecock Reservation in Southampton. As he rubs shoulders with other members of his community, he feels the pervasiveness of the past, the trauma of losing a land and a culture He endures the burden of his community unable to keep their land and unable to fully exercise their Indigenous rights and traditional activities

Most of the exhibition venues ended their events at the end of July The Maison des Jésuites de Sillery in Quebec City is still offering its own until November 20. You can go and browse through his works honoring Indigenous artists

If you missed the exhibitions of the other cultural venues, you can still catch up as Expression, the exhibition center in Saint Hyacinthe, offers a condensed version of the Biennial from October 1st for three months 18 Indigenous artists’ works are exhibited, including Lori Blondeau, Roxanne Charles and Duane Issac discussed earlier

In Dreams and Autumn by Sky Hopinka - 2021

Man Standing Against the Machine, Standing Rock Reservation by Sky Hopinka 2016

Leah Marie Dorion Leah Marie Dorion

visual artist visual artist of Metis heritage of Metis heritage

by

Interdisciplinary Metis artist Leah Marie Dorion highlights her indigenous culture and identity through her creativity and art which is targeted to all generations.

Here is a small glimpse inside her world.

Anais Monino

Who is she?

Leah Marion Dorion is a Metis artist from Prince Albert, Saskatchewan. Not only is she a painter, but she also teaches, produces, and writes As she explains, her artwork is influenced by traditional cultural teachings such as the medicine wheel and the sacred circle of life She makes use of her Metis heritage as “a unique bridge for knowledge between all people.” Leah Maria Dorion describes her artistic philosophy using several expressions, such as: “Art with Purpose,” “Art with Intention,” “Create the world you want to live in” and “Passing knowledge forward through the generations.” To her, art is directly related to ideas of joy, liberty, and exploration, among other things. Her philosophy thus implies a type of independence coupled with a need to remodel things in a different way and a desire to communicate with her world and environment through her art and creativity.

Her works and distinctions:

Her artwork is greatly filled with symbolism. According to her, symbols are carriers of spiritual, mental, emotional, and physical features and can very often impact the consciousness and unconsciousness of individuals Some common symbols she uses are the turtle, typically associated with land and the earth; the butterfly, which represents moving from childhood into adulthood; as well as the red robin, which “teaches humans about the joy of using your voice ” All these symbols are profoundly connected to nature, its benefits, its laws, and its teaching. They represent fundamental aspects of how different indigenous communities perceive and celebrate the world

Women also have an important role in her artwork. She believes that women are key to spreading knowledge throughout the generations In fact, her work Givers of Life was used by The Society of Obstetricians and Gynaecologists of Canada for their international division for women’s health

Moreover, Leah Marie Dorion received a grant from the Saskatchewan Art Council to fund one of her projects Additionally, The Allap Sapp Gallery in North Battleford, Saskatchewan chose several of Dorion’s illustrations from her children’s books (The Giving Tree and Relatives with Roots) to figure in their permanent museum collections

ONQUATA

Decorative paddles of indigenous inspiration

By a Wendat mother and daughter duo

Born out of a mother daughter collaboration, Onquata is an Indigenous enterprise offering painted paddles and artisanal products from the Wendake community. The paddle is a symbolic object that marks First Nations history. Honoring and maintaining ancestral traditions and craft, each paddle by Lisa and Lara makes for a unique gift, home decoration, or navigation tool

TIMELESS DESIGN

par Angelique Marguerite Berthe Diene

LISE & LARA

ACREATIVEPAIR

A mother and her daughter, Lise and Lara, stand behind this new Indigenous company. Coming from the Wendake community, the two co owners grew up in the same environment and were both nurtured with the entrepreneurial streak.

“Our families have prospered there as entrepreneurs Our community has always been characterized by its numerous initiatives in business, art or any kind of development. It is very active, and this cultural trait definitely influences its members to deploy their talents as entrepreneurs and creators ”

Working as a mother daughter team is a nice challenge that doesn’t just come with a batch of easy perks “We sometimes have slightly different ideas, but all in all, with good task sharing, it works well.” Good task sharing is indeed often the key! Lise dedicates herself to production as well as to the team’s management while Lara oversees administration, marketing and customer service.

THE PADDLE IS AN OBJECT THAT’S VERY PRESENT IN OUR LIVES AND IT WAS EVEN MORE IN OUR ANCESTORS

If you’re asking yourself about their company’s birth, it came from a project of decoration for a cabin “The paddle is an object that’s very present in our lives and it was even more in our ancestors’ past life It seemed obvious to integrate it in our living space and to give it a significant spot. Once a utilitarian object, the paddle has allowed for our people to move, to make business and to meet other nations The First Nations used to decorate their everyday objects and the paddle was no exception.”

Women in action

Outdoors and activities are two watchwords for Lara, and it is therefore with no surprise that “the paddle sticks with her personality, she loves everything outdoor, projecting herself, moving forward and meeting new people ” This also stands in the feelings that the paddle gives her, which is a meaningful tool. As for Lise, she sees magic only by going on a canoe ride on a peaceful lake with a pretty paddle “Because we get the opportunity to canoe on our territory, the Nionwentsïo, using one of our embellished paddles adds pleasure and enchantment ”

The two Wendat entrepreneurs do not hide their pride of offering such products, with such a meaningful history They intend to build a workshop in order to allow their clients to see their production methods as well as to know more, or even learn about the Wendats’ history and contemporary life

Furthermore, Lise and Lara indicate an enthusiasm in their creativity when they collaborate with other designers on specific projects “It allows us to go beyond what we normally offer, which we love. There are some products that we are really proud of, and we wish to make even more out of these collaboration opportunities. For now, we favor acrylic painting and handmade stencil dyeing ”

WE WANT TO ADD A PEDAGOGICAL ASPECT TO OUR PROJECT SO WE CAN PROMOTE A BETTER KNOWLEDGE OF OUR NATION AND ENCOURAGE PEOPLE TO COME CLOSER WITH ONE ANOTHER.

WITHWORDS

Crowds demonstrate in Vancouver on Canada Day

photo: Blake Elliott

CHRISTIBELCOURT WISDOMOFTHEUNIVERSE

by Camille Basso

Christi Belcourt, a Metis artist, and activist known for her commitment to indigenous communities, knows how to use words perfectly during her lectures, as well as beads or acrylic to translate her thoughts through art. She is a writer, visual artist and activist from Scarborough who made her voice heard from one end of Canada to another, but mostly that of millions of indigenous people for whom she campaigns every day.

If we focus on the origins of Christi Belcourt, we can easily understand that her willingness to commit for indigenous populations is not a unique personality trait in her family Being Metis herself, she is the daughter of Tony Belcourt, founding president of the Congress of Indigenous Peoples in 1970 and activist advocating for Metis rights On his side, her brother Shane is a writer, producer and musician, whose feature film Tkaronto (2007) questions the identity and traditions of indigenous people living in urban areas Her sister Suzanne is also a visual artist from South Ontario. Such a creative and committed entourage has therefore certainly participated in the work of Christi herself

Nevertheless, what makes this multi talented artist so unique is not the multiplicity of her commitments, but the peculiar shape she gives to each one of them Indeed, from activism to artistic creation, Belcourt adopts radically different positions that constitute her authenticity

The Great Mystery of Water

Plant Medicine

The activist she is stands out by her strong speeches, a vivid will to reach a real equality throughout the Canadian society and, more importantly, an opposition in front of a government which acts too little in favour of indigenous populations. In 2017, during a lecture, Christi Belcourt detailed: “From a political point of view, the word ‘reconciliation’ is just a new way to describe the insidious politics of assimilation enforced by the government However, the true reconciliation is neither comfortable, nor practical, and it should not be. Reconciliation without giving back the stolen lands and without a correction of everything that resulted from this dispossession is not possible.” Being very committed to indigenous populations, she is part of those who do not give in to concession and compromise to make their voice heard.

On the contrary, the artist invites us to real journeys of senses and colours, through works that pay a deep tribute to nature. Specialized in bead work and acrylic painting on canvas, Christi Belcourt shows the magnificence of fauna and flora in each one of her creations. From a floral constellation to the flight of a swallow, her canvas as well as her beadworks constitute one of the most beautiful testimonies of our environment that we could observe today. In this way, Belcourt prides herself on being able to make another commitment, that of the respect of the Earth that we consume everyday a bit more, without caring about the disappearance of its beauty

When the activist Belcourt speaks or gets involved, our heart and senses beat in unison with hers to campaign alongside the peoples who have suffered for too long from a society with archaic values. But when the artist invites us to discover her work, she passes on in a breath of wind all the wisdom of her roots, the serenity of a nature we forget too often, and the spectacle of the environment that, through its magnificence, leaves us speechless

A Delicate Balance This Painting is a Mirror

Wisdom of the Universe

Credit : Crayg Boyko

Offerings to save the world

The Earth is My Government

SIMON PÉRUSSE

Working to share First Nations’ values and culture

by Josee Anne Mallette

SIMON THE MAGICIAN

Thanks to his talents as a magician and illusionist, Simon Pérusse, alias Simon the magician, has been working in the field of magic for several decades Although he remains passionate about his art, his Algonquin "Nipissing Metis" origins have given him a deep interest in teaching the values and culture of the First Nations

SIMON THE GUIDE-ANIMATOR

To satisfy his passion for transmitting the history of the First Nations, Simon Pérusse invests his time by offering conferences and presentations in schools and communities even as far as in Europe He also offers workshops in medicine wheel making and stone and antler carving He is also a guide at the Wendate Onhoüa Chetek8e traditional site, located in Wendake, Quebec

Environment and land are matters of great importance to First Nations. The need to be aware of our imprint on earth and to take the necessary steps to preserve its richness is primordial

To be truthfully useful, he manages to explain in very few words the benefits of having diversity in our society For example, he teaches that before the arrival of colonization, among many communities, five genders were recognized: woman, man, man who considers himself a woman, woman who considers herself a man and finally, the human who has both spirits. This openness regarding the human being, to be accepted for who we are, is a message rich in meaning to which he is deeply attached.

SIMON THE EDUCATOR

To conclude, Simon Pérusse tries to raise awareness and encourage openness to others. With Moko, his faithful crow, Simon has traded the tricks he used in magic with the voice of the heart to convince his audience! It is safe to say that his teachings on Indigenous values and culture will certainly shed light on the First Nations, who have long before us possessed so much rich knowledge

ONSTAGE

A dancer during the 2014 Odawa Nation Pow Wow PHOTO: cjuneau

Ondinnok was the first aboriginal theatre company in Canada. 37 years after the creation of The Sun Raiser, they continue to make their voice heard through productions filled with pride and their life experiences.

Ondinnok Productions was born 37 years ago thanks to the vision of Yves Sioui Durand, Catherine Joncas and John Blondin "Ondinnok" is an old Iroquoian word meaning "the secret desire of the soul" "This word has chosen us, not the other way around," explained Yves Sioui Durand in an interview with La Presse in July 2021.

Yves Sioui Durand, a member of the Huron Wendat Nation, was their artistic director until July 2017. Under his direction, the theater explored several avenues. The first period focused more on mythological or ancestral theater to reappropriate the stories of the various Aboriginal communities His first show The Sun Raiser was staged many times in the ten years following its premiere in 1985 During this highly creative period, Ondinnok presented several large scale productions "It was very multidisciplinary, combining theater, songs, dance, masks and movement," says Dave Jenniss, the current artistic director

In the early 1990s, another period began It was the period of healing theater They worked with several communities that were a little more isolated, including the Atikamekw of Manawan, to create along with them texts based upon their own experiences, and that would become a very useful process through many generations, says Dave Jenniss.

Several shows and projects have taken shape over the years Many Aboriginal actors have made their stage debut with Ondinnok and continue to pursue careers in arts, television, and movies The next generation of actors is slow to emerge, but the interest grows steadily

Dave Jenniss, who is in the position since 2017, himself performed and collaborated with Ondinnok before becoming their artistic director In a Zoom meeting, he spoke to us about the company's history and, of course, his plans. His position is multifaceted: like his predecessors, he writes, acts, and directs, and like Yves Sioui Durand before him, he has projects that are close to his heart. Coming from the world of youth theater, he finds it important that young Aboriginals know their culture and hear the language of their ancestors with pride He set up a theater camp for Aboriginal youth in the summer of 2022 in collaboration with the Minwashin organization, which is dedicated to the preservation of Anisnabec culture He animated a week of workshops for Anishinabe teenagers aged 12 to 15. He says he enjoyed the experience and hopes that some of them will get the stage bug

Dave Jenniss feels that Ondinnok is in a more contemporary era, although the mythological and ancestral elements are still present in recent productions Since taking up his position, he has found it necessary to incorporate more words from Aboriginal languages into his texts and productions to share them with Aboriginal and non Aboriginal people He told us that his audience is diverse and that they are increasingly curious to know and open to the culture of others At the presentation of the play Nmihtaqs Sqotewamqol / La cendre de ses os at La petite Licorne during fall 2021, he was very surprised and delighted to play to a full house for two weeks

The 2022 2023 season looks very interesting for them with, among others, a collaboration with the Nouveau théâtre expérimental (the New Experimental Theater, or NTE) Dave Jenniss confessed that he really appreciated his work with Daniel Brière, with whom he shares the stage direction of the play L'enclos de Wabush that presented at la Licorne from October 12 to 29 This is not Ondinnok's first collaboration with the NTE. They worked together on the play La conquête de Mexico in 1991

Youth theater has not been left out, on the contrary. The play TOQAQ MECIMI PUWIHT /Delphine rêve toujours created for a young audience from 5 to 8 years old in collaboration with the Théâtre de la Vieille 17 will be touring this fall in Quebec and Ontario. The play will also be presented at the Maison théâtre in Montreal, from March 28 to April 9, 2023

Photos: Marianne Duval

RECONSTRUCTION AFTER THE HELL OF RESIDENTIAL SCHOOLS

by Anais Monino

Pour toi Flora : la reconstruction après l’enfer des pensionnats (For You Flora: Reconstruction after the hell of residential schools) is a mini-series directed by Sonia Bonspille Boileau released in 2022 that delves into the story of two young Anishinaabe who try to rebuild their lives after the hell they went through in a residential school during their childhood. The original version of the series is in French but a dubbed version in Anishinaabemowin is also available. There are also some passages in Anishinaabemowin in the French version.

The plot

In this mini series, we follow Wabikoni (Sara Rankin Kistabish) and Kiwedin (Russell Flamand), renamed respectively Flora (Dominique Pétin) and Rémi (Marco Collin) by the Catholic church, who spent their childhood in a residential school Scenes from the past and the present intermingle, scenes echoing one another, all linked through the voice over of the adult Rémi In the present, Rémi wants to publish a book about his and his family's life as a way to heal, while Flora, working at the church, gets caught up in her past when her daughter tells her that a man named Kiwedin has approached her publishing house to publish his book In the past, Wabikoni and Kiwedin are taken away from their parents by the Oblates to join a residential school

With this series, Sonia Bonspille Boileau wanted to tell the collective story of Indigenous people, but without taking the colonial point of view, as she told Radio Canada She also wanted "Pour toi Flora to be the beginning of a conversation, of awareness regarding the realities experienced by the different Indigenous nations, a reality that affects everyone "

The impetus behind Pour toi Flora (For You Flora)

Photo: Randy Kellys

The different themes addressed by the series

The series deals with various central subjects, such as the reality of residential schools and the reconstruction and healing of their survivors The story confronts us with the clichés and preconceived ideas that colonial society has about Indigenous people, especially with the way in which the Oblates uprooted Indigenous children and stole their identity to shape them in their own image Physical and psychological abuse and humiliation were commonplace in residential schools. The series illustrates this well, a heartbreaking experience for the viewer

What this series also brilliantly highlights are the consequences of these traumas on survivors and their families, especially their children Complicated family relationships ensue, especially when we see that Flora married a white man. There are differing opinions about residential schools and the discrimination that still persists Some are in denial or do not care, others realize society does not admit its wrongdoings nor do anything in favor of Indigenous communities For Rémi and Flora, tensions and misunderstandings with their children are also due to the consequences residential schools had on their parenting . Since reconstruction is a long and difficult process, it becomes almost inevitable to project traumas onto one's children before healing completely, if that is even possible.

Finally, in a context where power dynamics are always at play, Pour toi Flora shows us the different ways in which characters try to rebuild themselves Whether it's by writing a book, repressing emotions, or seeking justice there are as many ways to heal as there are people

Source:

Radio Canada (2022). Pour toi Flora : le devoir de raconter. Online at https://ici radio canada ca/tele/blogue/1886016/pensionnats autochtones serie sonia bonspille boileau, consulted on September 16 2022

JEMMYECHAQUANDUBÉ

Atalentedandcommittedartist

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For the past few years, Quebec's emerging artists have been boasting actors of great talent and heart. Actress and director Jemmy Echaquan Dubé, who has left her mark with striking roles and poignant short films, is obviously one of them. As a multidisciplinary artist, she is not content with acting and has more than one string in her bow, in addition to being deeply committed to her community.

Camille Basso

Jemmy Echaquan Dubé was born in the heart of the Laurentides in Quebec in the Attikamek community of Manawan. However, after her parents separated when she was six years old, she moved to Joliette to attend a public elementary school Unfortunately, this change of scenery was accompanied by persecution and discrimination from her peers. In Joliette, her differences were pointed out and insults were common In a recent interview with the Journal de Montréal, the actress confessed that she doesn't have many memories of this period, as if she had a block in her memory. "But I remember that at 14 years old, I did not even want to be Indigenous," she said As the years went by and she suffered this constant rejection from her peers, she even came to lose her mother tongue, preventing her from communicating with her family in Manawan. However, in her mid teens, a change occurred in her and she decided to reconnect with her roots and start speaking Atikamekw again

Photo: Tele quebec

Today, this accomplished artist allows her culture to be one of her greatest sources of pride Spokesperson for the First Nations Youth Network, she is even considered one of the most influential voices in her community In addition, her commitment has led her twice to the United Nations to address the difficult situation of Canada's Indigenous populations She has also chosen the media of cinema and television to make her voice and that of her community heard She works with the Wapikoni organization as a distribution assistant and film assistant After directing six short films, she landed a major role on Quebec television as Daisy in the second season of Fugueuse. Since then, offers have continued to pour in for the actress who took another part in the series Toute la vie. Now in the spotlight, she has even been offered animation mandates and very recently, a role on stage

In Toute la vie, she played Mélie, a teenager with a strong character, lost between her dreams for the future and her roots

But if acting is not her primary occupation, Jemmy Echaquan Dubé has accepted these roles in a desire to represent her community on the Quebec television screen "The fact that I see an Indigenous person on TV, I hope that there are young people who will be able to identify with her, and who will perhaps say to themselves that they want to see themselves there too When I was a teenager, I didn't really have a role model except for my grandmother. You can do anything in life," she concludes "You just need to have the will and use what you've experienced to make something better," she told the Journal de Montréal. The desire to highlight and celebrate her roots is always present throughout her work and her passion And at the age of 29, the director and actress is well aware that she is a model for future generations. We wish her to continue to shine, in front of as well as behind the camera!

In Fugueuse, Jemmy played the sex worker Daisy, alongside Ludivine Reding

Makhena Rankin-Guérin

E A L I N G T H R O U G H D A N C I N G

A true therapeutic art, hoop dancing is an ancestral practice that continues to thrill many artists today. It is a native custom that is widespread throughout North America, and one of the traditions that Makhena RankinGuérin has chosen to promote and explore, in a desire to bridge the gap between art, History and well being.

Can you introduce yourself for our readers? What do you do for a living?

Hello, my name is Makhena Rankin Guérin I am an Anishinaabe and Franco Ontarian hoop dancer I was born and raised in Ottawa, but my family is from the Abbitibiwinni Nation. I am also currently studying Practical Nursing at La Cité in Ottawa

An ancestral practice that gives dance a therapeutic power

I always knew I wanted to get into the health care field To me, health is much more than just our physical and mental health. We are holistic beings, and we should treat our health as well Hoop dancing is a storytelling dance, but it is also a medicinal dance. This dance provokes emotions in the audience, and it is these emotions that act as medicine for the mind, body and spirit Just as laughter can be one of the best medicines and just as stress can be very devastating to our well being; our emotions have a great impact on our health. In my culture, medicine is not just about taking medication It encompasses everything we do, but also everything we ingest, to help us feel better. For example, water is medicine, a hug from the right person is medicine, food is medicine, doing something we are passionate about is medicine, etc

Can you tell us about your passion, your art?

You are quite successful in your art practice; did you think you would have such an impact when you started?

No, definitely not I am very happy to be in the position I am in today I am lucky I get to share the beauty of my culture while having a platform to educate viewers on more serious issues

Can you explain the origin of this dance, its meaning in the Indigenous community (its history)?

I don't feel comfortable talking about the history of hoop dancing I feel like it is not my place to tell it, especially if it is going to be online I don't want to engage in Chinese whispers with a sacred story.

What has inspired and nurtured you throughout your life to come up with this art form that is so contemporary and traditional at the same time?

I have always loved arts, health care and my Anishinaabe culture. Hoop dancing fills all three of these areas in me Also, the inter generational impacts of colonization have left some people disconnected from their culture. Those who want to practice culture tend to have to look for knowledge keepers I would like to learn as much as I can about hoop dancing and my culture so that I can continue to teach it to future generations.

Bo Diaw

FOUNDING ARTIST OF “GET TOGETHER FOREVER”

Bo Diaw is a half Senegalese half Canadian artist. He is a singer-songwriter, a producer, and a member of R Magazine’s board of directors and tells us more details about himself and the “Get together forever” project.

Par AnaIs Monino

Photo: Amadou Kane

Couldyoubrieflyintroduceyourself?

IamaCanadianartistofSenegaleseorigin,Iama writer,composer,performer,andproducer.

Youcreateallsortsofmusicandareversatile,but howdidyoufindyourselfmakingmusic?

Yes,Ipracticeseveralmusicalstylesbecause,ata veryearlyage,Iwantedtounderstandreggae dancehallandIhavegonetoJamaicatolearnit I traveledtoCubaforthesamereason Ialsohave pop,traditional,andafrobeatinfluences

FatehasledmetomusicbecauseIwantedto becomeanactorlikemyfather Iusedtoseehim ontelevisioninmoviesaswellasinplaysand dreamofbecominglikehim Intheend,mymother didnotwantmetopursuethispathandIlater shiftedovertomusicwithoutintendingto.

Whatdoyouhopetoachievethroughcreating yourmusic?

Myobjectiveistocreatebridges,unitepeople, raiseawarenessthroughmusic,toheal,andmake peoplefeelgoodthankstomylyricsandmelodies, becauseloveknowsnofrontiersnorcolours

YouaremostlyknowninSenegalandCanadaasof now.HaveyouconsideredsinginginFrenchmore oftentoreachalargeraudience?

Yes,Iamworkingonthat.IevenuseFrenchalot inmylyricstoreachalargerpublicandam currentlyworkingonprojectsthatare“frenchier” towidenmyaudience

In Africa, there are also Aboriginal and Indigenous people, and I feel at home in Indigenous reserves.

Photo : Amadou Kane

Photo: Peter Graham

Whataboutmusicmovesyouthemost?

What moves me the most is being on stage, performing and seeing the audience sing the lyrics I wrote, it’s sharing.

WhathasmotivatedyoutojoinRMagazine’sboard ofdirectors?

R Magazine is a family of artists and professionals who work to make talents shine, and being a part of this team as an artistic advisor gives me the opportunity to apply my knowledge as an artist and to develop beautiful projects

Whydoyouwanttobepartofthe“Gettogether forever”project?

The “Get together forever” project is an idea that was born after several trips, tours, and festivals in Canada where I met Natives I have noticed that we are very similar and have a lot in common: the history of colonization, the racism, and stigmatization. Also, Indigenous people are very close to their cultures as African people are, and we are all first nations In Africa, there are also Aboriginal and Indigenous people, and I feel at home in Indigenous reserves.

From there, I told myself that working together was a must: an intercultural union creating a bridge between these two old civilisations, collaborating to the rhythm of the drums to make our ancestors’ message resonate

ANACHNID ANACHNID ANACHNID

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Nowadays, it’s hard to talk about pop or electro music without mentioning the name of the brilliant artist, Anachnid. This atypical artist who weaves her web in the musical sphere quickly won over the hearts of her public with outspoken texts and a style unique to her. Discover this singersongwriter whose name will not stop being in people’s mouths.

Camille Basso

Like so many indigenous artists, Anachnid encourages the listener to dive into her culture through her art From the first note to the last, she invites the audience to discover all the historical and symbolical wealth of her community

From Oji Cree origins, Anachnid was born in 1996, a decisive year, since it marks the last indigenous residential school being shut down As it turns out, the young woman is of the ones who refuse compromise from the get go and hope for real changes.

And as much as musicians before her, such as Elisapie, started to pave the way for indigenous artists, Anachnid conveys in her texts all the culture and frustration of peoples who have been bullied and assaulted for too long.

Photo : Martin Chamberland

A COMMITTED A COMMITTED A COMMITTED ARTIST ARTIST ARTIST

The singer songwriter is proud of her roots The is proud of her roots and speaks out for her community She and for her her doesn’t only express it in her music She express it in her music She it lives following the tune of her culture, her lives following tune of her culture, her her ancestors, and proudly embodies her and proudly embodies her embodies people’s identity In an interview with the identity In interview with magazine magazine Voir Voir, she notably confesses: “I am , she confesses: “I am quite capable of having lucid dreams and of quite of having lucid dreams and having astral projecting actually. I hear melodies in projecting actually. I hear melodies in melodies my dreams. Then, I wake up and record my dreams. Then, I wake and record them on my phone, just the basic notes on my phone, just basic notes phone, basic when I get back to the studio, my producers when I get back the studio, my producers the Ashlan Phoenix Gray, Emmanuel Alias, and I Ashlan Gray, Emmanuel I work on all of that.” Always attuned to her on of that.” Always attuned her on her environment and her subconscious, she environment and her subconscious, she expands her musical vocabulary with all the her musical with all the her signs that the universe and past that the universe and past generations can send to her. can to to

A DIFFERENT A DIFFERENT A DIFFERENT SOUND SOUND SOUND

In a similar manner, her art feeds on all the particularities of the Oji Cree culture For example, in the song “Animism,” the wolf howls that can be heard are done by the artist herself. As a child, she has indeed learned to sing with these majestic animals and the adult she became chooses to reuse that talent on this track She also adds various instruments, chants, and significant sounds of her community, thus making the listener dive into a truly cultural and sensory journey

This unique artistic imprint has had no hardship in seducing her audience In 2019, she won the award for Indigenous Singer Songwriter of the Year at the SOCAN foundation, and in 2021, the Félix for Indigenous Artist of the Year Despite her accolades, Anachnid stays grounded, like the eight legs of her spirit animal, the spider, which represents all the diversity of her talent and her art very well

Photo: Laurie Anne Benoit

ANDICHA SONDAKWA

O U

J

R N E Y T O T H E H E A R T O F H E R U N I V E R S E

As an artist and co founder of the Maison Andicha, Diane Picard’s mission is to pass on Huron-Wendat art and culture, as well as those of other First Nation tribes. Be it in communal organisations, native cultural sites, the theatre scene or private companies, the artist’s experiences are growing in number.

by Jeanne Gignoux, Amel Madjoudj & Megane Luzayadio

Come and see us, come to our place, don't just take pictures

There are many communities in Quebec, not only in Wendake There are eleven nations and over fifty villages. In the books, some things are authentic and others are not.

Tell us about yourself!

I was born non baptised in Wendake, as a descendant of Huron Wendat chiefs Okouandoron and Taourenche

I hold the name “Weight of the Day,” but as the years passed, that name became “little rooster ” Indeed, when I wake up in the morning, I pray for the “little rooster,” as it wakes up the nation with all its energies. I say these prayers and thank him. During a ceremony, I received the name of a spiritual woman, Andicha Sondakwa, which means “the Eagle’s Moon ” I would like to add that these communities are now called Native people, not Indians

My birthplace, Wendake, was originally called Huron It is an island located fifteen minutes off Quebec’s shores and includes well developed and modern communities including the Wendats, the “people of the island,” or “inhabitants of the peninsula ” It is experiencing major touristic development: many people travel from all countries to visit that region

Now, at 72 years old, I hold several functions, such as artist, artisan, businesswoman, and director of a group called Les Femmes au Tambour (the women with drums)

Speaking of, could you describe this group for us?

Les Femmes au Tambour de Wendake is a women’s art group which offers artistic services at local, provincial, and international levels It was created in the 2000s, after a woman received the authorisation to play with the sacred master drum, usually only given to men. Following a meeting, I received a drum and asked for its benediction during an assembly at 5 in the morning, along with around seven other women, thus receiving my name, Ya Andicha; this one means “star of light ” From that moment on, people wanted to play with me, and I became the group’s director in 2004 Its main activity is ensuring the spirituality of ceremonies, culture, and conferences

What kinds of concerts do people generally call on you for?

Shows can take several forms It could be a thirty minutes event, or a participation at the start of a festival. Sometimes, people come for a prayer or even for an hour long concert Queries themselves are made through email, and the team analyses a folder which files the client’s needs. Thus, shows can include five to six artists It all depends on the client’s budget

On your website, we can see through the photos that there seems to be a real significance behind the outfits, the makeup, the hairstyles What is it?

Regarding the regalia outfits, people go around the PAWA (a festive gathering which everyone can attend) Each community defines its own date at the end of the week to organise PAWA. In general, in Wendake, it’s July 1st For me, it’s a headband, a pearl headpiece, and some leather We make a very small, colorful flower with porcupine fur, as a symbol of respect. Sometimes, it can be made of feathers, also a sign of respect During ceremonies, if someone loses their feather, the festivities stop

What does all this bring you?

These events are important because they bring joy and happiness You can indeed meet new people who come from other communities Artisans present their creations, and so in addition to seeing more people, there are commercial exchanges, emotional development, etc It also brings a lot of teachings for the youth, as well as a large sacred openness.

It was because of the demand I had the idea while looking at an advertisement in a neighboring county, particularly one from a woman who announced that she made Native American jewelry and dreamcatchers, and at the same time taught people to make them So I went to see, and after a while I started these types of creations myself, telling myself that I wanted to share them along with spiritual teachings To do this, I started to learn to make and develop them, in order to pass on their meaning

It all grew out of different events Thanks to a meeting with a neighbor who gave English lessons, I realized there were still too many preconceptions on Native Americans, and that I had the duty to create an openness towards the World, so I could make them known.

Come and see us, come at our place, don’t only take photos There are many communities in Quebec, not only in Wendake There are eleven nations and more than fifty villages In books, some things are true, and some are not ”

How would you describe your style, particularly for the creation of your jewelry?

My style is influenced by animals. I was taught that they are beautiful models For example, the figure of the beaver has an important significance for Wendats, as thanks to this animal, they learn cooperation. Therefore, I wear recycled beaver skin when I hold conferences

How did you come up with the idea of creating the Maison Andicha (with its different workshops and services)?

*Diane Andicha collects mutilated animal parts to recycle and wear them

objects that can be made during the workshops

Eagle feather, abalone shell and sacred herbs for ceremonies

Which artists (old or new) inspire you?

I am influenced by female artists, and I could cite among them Doina Balzer, the founder and director of MondoKarnaval

Could you name some values you hold dear?

Those received in my own community: first, there is honesty with oneself and others Respect comes first; humility to understand we are not the supreme power, but only a speck in the Universe. I associate my power with that of a tsunami; nature is far more powerful than humans We have the power of spirituality, of religion. I am careful to keep my humility more than my power Finally, there is sharing

What is your greatest pride within your group and/or the Maison Andicha?

It’s to be recognized as a proud people, a divine people, and that people have respect for the population that make up one of the First Nations

Tell us about your projects! Between your participations in a play and a film, where are you now?

First, I am getting my feet back in the water, since with Covid, there has been a significant pause I plan on making videoclips with big organisations, but also music in nature, television, interviews… My first goal is to participate in projects in order to be more well known

If we said: “art and Native people…”

Art has always been natural within Native people Territory is an image; it is us who give it the comprehension of who we are.

Les Femmes au Tambour (the women with drums) on stage in Drommmonville

KATHIA ROCK’s art of living

by Megane Luzayadio

Kathia Rock is an Innu artist who holds countless talents. Singing, dancing, theater, the indigenous artist has chosen not to choose and to embrace all these artforms. With twentyfive years of experience under her belt, she reminisces without detour about her experience in the artistic field as well as her deep attachment to her culture and to her indigenous roots.

Could you introduce yourself so people who do not know you yet are able to make your acquaintance?

My name is Kathia Rock I am a singer songwriter, actress, storyteller of the Innu culture I come from the North Coast of Quebec

You are a multi disciplined artist: singer, dancer, actress, and storyteller. But do you have a preferred field? One you appreciate a little more than the others?

Yes, it’s music My first job, my first inspiration has always been music I also act on TV and on stage. I am also a narrator, cultural animator, and storyteller. All of this helps me finance my musical projects because I am above all a singer songwriter

Before discussing your musical career further, I would like to elaborate on your storyteller profession. What tales do you tell, and who is the public you reach?

First, I’d say that for fifteen years, I have met with a lot of indigenous elders from all over Quebec

One day, my aunt Anne told me the story of my grandfather after asking me if I knew it After discovering this story that was unknown to me, I told myself that I needed to do something in connection to that.

So, with all the encounters I have had during these last fifteen years, I built characters, and I gave the starring role to my grandfather and his first wife at the time It’s therefore a tale for everyone where I speak of territory and of how life was a hundred and fifty years ago I also talk about stories I have heard of myself and about dreamlike characters. I have thus mixed all these stories because it’s what inspires me a lot Tales are my signature as a writer, singer, and storyteller. I have learned, through shows I give, to master the new storyteller in me, a storyteller who was unknown to me

Photo: Francis Di Salvio

Photo: Maryse Dube

Now to talk more about your musical career. You declared during an interview that you met women well-versed in drum-playing to be able to play yourself. What was the procedure in getting their approval?

Dreams are very important to us [indigenous people, editor’s note]. If we do not dream of something, we are not allowed to do it This all therefore began with a dream of a drum

To know how to play one, I did not have a grandfather who passed a drum down to me, or the baton passed from generation to generation So, I went to the meeting of elder women who did receive the baton or the drum from their fathers, since there were no men to inherit them. They encouraged me to pursue it

As long as I can remember, I have always sung in my life. For musical composition and writing, this experience has allowed me to make my first steps All my first compositions had a link to drums They then were put into music by the guitarist Bob Cohen. One thing led to another, I opened, closed, then performed for fifteen, twenty minutes Like that, it became a show linked to my grandfather’s story and to the album I just released. My album and my show are the sum of all the stories I have been told.

While creating your first album, “APEN NUTA TERRE DE NOS AÏEUX” (« land of our ancestors”), released last June, were you inspired by indigenous artists or figures?

The great indigenous Mexican artist Lila Downs was one of my first inspirations She is an artist who modernizes traditional music She inspired me in terms of [musical] arrangement as much as in terms of performance and vocals

I really wanted to find a universe that belonged to me again, to stand out from other indigenous artists in Quebec and the rest of Canada With my producer, we therefore did thorough research The album took four years to make and it’s after a year that we found a line [to differentiate ourselves]

Other artists who have inspired me aren’t indigenous I greatly appreciate writers, composers, traditional singers who modernize their work. I listen to a lot of what is made around the world I try to stand out and have a sonority that echoes my culture and who I am as a woman

Photo: Jean Chales Labarre

Your song « Terre de nos aïeux », from your album, pays homage and discusses the fate reserved for indigenous women in Canada How do you perceive this part of history?

It’s obvious that as a female indigenous artist these topics inspire me a lot As small as I am, I owe it to myself to speak about that Even if there were investigations, they were unpublished I thus owe it to myself to put these investigations into the light and to make indigenous women’s reality known It wasn’t only prostitutes or junkies that went missing It was [also] young fifteen year old girls like Tina Fontaine, found in the bed of the Red river in Winnipeg

We all dream of getting out of our communities and achieving our dreams. Unfortunately, these young girls were not able to do so. In the face of these investigations that have been put aside, I want to bring something As a woman, mother, and indigenous artist, I owe it to myself to talk about these topics

I asked Louise Poirier, my collaborator and the writer and composer of this song, to write something in relation with Canada’s and Quebec’s national anthems I wanted to reunite certain phrases of these two anthems Not to point the finger at anybody, but to share my worries

For people to question themselves on which path to take and the way a new page of history can be written starting now All that to align ourselves together to open the road to the music industry to indigenous artists in Quebec and Canada

Photo : Maryse Dube

Do you feel like it’s difficult for indigenous artists to make a place for themselves in the industry?

Oh yes! Since Joyce Echaquan has passed, there are more openings; however, it is still not enough today, since the French language still takes a lot of space

“We were here, we are still here, and we will be here tomorrow!”

[It must be asked] how these songs can be heard outside of tragedies that have transpired in the past. Let’s be aware of this reality that inhabits us, and be aware of this history, as dreadful as it is Today, we [indigenous people] are still on the path to healing. When we see mainstream media tell our story in another manner than ours, that is what is shocking to us; it destabilizes us I am not an actress who’s going to play alcoholic or junkie adjacent roles I am other than that, my story is something other than that. I refuse those roles because it pains me, and I do not want to feed this stereotype on television or anywhere else

My culture is not always easy to bear But I still try my best to share the universe that was here before the residential schools and the missionaries arrived. I’m concentrating on the beautiful, on what belonged to us, on what has been ripped away from us and forbidden Through who I am: an actress, thespian and singer, I want to unearth these beautiful stories. These stories that unite us. I want the neighboring cities to invite these communities at their side, to broadcast these artists in their festivals, on TV I wish us the best

“We are a happy people, a healing people, and we are trying to find our way to show the beauty, the strength of solidarity and of sharing.”

Have you felt a change, an evolution in your musical style since the beginning of your career?

Absolutely At first, I didn’t know which category to choose. During my last 25 years, I have worked on so many different genres and styles. Today, with this album, I told myself this is it; I’m taking a moment and I know what I don’t want I surrounded myself with an excellent team who supports me and helps me climb each step. I feel more accomplished and fulfilled today

Wewerehere, westillare andwewillstillbeheretomorrow

I know what I’m worth, I know which direction to take, and I know who I am.

I also know what I hold inside me: my traditional language, Innu Aimun, my culture, my history, my soul

In this album, you sing in French but also in Innu Aimun. Is there a particular flavor to singing in Innu-Aimun instead of French?

I’m a writer for whom Innu is automatically going to come out first It doesn’t satisfy me to write in French My Innu is much more poetic, more vivid than my French. My French is limited, I however express myself very well in French

Do you agree to qualify your music and your art in general as “activist”?

Maybe the track “Terre de nos aïeux” is more activist than the others. In the rest, I talk about my grandfather’s story The latter was my inspiration for these last fifteen years SO yes, the track can be qualified as activist, the others, no.

You will play at the Cabaret Cogeto in Montmagny, do you plan other dates in France in the upcoming months?

My wish to enter [the French music scene] is a big as my heart, vast like the ocean and the galaxy. I really hope for festivals to invite me and to soon be invited in Europe We are working on it with my tour manager, Guillaume Ruel, who is in charge of programming shows

Before leaving us, do you have anything to add?

I can’t wait to go to France!

THE ART OF CAPTURING LIFE'S MOMENTS Nirrimi Hakanson Nirrimi Hakanson

by Laura Bonnieu & Megane Luzayadio

We can almost say that Nirrimi Hakanson was born with a camera in her hands! Indeed, when she was 16 years old, she signed her first campaigns for international brands. After more than fifteen years of experience, she has had the idea since 2020, to make a variety of artisanal objects which she sells in her shop called "Weird Feeling".

“I have always used creativity to help me process information and understand it ”

This thirty year old Australian has already an impressive resume. Passionate about photography since she was thirteen, she began photography on her own and developed her skills by herself She explains her attraction for this art to the webzine Bloginity:

« I was crazy with all the beauty around me and just wanted a way to record it »

When she was 16, she left school and signed her first advertising campaign for Diesel is that not amazing? the fall winter 2010/2011 “Be Stupid” campaign was a success! It perfectly illustrates the answers to the question “why should we be stupid?” Sometimes hard hitting but most often amusing, her shots portray the fun, madness and recklessness of youth The same year, she left to go to Europe in order to work on the Billabong campaign.

Photographer Nirrimi Hakanson was born to an Indigenous artist father and a Swedish mother. She was introduced to art at an early age. In the Stackwood blog she said:

Diesel advertising campaign "Be Stupid", 2010

Billabong advertising campaign, 2010

Nirrimi is a young photography prodigy. This incredible talent earned her the SOYA (Qantas Spirit of Youth) award for photography. She was then just 17 years old

She left her city to join her crush, the photographer Matt Caplin, better known under the pseudonym Mexico Rosel They go on the road and travel the world, living on love and fresh water. She captures life in photos and he films it

Her work speaks of her life We discover her love story, her pregnancy, the first days of her baby, her travels, her crushes, her separation. Her intimate touching photos cannot leave you unmoved! Very interesting works done with impressive effort thanks to her entire portfolio She shares so well the emotions, the intense moments of a woman's life

Her work is raw and real. This talented piece of woman also has writing skills Her diary “fire and joy” gives us a good complement to her photos with personal texts In fact, browsing her site is like flipping through a sweet photo album. But photography is not her only passion.

In April 2020, Nirrimi Hakanson decided to embark on a new project: hand crafting. An activity that she has been doing alongside photography for several years She thus created “Weird Feeling ” On her Instagram account, she shares her love for making earrings, cups or ceramic vases of “imperfect” shapes. She revealed on this same page that she has always liked the so called imperfect forms: “I love chunky imperfect shapes, pastel shades and impactful handwritten words; so I found a way to make that playfulness and humanness wearable.”

She finally unveiled her first collection in October of the same year An entirely homemade collection that is part of an eco responsible and supportive approach, as she explains in the post presenting her collection:

“When I begin generating a profit, I will be donating 10% of Weird Feelings profits to mental health charities because it is important to me. All of my packaging is chosen mindfully and shipping is carbon neutral, and I’ll be keeping it that way ”

Through these works, Nirrimi Hakanson plunges us into our childhood memories Between small deformities, rainbow drawings and flowing paint, her work is similar to the dear objects made when we were children. From these objects emanate a certain form of nostalgia, bringing us back to these tender and precious moments of childhood Nirrimi Hakanson's creations are like her photographic work: raw and without artifice. They are in fact a subtle blend of elementary shapes and refined colors The pastel colors but also the patterns come to soften its rustic forms to finally better sublimate them

A brilliantly successful combination that allows us to magnify the notion of imperfection and remind us, at the same time, that there is beauty in imperfection!

by

Jimmy Nelson ‘s book Homage to Humanity isn’t a simple photography collection, it also actively supports the conservation of indigenous cultures. It is a project bringing countries and distant traditions closer, by bringing the reader of Humanity.

Chiara Jacazzi

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My idea is that of aesthetic and empowerment for a better world. I hope that with my work, remote, indigenous people get a better sense of their uniqueness and importance in the world we all live in, which will support them to be more resilient to the pressure around them »

Jimmy Nelson

Jimmy Nelson

Jimmy Nelson pays tribute to beauty, to the value and power of the heritage of over twenty five indigenous populations, who he visited across the world His project’s goal is to conserve the uniqueness of these communities while inviting outsiders to question themselves about their own cultures and traditions

When he was a child, Jimmy Nelson more or less travelled all over the world due to his father’s frequent trips He always loved living among different peoples and civilisations, and when he was sent to secondary school in England, he quickly realised that urban daily life was made not made for him At the beginning of his career, he dove into photojournalism and documentation of the war in Tibet, but afterwards, to better combine his profession and his new family life, he tried to redirect his work towards commercial photography He eventually understood that he needed to reinvent himself once more, and that the best use of his artistic abilities was to pay tribute to the cultures and identities of the indigenous populations he had photographed for years His first publication dedicated to indigenous peoples was Before they pass away (2013) that, by its controversial title, was able to catch the world’s attention. Then, starting from 2016, Jimmy Nelson, along with his team, created an independent company and foundation in Amsterdam Together, they decided to work on the production of a new book whose title, Homage to Humanity, masterfully expresses the meaning of a project that has both aesthetic and cultural value

HomagetoHumanity

Jimmy Nelson’s work, Homage to Humanity isn’t simply a book, it is also composed of interviews with the represented populations, pictures taken behind the scenes and stories that question the observer while suggesting possible answers and interesting paths for reflection. This multimedia experience is made possible thanks to a mobile app (Companion App), that gives access to a digital version of the pictures as well as videos that show the original context of the shoot, allowing the audience to be involved in the creation of the document The viewer can also have an immersive 360° experience in each chapter by using a QR code scanner on their phone and the pair of VR glasses gifted with each copy of the book

Jimmy Nelson and his foundation’s mission is to protect the last indigenous cultures of the world by helping them preserve their cultural knowledge and heritage Thanks to his foundation, the material gathered by Jimmy Nelson was transformed into an educational program called Cult ED that allows children to travel digitally to faraway locations like Siberia, Mongolia, Peru, or French Polynesia to learn more about these unique cultures. Furthermore, Jimmy Nelson’s project is founded on the idea of reciprocity, and in this perspective, he supports indigenous communities by helping them preserve their heritage for the future and lead programs necessary to fulfill their needs themselves

« Look at these people, look at their beauty, look at their power. Once that is achieved, we can reflect on who we have become at the same time »

Jimmy Nelson

« If you change the way you look at people, the people you look at change. And if that change is powerful enough, it will gather momentum to affect the whole of humanity »

Jimmy Nelson

ONTHECATWALK

Denesuline fashion designer living in Toronto and graduate of George Brown College in Fashion Techniques and Design and Techniques, Sage Paul designs clothing, costumes and objects used in all types of artistic depictions such as movies, series, and plays. Her indigenous identity is central to her creativity Notable common themes of her indigenous culture are family and community, sovereignty, and resistance Yet, as she explained to the CBC a few years back: “I don’t want people to watch the runway show and think: here’s Indigeneity! I wish that we’d shine differently ” Sage Paul creates work to tell stories. The fact that her creations are used in movies and in theatre directly links to this idea of storytelling As she explains in an interview for Flare: “Artistically and professionally, I am driven to activate space and amplify visibility of Indigenous people, our culture and our artistic practices ”

Her creations not only have an undeniable political dimension, but they are also conceptual One of her last collections to date (2017) entitled Giving Life and her piece Bust are, according to her; “a mash up of raw hide casts and weirdo fashion; this is a cheeky exorcism of sickness possessed by loss, failed systems and a lust for trust ”

Her depiction of female genitalia entirely created out of pearls was made for her Self Portrait Series portrayed from September 2017 to January 2018 at the Center for Craft in North Carolina for an exhibit entitled Crafted Strangers, which seemed to have thoroughly compelled its audience As she describes on her website, this series “is of my uterus and vagina. Three beaded wombs. Fragility and evolution of body, identity, and spirit ”

As mentioned in the introduction, Sage Paul has many times been rewarded for her work and influence. In 2017, she ranked in Flare’s Top 100 talented and determined women of Canada She also received the Design Exchange RBC Emerging Designer Award and is acclaimed by the Ontario Minister of the Status of Women for her role as female innovator in Ontario In 2018, she was recognised by the Toronto Star as being a Woman of Influence, Change Maker and by Vogue as a Toronto “cool girl” These many awards are in part due to Sage Paul’s role as founder and artistic director of the Indigenous Fashion Arts Festival (previously named the Indigenous Fashion Week Toronto), whose 2022 edition took place at the Harbourfront Centre in downtown Toronto from the 9th to the 12th of June

As such, Sage Paul is undeniably one of the most influential figures of indigenous fashion whose work pays incredible tribute and sheds light on her culture and her art

Sources:

SAGE PAUL: INDIGNEOUS DESIGNER & ARTIST Online http://sagepaul com/, accessed 19 septembre 2022

MILLER, Sophie Claude (2018) Sage Paul ou la mode en tant que véhicule politique Online https://ici radio canada ca/espaces autochtones/1121944/sage paul designer autochtone mode comme medium dene, accessed 19 septembre 2022

FLARE (2017) Sage Paul, Fashion Designer and Incubator Co Founder. Online https://www flare com/how i made it/sage paul/, accessed 19 septembre 2022

INDIGENOUS FASHION ARTS FESTIVAL Online https://indigenousfashionarts com/, accessed 19 septembre 2022.

by

Adrienne Sauriol

Born into a large Algonquin and Cree family, Babbeyjane Happyjack grew up in an indigenous foster home in Abitibi Témiscamingue Her parents grew up in Oblate day schools and members of families were affected by the heavy residential school past Just like them, she saw her long hair cut off and was unable to speak her own language with her younger brothers. These are all traumas that she has experienced and can now name She explained to us that this family was very strict but still taught her certain values that she appreciates today. As soon as she turned eighteen, she returned to her reserve and reconnected with her culture and language

Approximately ten years later, she went back to school to take courses She wanted to get a management certification Being a mother, she considers herself a loving and kind person who wants to take care of her family Despite the overload of her studies and her duty as a mother, Babbeyjane decided to work full time to promote the pride of her origins, and her company is called Original by Nomads Nomads like her ancestors

At school, she was told that she had behavioral and learning difficulties. To which she replied that it was rather her expression and creativity that were being crushed A self proclaimed 'fashionista', she would fall in love with fashion as a child while watching Cindy Lauper albums that her mother liked to listen to "I loved those makeup looks, those colors, it was in me," she says. Solid, vibrant colors are part of her daily routine She makes the graphic designs that will be printed and/or embroidered on her shirts and hoodies, and works mainly with small companies in Montreal. “They are usually more responsive to their clients,” she says “If it doesn’t turn out the way they want it to, they’re more likely to fix it.” She tries to stick to natural fabrics like cotton. Indeed, she wants to offer something durable that will last She especially wants those who wear it to do so with pride These designs are unisex. Whoever loves them wears them There is total acceptance of everyone Without prejudice Plus, she wants to keep her prices interesting so that people can afford them.

Babbeyjane wants to modernize, promote her culture and her pride in being Native She loves to spend hours drawing her future designs Immersed in 80's music and traditional songs, she lets her "inner child" have fun during these creative moments She enters a state of mind where calmness takes over She admits to being a bit of a perfectionist

In the beginning, she favored embroidery with gold thread, which is rather unusual, and one of her friends wore one of her sweaters to Cégep Laurendeau but was not comfortable because people were curious and asked to touch it. She agrees that her style is sometimes flamboyant but loves the fact that it draws the eye and generates conversation

Northern communities have been greatly affected by the pandemic, which has slowed the progress of her small business. Since the spring, she has been able to make the rounds of powwows and festivals to promote her products. The comments she receives at these events encourage her to continue She talks about this episode of her life with a lot of hope and positivism. She loves the photo shoots that showcase her creations and her culture She is particularly proud of her "Heal our Children" design. A small boutique in Val d'Or (Librairie et boutique Corps et Esprit) now sells her creations. Even though she is nomadic, she has both feet on the ground and her head in the clouds

We had the chance to chat for almost an hour with Babbeyjane Happyjack She believes that social networks offer very high potential development opportunities for small Aboriginal businesses She would like to see more business connections between Aboriginal and non Aboriginal people, and believes in sharing and teamwork. It is good to have the contribution of Aboriginal people recognized; she cites the example of Canada Goose, which collaborates with Nuk designer Victoria Kakuktinniq and gives her the credit she deserves But Babbeyjane has seen one of her designs copied without her approval This saddens her and makes her say at the same time that the latter was appreciated. She realizes the importance of protecting her work in order to be recognized

A new series of accessories inspired by nature will soon be released. In the meantime, she continues to travel throughout Quebec and Canada to promote her brand, make contacts and continue to share her pride in her work

Linda et Evangeline Linda et Evangeline Charlie Charlie

STRIKE THE POSE ON A PHOTO FOR VOGUE

Nothing predestined them to such a response from the media. And yet, the two sisters Linda and Evangeline appear on a photo for the famous magazine. Discovery of a successful immersion into the fashion world.

Even if Linda Charlie and her sister had thought that their shoot for Vogue in March 2021 was worthless, they were delighted to learn that their photographs would be presented in the famous fashion magazine

Linda said that she was “so excited” when she saw the photos for the first time. She then showed them to her sister who was also delighted by the news Evangeline thought: “Oh my God, I’m still sleeping Is this really happening?” when she saw the photo. Hard to believe it, and yet, the destiny of the Charlie sisters was sealed!

Throwback Throwback to a shoot for to a shoot for Vogue Vogue

“We did this shoot over a year ago,” Linda continued “Basically, we were like: ‘The photographer didn’t like the pictures because it took us so long to get them Usually when we do a photo shoot, we see the images about three to six months later So, by the time you see the pictures, they’re old to us ’

A recent trip to Linda’s agency would provide some enlightenment. ‘I had to go to my agency to update my photos because my hair grew out, and there the photographer said to me, “Hey, I just got these photos back after retouching,” Linda said. “Are you thrilled that they’re going to be published?” before adding, “When she told me that, I was just in shock So, after that, I was checking Vogue every day. I was waiting for it to be published. But when it was, I was like, “oh my God!””

Evangeline, on the left and Linda Charlie

photo: Katherine Kingston

Linda, 23 years old, officially started her modeling career about four years ago while Evangeline, 19 years old, has been involved in this new profession for about a year Both live in Yellowknife “What was interesting to me [was that] I wanted to work with photographers, and I just wanted cool pictures,” said Linda

She then tells us why the job looked appealing to her ‘I think the editorial campaign was like a bonus I was just lucky to be able to do that.’ Prior to the Vogue shoot, the sisters had been involved with numerous outlets including Bridal Fantasy, Hillberg and Birk, Jourdian and Dean Davidson.

The response from their friends and family when the sisters appeared in Vogue was nothing special. “It's a huge honor because we come from a small town in Nunavut, Taloyoak, and there are about 800 people who live there,” said Linda

What's even more incredible is that the Vogue shoot was Evangeline's first, which marked the beginning of her career. Evangeline gained even more experience early on with another shoot that would be featured in Basic Magazine

"It's been really good for Evangeline so far," said Linda However, while the sisters appreciate the recognition, experience, and positive feedback they have received, there is a deeper meaning that comes with their success

A

promising start A promising start to their career to their career

photo : Katherine Kingston

“We grew up in our Inuit community and our father also attended a residential school and I think it's important for us coming from marginalized communities to represent... these people,” said Linda.

Life Life story story

Even if they can’t unveil what their future will be made of, they confirmed that they have “very nice projects” that should see the light of day as soon as this fall “Yeah, we didn’t expect such a huge support, especially from our community in the North, such as our families and the members of the community, but sorry, they aren’t only in the North As we have family members in Texas and in Kenya who share that, this history was published with the CBC. So we were honored that so much people have liked their histories ”

‘Because people like us are not always shown in the media On our mother's side, she is an immigrant from Kenya, and on our father's side, he is Inuit, a survivor of residential schools ’

‘We don't come from a wealthy background So, growing up in these marginalized communities, we have had our fair share of hardship and oppression in life But we've also been very, very fortunate in some situations, and we choose to highlight that, because unfortunately, these groups of people like us have not always been represented in the media We hope that in the future we will see more and more of these opportunities for indigenous people,” Linda said

Evangeline and Linda Charlie grew up in Taloyoak, Nunavut before moving to Yellowknife a few years later.

photo : Linda Charlie

Parents: Dorcas Okado and artist Charlie photo: Linda Charlie

p h o t o : I n d i g e n o u s T o u r i s m A s s o c i a t i o n o f C a n a d a