LIVING CULTURES An Empathy-Building Toolkit
LIVING CULTURES
TABLE OF CONTENTS Special thanks to the following artists who contributed to this project: Tim Alfred Kevin Cranmer Rupert Jeffrey Sarah Jim Lynette La Fontaine Doug LaFortune Carolyn Memnook Fran Memnook Travis Peal Virgil Sampson Teresa Vander Meer-Chassé Joslyn Williams
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Introduction
3 Cultural Program Facilitator 3 Planning 4 Putting Out the Call 5 Terminology 6 Diverse Nations 7 Diverse Art Forms 8 Language Sensitivity 9 Activities to Measure Understanding during the Visitor Experience 10 Debriefing after the Program 11 11 12 13 14 16 19
Indigenous Artist
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Final Thoughts
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Getting Started: Before Your Placement Communicating with the Organization Creating Boundaries Displaying Your Work Interacting with Guests Handling Difficult Conversations
Living Cultures: An Empathy-Building Toolkit
LIVING CULTURES
INTRODUCTION Art is an expression that can help build connections between people and cultures. If your public organization is interested in working with Indigenous artists, this resource will help both parties in creating a space of mutual respect that fosters understanding. This toolkit is a resource for both cultural program facilitators and Indigenous artists (First Nations, Métis and Inuit) who will work in unity to create unique experiences for guests. Examples of cultural program facilitators who might use this resource: Museum learning/education staff Heritage site workers Cultural site workers Educators Others working in a public organization
Message to the Program Facilitator This resource will provide you with ideas on how to plan and organize a respectful and safe space for Indigenous artists on your site. There are also resources and links to provide you with information and activity suggestions for interacting with the public.
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Living Cultures: An Empathy-Building Toolkit
Message to the Indigenous Artist Whether you are an emerging or established artist, we hope this resource will help as you put yourself and your work in the public sphere. Here you will find stories and advice from established and emerging artists on interacting with the public. While these interactions will not always be easy, you are helping to build understanding.
LIVING CULTURES
CULTURAL PROGRAM FACILITATOR PLANNING Plan well in advance You should begin planning at least three months to a year in advance.
While preparing to create a space and program for Indigenous artists, consider the following: Find a point of contact within the Nation whose territory you live on To do so, you can reach out to the local band/Nation offices or cultural/heritage centre.
Protocols
Establish an on-site point person who can assist and support artists and foster relationships with local Nations
You may find it helpful to meet with the Chief and Council of the Nation in your area to get advice and knowledge on proper protocols.
Be prepared to and plan to offer a form of payment or gift to artists and community members who help plan and implement your program.
Do not feel discouraged if the Chief and Council do not get back to you because of their busy schedules; continue to seek others in the community who can help guide you.
Does your organization have an Indigenous or project advisory commitee to advise on territorial acknowledgement and how to connect with artists in the community?
Once you learn the protocols that the local Nation practises, consider and consult on how you can adapt them into your program without appropriating them. For example, you may want to host a welcoming ceremony to begin the season, but this should be led by local community members.
Do as much research as possible on your own to demonstrate to the artists your commitment to learning the practices and protocols while drawing on their expertise in a collaborative process.
Intent
It is important to have a clear vision and intent for your project—for example, to reduce racism or to increase cultural exchanges.
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Living Cultures: An Empathy-Building Toolkit
When thinking of your project’s intent, consider the following: What is the project? Who is the audience? What are your desired outcomes? How can you measure and evaluate your intent or desired outcomes?
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CULTURAL PROGRAM FACILITATOR
PUTTING OUT THE CALL
If your public organization hopes to start an interactive space or studio with Indigenous artists, you will need to put out a call to artists. You can put out the call via your website, social media accounts or advertising at your Nations’ offices or cultural centres. Artists will come from diverse and complex backgrounds; it is important to remember this when creating your application process. Things to keep in mind: On your application form, ask for artists’ pronouns and chosen names. Some artists may not have access to a computer. Consider offering to help applicants by telephone. Use a simple PDF or word processor document. Keep the application process short and concise. Do not get discouraged if you do not receive your desired number of applicants; you may want to repeat the postings. You may also choose to invite one to three artists to participate in the program as opposed to putting out an open call.
Orientation
Once artists have joined your program, you will want to hold an orientation for all artists. This will allow them to meet one another, become acquainted with the space, fill out any required forms (e.g., photo releases), and meet the program facilitators and other staff who they will encounter during their time on site. This will also be a time to introduce artists to the person on site who they can go to with questions and concerns. If your organization is a museum, this would also be a great opportunity to take artists through your collections and exhibits.
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Living Cultures: An Empathy-Building Toolkit
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CULTURAL PROGRAM FACILITATOR
TERMINOLOGY
When interacting and engaging with the public, you will quickly notice that everyone has different experiences interacting with Indigenous people—some will know of the complex history and others will know very little. These different backgrounds may give rise to different terminology some will use when referring to Indigenous people. Here is a comprehensive list of commonly used terminology: indigenousfoundations.arts.ubc.ca/terminology
When working with the public, you may notice that some people might address artists or employees using dated terms. When this occurs, use it as a learning experience, explaining to them that this is a term we no longer use in Canada and that is offensive to Indigenous people because it carries a history of harm. Continue to explain the terms we use in the present day, such as “Indigenous.” Additionally, make sure your organization is consistent with the terminology it uses in signage and employees’ language.
Connection-Building Activities Match a term to the correct definition Provide guests with newspapers or documents from the past to the present, each one using a different term for “Indigenous” that people used at the time. Use these as examples to show guests how terminology has evolved over time and provide context for when and how certain terms were used to describe Indigenous people.
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Living Cultures: An Empathy-Building Toolkit
Ask guests to place the newspapers or documents in the order in which they think they were published, based on terms used.
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CULTURAL PROGRAM FACILITATOR
DIVERSE NATIONS
First Nations
Guests may ask about the different First Nations in British Columbia. The First Peoples Cultural Council has created a resource map to help people familiarize themselves with the traditional territories and languages of different Nations and communities. It is important that you become familiar with the different Nations in the territories where your organization and city or town are located. First Peoples Cultural Council map: maps.fpcc.ca
Inuit
Familiarize yourself with the unique culture and perspectives of Inuit communities. Resources on Inuit: www.itk.ca
Métis
You should also learn about Métis people and cultures. Many regions are home to Métis people and chartered communities, which are political organizations providing services to their citizens and helping their members find community. Resources on Métis: www.mnbc.ca indigenousfoundations.arts.ubc.ca/metis
Two-Spirit
“Two-Spirit” is a term used within some Indigenous communities, encompassing cultural, spiritual, sexual and gender identity. The term reflects complex Indigenous understandings of gender roles, spirituality and the long history of sexual and gender diversity in Indigenous cultures. Individual terms and roles for Two-Spirit people are specific to each nation. Resources on the term “Two-Spirit”: www.phsa.ca/transcarebc/gender-basics-education/terms-concepts/two-spirit
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Living Cultures: An Empathy-Building Toolkit
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CULTURAL PROGRAM FACILITATOR
DIVERSE NATIONS (continued)
DIVERSE ART FORMS
Connection-Building Activities
Match artistic styles and media with the Nation they are from Guess how many Nations or languages there are in British Columbia Create a puzzle from a map of British Columbia, with the different Nations as the pieces
Each Nation has unique traditional styles and media. At the same time, the styles can overlap with those of other Nations, and many artists are evolving the styles and making them their own. You can find information about different Nations and their traditional and contemporary art forms using keyword searches on general search engines such as Google and Yahoo. “NATION/COMMUNITY” + “INDIGENOUS” + “ART FORMS”
Examples:
Coast Salish + Indigenous + art forms OR Dené + Indigenous + beadwork
You can also find examples of the various art forms from around British Columbia by searching the BC Archives website: search-bcarchives.royalbcmuseum.bc.ca/?_ga=2.246164420.1985333535.15850750 20768167763.1562714594
BC Archives search tips: royalbcmuseum.bc.ca/help/atom/atom-manual-2.4.pdf?_ga=2.246164420.198533353 5.1585075020-768167763.1562714594
The First Peoples Cultural Council has also created a living resource to help find local Indigenous artists, organizations and events near you. First Peoples Cultural Council art map: maps.fpcc.ca/art
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Living Cultures: An Empathy-Building Toolkit
LIVING CULTURES
CULTURAL PROGRAM FACILITATOR
LANGUAGE SENSITIVITY
Some guests may have questions about Indigenous languages. They may question artists on the languages of their Nation and assume that they can speak it or that they should be able to. It is important to communicate that language can be a sensitive topic for Indigenous people. The deep-rooted history of the loss of language through colonialism and residential schools continues to impact Indigenous peoples today. However, it is equally important to explain that these languages are not “extinct” and that there are many efforts to revitalize them. Guests may also be interested in learning about the language revitalization efforts underway today, particularly in your area. Here are some resources on language revitalization: www.fpcc.ca/language www.ictinc.ca/blog/what-you-need-to-know-about-indigenous-language-revitalization www.firstvoices.com
Connection-Building Activities
Bring language speakers and learners on site to help inform guests about the local language. Have signs that include basic phrases or words (e.g., hello, thank you, goodbye) in the Indigenous language of your area, or of the Nations that the artists are from. You may want to see if your local Nation has recordings available online with QR code links for pronunciation on signage, or include the phonetic pronunciation (consult local language speakers for assistance with this). Include images and words of animals or plants in the Indigenous language of your area that the artists may be depicting in their work (e.g., raven, orca, eagle). Continuous Scrabble game: Recreate or use a Scrabble board and have guests use letter tiles to spell words in the local Indigenous language. Have a dictionary or list of words for guests to use. Make sure you include letter tiles with local Indigenous alphabets and accents.
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Living Cultures: An Empathy-Building Toolkit
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CULTURAL PROGRAM FACILITATOR
ACTIVITIES TO MEASURE UNDERSTANDING DURING THE VISITOR EXPERIENCE
Personal connections made with Indigenous artists are powerful. You may want to include activities on site that help you gauge the growth in understanding that is occurring for your guests. The following are activity examples and ideas.
Object-Inquiry Activity
Prior to a visit with the artists, place an object outside the studio that visitors will encounter during their experience. Ask people to observe the object and say what they think it is (you could use sticky notes for guesses). Invite guests into the studio to learn about the various objects, tools and art forms. Guests will then return to the object as they leave and the facilitator can ask them if they can now identify what it is and what it is used for.
Inquiry Activity
Create a “Wonder Wall” where guests can write their questions and inquiries. Alternatively, you could write a question on the wall (e.g., “Why do you think Indigenous peoples began adorning ordinary objects with art?”) Have guests write their ideas on the wall and encourage them to talk with artists, ask questions and discover the answer for themselves.
Tool-Comparison Activity
In a facilitated session, compare traditional tools with modern ones used for the same tasks. Ask guests to match the tools from the past with their modern-day counterparts.
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Living Cultures: An Empathy-Building Toolkit
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CULTURAL PROGRAM FACILITATOR
DEBRIEFING AFTER THE PROGRAM
Once you have completed your program, it will be useful to have the cultural facilitator, organizers and artists come together to discuss and evaluate the program. This is an opportunity for organizers to gain valuable insight from Indigenous artists. You may find that their input is valuable not only for this specific program but for your institution as a whole. Points you may want to discuss: Restate the desired outcomes articulated at the beginning of your program. Evaluate the program based on outcomes and intentions: Did your intentions change throughout the program? Did you fulfill them? In what ways could you improve your program to fulfill these intentions? Gather input from artists: What went well? What could be improved on for next time? What were the highlights? Discuss logistics of the program that worked well or could be improved (e.g., storage, time frame). Artists may be hesitant to bring up challenges they had; make sure they feel safe to do so. » You may want to frame questions around what they would like to see for future artists. How to foster a safe environment for open dialogue: Establish a mutually convenient time and mutually agreed-upon discussion topics for the conversation. Organizers should share with the artists ahead of time what questions they will be asking. This will give artists time to think about their responses and feel prepared to share their feedback. Offer time for artists to speak first. This will encourage organizers to listen first, before offering possible solutions for future sessions. Organizers need to be open to critique and ensure that they do not use defensive language.
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Living Cultures: An Empathy-Building Toolkit
LIVING CULTURES
INDIGENOUS ARTIST GETTING STARTED: BEFORE YOUR PLACEMENT
Application Process
Each organization will have different and unique ways to reach out to artists as they begin to plan for their programming.
To find opportunities and programs at public organizations, check their websites and social media pages. You can also ask at local Nations’ offices, as organizations are encouraged to advertise there as well. Some organizations may ask for some sample images of your work or a portfolio to accompany your application. Try and have four or five images of your work that you can share with organizations in your application to give them an idea of your pieces, style and media.
Biography
The organization you work with will likely ask for your biography to share with guests on signage and advertising. Tips for writing your biography: Aim for your biography to be between 100 and 150 words. Include your Nation or heritage. State how long you have been training or working as an artist. The style or medium of your work. Why or how you started. Any accolades or special projects. You may also want to have an image of yourself to display with your biography.
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Living Cultures: An Empathy-Building Toolkit
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INDIGENOUS ARTIST
COMMUNICATING WITH THE ORGANIZATION
As an emerging artist, or even if you are more experienced, this may be your first time collaborating with a public organization. While organization staff may initially reach out to you by email, it is important to let them know your preferred type of communication. Things you may want to discuss with organizers prior to your placement: Contact information for the organization’s point person Payment Access to parking Accessibility—before your placement, inform the organizers of any accommodations or supports you may need (e.g., ramp access, adapted washrooms, extra human support) Availability of facilities to enable you to do your work (e.g., sink, special equipment, electricity) How lunch and breaks are arranged; where you can buy food Storage for supplies Washroom location, including a gender-neutral one for gender-diverse people What you’ll need to bring and what the organization will provide (e.g., tablecloth, chairs) A per diem for lunch and parking Whether you will bring someone to help support you Having open communication with your point of contact at the organization is important when creating a positive working environment for all.
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Living Cultures: An Empathy-Building Toolkit
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INDIGENOUS ARTIST
CREATING BOUNDARIES
As with all types of work, it is important to create boundaries during your placement. It is not uncommon for organizations to ask for more than you originally agreed to and you may experience forms of tokenization. While many programmers are aware of this issue and are starting to do the research and work to avoid it, you may still experience it.
Establishing Boundaries
Boundaries are personal, and each artist who participates will have varying levels of comfort; remember this if you see another artist participating in work that you might not feel comfortable doing yourself. When you start your placement, establish what you are comfortable doing and share this with the organization, so there is a clear understanding of expectations and deliverables. Also know that it is okay for these boundaries to change throughout your placement, as you get a better understanding and feel for the program. Tips from artists: “The ability to create boundaries is much easier if you have knowledge of the history of the culture that our art form originates from, that is the foundation or anchor in my opinion. . . All of this teaches you to value one’s own work, it is a high discipline and should be recognized as such, and when you are working with other organizations you create boundaries based on knowing the value of yourself and the work you create.” —Kevin Cranmer
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Living Cultures: An Empathy-Building Toolkit
“Remember it is ok to say ‘no, this is too much work’ or ‘I am not interested.’ It can be hard because you don’t want to be ‘offensive’ but your limits are important.” —Joslyn Williams “If something doesn’t feel right then take a step back and analyze what the issue may be.” —Joslyn Williams
LIVING CULTURES
INDIGENOUS ARTIST
DISPLAYING YOUR WORK
You will want to design an eye-catching and meaningful display to help draw the public to your workspace. Tips for creating your display: Include a sign with your name or company name. Consider also having business cards available. If you share your work online, you may want to have a sign with your social media handles or website address as well. Have signs stating that it is okay for people to take photos (or not). Have some completed works on display: You may want to include larger pieces to help draw guests’ attention. You may also want to include some pieces the public can touch. Note: If there are pieces that you do not want people to touch, you can put up a “please do not touch” sign. Layer your work: Have some items placed higher on boxes so that all items are not flat on your table. Do not place items close to the edge of the table, as people will be walking past and might bump into them. Tips from artists: “If you have prints, put them on print stands so they are more visual.” —Virgil Sampson
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“Have something people can “Do your best to have flip through, like a photo thoughtful touches in your album of your work. This display, but try not to will help keep people at your make it too cluttered and station and you can start a overwhelming.” conversation with them.” —Sarah Jim —Sarah Jim
Living Cultures: An Empathy-Building Toolkit
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INDIGENOUS ARTIST
DISPLAYING YOUR WORK (continued)
(right) Sarah Jim’s (W̱SÁNEĆ) work is inspired by native plants. To help explain this to guests, she included native plant cards in her display. (below) Naomi White (Tsimshian) utilizes mannequin stands, vases and signage to elevate her display.
Leslie McGarry (Kwagiulth) hangs her completed button blanket to help share her work with the public.
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Living Cultures: An Empathy-Building Toolkit
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INDIGENOUS ARTIST
INTERACTING WITH GUESTS
While you are working with the public, much of your time will be spent interacting with locals and tourists. Many will be excited to see your work and learn more about you and your art. Tips for interacting with the public: Bring completed pieces to talk about and use as examples of your work. Many will ask you about your creative process, and you may find yourself answering the same questions several times a day. If you produce work for the commercial market, some guests may ask, “Am I allowed to wear this?” Simply explain that your work is for the commercial market and is meant for others to wear. Guests like to be hands-on, especially children, so you may want to bring one or two pieces that they are allowed to touch. Guests enjoy hearing stories: Have some stories prepared, either about yourself or what you are working on. When applicable, try to include your history and cultural connections. Tips from artists: “Telling stories about your “When I worked at the Royal BC Museum’s Indigenous artwork helps people gain an Summer Arts Studio, I held a drum-making workshop. emotional attachment to it. This helped me share directly with the public and tourists Storytelling also brings up information on traditions and philosophies, which was an further conversations and important part of the program. It was really good to see the helps you make connections genuine interest from the public when learning directly with the guests.” from the artists.” —Sarah Jim —Virgil Sampson
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Living Cultures: An Empathy-Building Toolkit
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INDIGENOUS ARTIST
INTERACTING WITH GUESTS (continued)
Tips from artists: “I always enjoy sharing stories of who mentored me and how the teachings got passed down from generation to generation. It helps the public know how far back these teachings go.” —Virgil Sampson “Many times, artists tend to just concentrate on their work; make sure you also engage in conversations with guests.” —Doug LaFortune
“When you are out in the public, a lot of people will be your advertising with their word of mouth. How you make them feel and if you gave them information about yourself and culture and “I wish I could have learned meaning of designs. Many to speak more freely and to people come back to me not be so nervous about what because I am informative.” I was speaking on earlier —Virgil Sampson in my career. You just have to be yourself and people will be interested in that.” —Doug LaFortune
“Learn everything about your lineage and history. A lot of what I create is directly related to me. Powerful work is work you are connected to.” —Kevin Cranmer
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Living Cultures: An Empathy-Building Toolkit
“Guests could look through a museum and see archaic examples, but they won’t see the person who made it. You are able to show them it is alive and breathing art.” —Kevin Cranmer
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INTERACTING WITH GUESTS (continued) Virgil Sampson (Tsarlip and Nez Perce) held a drum-making workshop and interacted with the youth who watched.
Doug LaFortune (Tsawout) sharing the uses for his carving tools.
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Living Cultures: An Empathy-Building Toolkit
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HANDLING DIFFICULT CONVERSATIONS
“We all come from a wealth and great people. Don’t let anyone tell you different.” —Kevin Cranmer Working in the public is rewarding, but it can also bring up difficult conversations and topics. You will encounter people from all over the world, from different cultures and with different levels of understanding. Tips for handling difficult conversations: Invite guests to learn more within the cultural site where you are located (e.g., museum galleries or exhibits). You may choose to say something like, “That may be your understanding, but that is not my experience,” which could lead to you sharing your personal perspective. Many will be looking for a reaction; do your best to not give them the rise or debate they are looking for. If the situation escalates, contact your program coordinator, an employee or security. Tips from artists: “Try to be as knowledgeable “In a lot of instances, it comes down to life experiences, as you can—know who you for me. I have experienced racism from when I was five are and where you are from.” years old. As soon as we have learned right from wrong, —Sarah Jim we have had to deal with racism. You see it enough that you can recognize it almost right away—for example, when people are passive aggressive or playing ignorant on purpose. You can either share information or if you “If you begin to feel unsafe, are feeling in that moment the direction that it is going tell the other artists around to go is negative, you can ignore it or you can just walk you. Know that you have away. Take yourself out of the situation to avoid saying support around you.” things you might not want to.” —Sarah Jim —Virgil Sampson
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Living Cultures: An Empathy-Building Toolkit
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HANDLING DIFFICULT CONVERSATIONS (continued)
Tips from artists: “Spend time with Elders and learn who you are. Knowledge of oneself, the history of who you are and where you come from goes a long way.” —Kevin Cranmer
“I was once at a swap meet and this older man was being rude to this one seller and offering him a very low price for what he was selling. It made me upset, and I was just watching. The seller however did not get upset; he just said ‘No thank you, but thank you for the offer.’ This really taught me that no matter what, it is always better to be polite than to react angrily.” —Doug LaFortune
“There are a lot of instances where preconceived notions come up. They look down on you and think that intellectually you won’t be able to respond to them. If you have a knowledge of yourself and this country’s history, you have nothing to worry about, because it is all true.” —Kevin Cranmer
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Living Cultures: An Empathy-Building Toolkit
“As an artist, and Indigenous person, you have the right to say no to guests asking about personal information and about histories.” —Teresa Vander Meer-Chassé
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FINAL THOUGHTS
(above) Jesse Campbell (Métis and Cree) shares his prints while sketching. (right) Jesse Campbell (Métis and Cree) working on a painted design.
Art can create pathways to reconciliation by fostering dialogue, curiosity and understanding in beautiful and powerful media. In order for these learning opportunities to be successful, they need to be conducted in a way that strengthens relationships, instead of repeating past colonial practices that can disempower and disenfranchise Indigenous artists. Our goal is for this guide to give you the tools and information you’ll need to find success in your program. We hope this toolkit has helped you, whether you are an organizer, programmer or artist, as you take part in these important programs of cultural exchange. We also hope that as you plan, run and participate in these programs, you are able to create equitable, powerful and long-lasting relations that will help you in all aspects of your work. Huy tseep q’u (Thank you)
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Living Cultures: An Empathy-Building Toolkit
