SAY Magazine - Arts & Entertainment - Indigenous Lifestyle

CONTEMPORARY INDIGENOUS LIFESTYLE MAGAZINE

ISSUE 106

SINCE 2002

ARTS & ENTERTAINMENT

Return undeliverable Canadian addresses to circulation dept: Kildonan Place, RPO Box 43084, Winnipeg, Manitoba, Canada, R2C 5G7

Short Films Reveal Lockdown Stories in a Pandemic

Explore Indigenous Representation in Video Games

PM 43436539 PRINTED IN CANADA $6.99

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SINCE 2002

6

Indigenous Game Developers Are Creating New Media Narratives

CONTENTS ISSUE 106

ARTS & ENTERTAINMENT

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SAY MAGAZINE Volume 19, Issue 6 SAY Magazine assumes no responsibility for statements made by advertisers or in submitted material.

SAY Magazine publishes six times a year: Winter, Spring, Summer and Fall, as well as two special editions, including the annual Education Guide for Indigenous students. SAY Magazine is published by Spirit of Aboriginal Youth Inc.

Graphics, photographs, editorial content and other printed material are the property of SAY Magazine and may not be used without the written permission of SAY Magazine.

Mailing Address: Kildonan Place, RPO Box 43084 Winnipeg, MB Canada R2C 5G7

ISSN: 1707-3049 All copy copyright 2020

by SAY Magazine

E: info@saymag.com www.saymag.com

GST: 856627534RT0001

Publishers Dominick Blais and Kent Brown Editor-in-Chief Danielle Vienneau editor@saymag.com

This project has been made possible [in part] by the Government of Canada

Content Creator Terra MacPhail terra@saymag.com Contributing Editors Sarah Ritchie Theresa Peters Art Director Orli Gelfat - Orli G. Design

SAY Magazine acknowledges that we live in Treaty One Territory, at the crossroads of the traditional lands of the Anishinaabe, Cree, Oji-Cree, Dakota and Dene Nations, and at the heart of the Métis Nation homeland.

Indigenous Creators Give Voice to Those Affected

by COVID-19

9 Literature: Medicine Game 13 The Moose Hide Campaign Toward Cultural 14 Working Revitalization 16 The New Kwigwatsi Studio 20 Music Through 23 Reconciliation Song: Andrea Menard

24 Featured Photography Amplifies Indigenous 26 Artist Voices 27 Music Mentorship Program Travels in Turtle 28 Culinary Island with Chef Hughes Turns to 30 Entrepreneur Lessons from the Land

Ad Sales Megan Henry megan@saymag.com Terra MacPhail terra@saymag.com Printed in Canada Website and Social Media Sphere Media Agency info@spheremediaagency.com Submissions are welcome.

Articles, letters, queries, etc. should be sent by email to the editor at editor@saymag.com.

SAY Magazine assumes no responsibility for submitted material.

Connect with us: www.facebook.com/saymagazine www.twitter.com/SAYMagazine www.instagram.com/say_magazine www.pinterest.ca/SAYMagazine

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Cover Story: Celebrate Winter Solstice with APTN in December

18

The Frog Radio: New All-Indigenous Radio Station ARTS & ENTERTAINMENT | 3

EDITOR’S MESSAGE

“We are given our gifts and our dreams for a reason. Trust them!

The world needs more people in tune with their gifts from Creator.”

W - Ecko Aleck, Artist

ith the Winter Solstice upon us, we prepare to say good-bye to the tumultuous 2020 we’ve all experienced, welcoming the New Year with open arms. But before we bid farewell to 2020, let us all take the time to reflect on the past year by sharing our stories and honouring each other.

Looking for some culinary inspiration this winter? Well-known TV personality Chef Chuck Hughes shares two recipes from his culinary travels to Indigenous communities that are sure to warm you up from the inside out. Turn to page 28 for all the delicious details.

Keep reading to discover a range of talent.

Explore our diversity through film, art, photography, music and more!

Danielle Vienneau, Editor-in-Chief

In this special edition of SAY Magazine, we celebrate our diverse Indigenous cultures and communities through our rich arts and entertainment industry, both contemporary and traditional. Flip to page 10 for the cover story and all the details on the Indigenous Day Live Winter Solstice virtual celebrations featuring diverse Canadian talent.

Explore Indigenous representation in video games on page 6 with five Indigenous game developers and their innovative works. On page 18, find out why entrepreneur Denise Halfyard decided to launch an all-Indigenous radio station honouring her late grandmother; and on page 23, actress and songstress Andrea Menard is back to talk about her latest project and women’s empowerment.

Our team at SAY Magazine would like to take this opportunity to thank all of you, our partners, clients and readers!

Without your support, we would not be able to fulfill our mission of motivating and inspiring Indigenous Peoples through knowledge sharing, and stories of success and resilience. We hope to continue to be your go-to resource for inspiration in the New Year! Together we can inspire action and create positive change in communities across Canada.

SAY MAGAZINE EDITORIAL CALENDAR 2021 (Updated Dec 11, 2020) Theme

Space Material Reservation Deadline

Publication Dates

Issue Name

Issue #

Winter 2021

107

Education Guide

Jan. 8

Jan. 16

Feb. 15

Spring 2021

108

Leadership

Mar. 1

Mar. 8

Apr. 15

Summer 2021

109

Tourism & Travel

May 1

May 8

June 15

Special Edition

110

Environment & Wellness

Jul. 1

Jul. 8

Aug. 15

Fall 2021

111

Career Guide

Sept. 1

Sept. 8

Oct. 15

Special Edition

112

Business & Economics

Nov. 1

Nov. 8

Dec. 15

Advertise with us! Contact: megan@saymag.com or terra@saymag.com. Dates subject to change. Order your subscription today. Visit saymag.com.

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CALENDAR OF EVENTS 2020/21 DEC 21-25

APTN Indigenous Day Live (IDL) Winter Solstice Celebrations All APTN channels will broadcast this one-hour event, repeated daily at 5 pm ET/CT/MT. aptn.ca/schedule.indigenousdaylive.ca

UNTIL JAN 29

Indigenous Women in Leadership (IWIL) Award Do you know an inspiring First Nations, Inuit or Métis woman (18 years of age or older) who deserves the 2021 Indigenous Women in Leadership Award? Nominate them now! ccab.com/awards

JAN 13-14

World Indigenous Forum 2021 Online event connecting businesses and entrepreneurs from around the globe to create Indigenous growth and build Indigenous prosperity. worldindigenousforum.com

JAN 25 & 27, FEB 1 & 3

Cannexus21: National Career Development Conference The 15th annual Cannexus Conference by CERIC is going virtual this year with the theme “Career Development for Public Good”. cannexus.ceric.ca

JAN 26-28

FEB 11

Moose Hide Campaign Day We come together for a day of action and fasting to end violence towards women and children. moosehidecampaign.ca

MAY 2-4

Indigenous Women’s Summit Two-day event designed as a space for storytelling, discussions, workshops and networking for Indigenous female leaders from across the nation.

The Westin Bayshore Vancouver, British Columbia, Canada natoa.ca/indigenous-womens-summit

MAY 18-20

24th Annual Vision Quest Conference and Trade Show Promoting Indigenous business, community and economic development.

Winnipeg, Manitoba, Canada vqconference.com

MAY 22-23

1st Annual International Indigenous Hip Hop Awards Canadian and American Indigenous musicians and artists can submit their work for consideration until Feb. 1, 2021.

Winnipeg, Manitoba, Canada indigenoushiphopawards.com

18th Annual BC Natural Resources Virtual Forum Network, collaborate and exchange ideas on building and maintaining a resilient natural resource sector. bcnaturalresourcesforum.com

SAY Magazine has made every effort to ensure our calendar of events is up to date; however, we encourage you to check event websites regularly for updates due to interruptions caused by the COVID-19 pandemic.

ARTS & ENTERTAINMENT | 5

DIGITAL CREATION

Indigenous Game Developers Are Creating New Media Narratives

By Mercedes Acosta and Meagan Byrne

Just the existence of events like this is so heartwarming.

We need Indigenous spaces where we can stand in our truth and not have to speak to anybody else. I miss these kinds of spaces right now, where most of my time is being spent in online classrooms as a first-year doctoral student.

Zoom meetings, online classes and conferences tend to feel like default white spaces, so this was particularly refreshing!

- Tony Brave (Lakota/ Chippewa-Cree), Indigenous Game Developer

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W

ith the world on lockdown and the gathering of large groups prohibited, many festivals have moved online to keep passions alive. The imagineNATIVE Film and Media Arts Festival likewise carved out their own online space.

Last year’s festival highlight of the iNDigital Space was the Night of the Indigenous Devs, and this year it was a virtual success (literally)! Saffron Aurora of Mighty Yell (a Toronto based Indie Video Game Studio) provided the fantastic artwork for this event, and while the normal joys of sitting on a panel at a physical convention were gone, the appealing layouts and brightly coloured artwork made up for it in a presentation that was both engaging and inspiring to watch.

Night of the Indigenous Devs is a place where Indigenous game developers from all walks of life can showcase their work, chat, skillshare and promote their games. This year it featured presentations from five Indigenous game developers while their works were shown on screen. Indigenous creatives

Button City Created by Shandiin Yazzie Woodward (Diné [Navajo]) of Subliminal Games, Button City is a wholesome, inclusive, low-poly game focused on friendship and community building. Button City is a testament to what happens when Indigenous game devs are allowed to develop their own way, free of expectations.

tuned in to watch as both solo and team-created efforts showed off their hard work and amazing ideas. It was truly inspiring to hear these creative Natives talk about their work.

The evening was filled with incredible speakers, including special guest and founder of the first Indigenous Game Devs community Elizabeth LaPensée (Anishinaabe/Métis), maker of the Thunderbird Strike side-scroller and When Rivers Were Trails, a point’n’click adventure depicting the impact of land allotment in the 1890s.

Owner and lead game designer of Achimostawinan Games Meagan Byrne (Âpihtawikosisân [Métis of Ontario]) set the tone for the evening when she shared these poignant words: “Too often are we told we have to present our Indigeneity in video games in a particular way.”

She stressed the value of a space where Indigenous game developers can come together and simply be, and be supported in the way they want to be seen.

Several innovative projects were shared throughout the night. Here is a glimpse at the brilliance that was recently showcased at Night of the Indigenous Devs.

DIGITAL CREATION

Mîkiwâm Created by the Samson Cree sister duo Keara and Caeleigh Lighting, Mîkiwâm is a visual novel about people in a fantasy world reclaiming gifts and connecting with ancestors in the face of colonization, where outcomes are affected by the use of herbal teas. One look at the calm and approachable artwork and muted palettes convinces players that the duo achieved their goal of a calm and relaxing game.

Finding Victor Presented by LeeAnne Ireland (Anishinaabe) of the Urban Society for Aboriginal Youth, a member of the USAY team and a group of Blackfoot youth from Calgary that produced Finding Victor. This is a virtual reality (VR) escape room, with VR development by MAMMOTH XR. USAY wanted to provide engaging ways to bring awareness to both youth and larger audiences on how to reach out for help and access resources. The VR game has players searching for their friend Victor, who just lost his best friend to suicide. Despite legacies of intergenerational traumas and exploring many causes of Native youth homelessness, there is a happy ending!

Neofeud Developed by Native Hawaiin Christian “Chris” Miller of Silver Spook Games, Neofeud is described as a dystopic cyberpunk game about a cyborg caseworker, a sentient machine person, and a socialist princess taking on a cabal of neofeudal trillionaires who live in floating golden palaces above slums. Chris’s upbringing influenced the creation of Neofeud on a deeply personal level. His creative work speaks even more evocatively of his experience growing up alienated and Indigenous than his eloquent words ever could.

Umurangi Generation Created by Naphtali Faulkner (Ngāi Te Rangi Maori), Umurangi Generation is a firstperson photography game that heavily explores knowledge as an Indigenous focus, and deconstructs the Western gaze of oppressed Indigenous Peoples and oppression tourism in general. It was key to him to portray Indigenous Peoples as modern and contemporary; as Naphtali says of the Maori, “We’re not a static culture.”

The Night of the Indigenous Devs was an exciting and colourful event, and with that, a new generation of Indigenous game developers have been motivated to go and do their own things, in their own ways, in their own spaces.

A recording of the event is available on YouTube for anyone looking to be inspired.

Mercedes Acosta (she/her or he/him) is a Taíno illustrator, writer and tabletop game developer.

She’s published horror tabletop games like Los Arboles and WHAT HAPPENED, and works in children’s media currently with magical realism and urban fantasy.

Meagan Byrne is an Âpihtawikosisân (Métis) digital media artist and game designer born and raised in Hamilton, Ontario. She has been creating digital interactive works since 2014. Her designs are deeply rooted in Indigenous futurisms, Cree language/nêhinawêwin revitalization and Indigenous feminist theory.

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FILM

Indigenous Filmmakers:

Reflections on COVID-19 Lockdown

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e are all experiencing the challenges of living during a global pandemic, but have you ever wondered how others have been affected? The Curve is an online series of short National Film Board of Canada (NFB) films featuring the talents of 30

creators and filmmakers, giving a voice to millions whose lives have been touched

by COVID-19. From east to west and far into the North, these works present pan-Canadian perspectives on what it’s like to navigate one’s way through this unprecedented time. Utilizing animation, documentary and digital storytelling

formats, The Curve lockdown stories unlocked is produced by the NFB’s English and French language studios across the country.

The launch of The Curve films began in August and rolled out into the fall, some of them directed by Indigenous creators.

Courtesy of the National Film Board of Canada, here are three shorts (including a free public viewing link) that offer a unique perspective and give voice to our people.

K’i Tah Amongst the Birch

10 min

Filmmaker/activist Melaw Nakehk’o has spent the pandemic with her family at a remote land camp in the Northwest Territories, “getting wood, listening to the wind, staying warm and dry, and watching the sun move across the sky.”

In documenting camp life—activities like making fish leather and scraping moose hide—she anchors the COVID-19 experience in a specific time and place.

K’i Tah Amongst the Birch is produced

by Coty Savard at the NFB’s North West Studio in Edmonton, Alberta.

Filmmaker: Melaw Nakehk’o is a Dene/ Dënesųłiné artist based out of Yellowknife, Northwest Territories (NT). She’s had a distinguished career as an artist, community leader and actor, and is recognized for her exemplary work in reviving and teaching moose hide tanning techniques. This work has initiated a resurgence of the practice, shaping a broader community-building movement within Canada. She is a founding member of Dene Nahjo. K’i Tah Amongst the Birch was produced by Coty Savard, an Indigenous producer, at the NFB’s North West Studio in Edmonton.

Very Present

Nbisiing

5 min

Afraid he would not see his community again, Cole Forest leaves Toronto for North Bay (Ontario), where he confronts his fears and reconnects with his ancestors.

Nbi means water, and in the time of this pandemic, it is the lake, medicine, berries and the land that he looks to for guidance.

Nbisiing is produced by Justine Pimlott at the NFB’s Ontario Studio.

Filmmaker: An Ojibwe filmmaker based in Toronto and originally from Nipissing First Nation, Cole Forrest was mentored on this project

by Nadine Pequeneza, who has earned acclaim as a writer/director/producer of incisive social-justice documentaries.

6 min

How does prolonged confinement shape our experience of time? Director Conor McNally explores the question in the company of his brother Riley, a young man who’s learning to cope with a new—yet strangely familiar—reality.

Filmed during the summer of 2020, McNally finds similarities between his brother’s experience under house arrest a few years ago and an extended period of COVID-19 lockdown. Despite one’s isolation, it seems possible to find a path towards happiness by being very present in body and mind during one’s daily activities. Very Present was produced by Coty Savard at the NFB’s North West Studio in Edmonton, Alberta.

Filmmaker: Conor McNally is a filmmaker, photographer and member of the Métis Nation of Alberta based in Amiskwaciy (Edmonton, Alberta, Treaty 6). He has made numerous short films to date, with his most recent being Iikaakiimaat (2019).

Public screening link: nfb.ca/film/ki-tah-amongst-the-birch

Public screening link: nfb.ca/film/nbisiing

Public screening link: nfb.ca/film/very-present

K’i Tah Amongst, photo credit: Melaw Nakehk’o/NFB. Melaw Nakehk’o, photo credit: Pat Kane.

Nbisiing, photo credit: NFB. Cole Forrest, photo credit: Katie Couchie.

Very Present, photo credit: Conor McNally/NFB. Conor McNally, photo credit: Heather Noel.

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LITERATURE

Medicine Game

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ublished October 2020, MEDICINE GAME is a modern-day story of the effects of trauma, the power of generational learning, the comfort of sport, and the ultimate need for healing.

Set in the fictional Sparrow Lake Nation, the people believe the game of lacrosse was a gift from the Creator meant to be played with a good mind and strong heart. They believe that when they play the game, the Creator smiles and blesses them with good health. This is why lacrosse is known as the “medicine game”.

MEDICINE GAME is Tommy Henry’s story of life on the Rez. Tommy finds refuge in lacrosse from the turmoil and violent outbursts in his home, discovering that sport allows him to release the emotions buried deep within. Unfortunately, instead of leaving his past behind, he turns to drinking and violence, the same demons he is fleeing.

The time comes when his father Beau must help his son fight the same battles that he himself faced as a young man. This is the story of one man’s emotional journey to healing.

About the Author:

Delby Powless is a member of the Mohawk Nation, Turtle Clan, from Six Nations of the Grand River in Ontario, Canada. His education includes a Bachelor of Science in Child Protection and Juvenile Justice from Bellevue College, and the Child and Youth Mental Health Certificate from Wilfrid Laurier University. Powless was the 2003 male recipient of the Tom Longboat Award as Canada’s Top Aboriginal Athlete for his accomplishments in the sport of lacrosse.

ARTS & ENTERTAINMENT | 9

Carolina East

Bebe Buckskin

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Eastern O

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Celebrate the Winter Solstice with APTN!

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By Brittany Valcourt, Communications Assistant, APTN

he winter solstice is upon us, marking the longest and darkest night of the year. In belated honour of National Indigenous Peoples Day, APTN invites you to illuminate the night with a unique adaptation of APTN Indigenous Day Live (IDL). From December 21-25, all APTN channels will broadcast the first-ever APTN Indigenous Day Live Winter Solstice celebrations from coast-to-coast-to-coast.

IDL has been held on the Saturday closest to National Indigenous Peoples Day (June 21) since its inception in 2007. However, IDL 2020 was postponed due to the ongoing COVID-19 pandemic. In response to this, the network decided to transform its landmark summer event into a special pre-recorded winter celebration.

In accordance with the most recent recommendations and policies from the federal and provincial health authorities, APTN recorded some of Turtle Island’s

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best talent in the fall of 2020 ahead of IDL Winter Solstice. Viewers across the nation will be able to join in the celebrations from the comfort and safety of their own homes.

IDL has always brought together established and emerging Indigenous artists, and this year’s winter solstice edition is no different. Through five onehour broadcasts on APTN, these artists write our collective story, honouring past and present struggles, and paving the way for brighter days ahead.

The winter solstice is a time of reflection, introspection and hope. In these tumultuous times, IDL Winter Solstice is a much-needed opportunity to reflect on the past year and to come together in celebration to usher in the new year.

Keep reading (page 12) for more information on some of the outstanding artists featured in this year’s lineup. We can’t be together in person, but we can still celebrate in unison.

Broadcast Details:

From December 21-25, tune in to IDL Winter Solstice on all APTN channels: aptn n, aptn e, aptn w, aptn hd.

The IDL Winter Solstice celebrations will be televised at 11 a.m. ET on aptn e/hd and 11 a.m. MT on aptn w. The aptn n broadcast will occur at 1 p.m. CT. The one-hour event will be repeated daily at 5 p.m. ET on aptn e/hd, 5 p.m. CT on aptn n, and 5 p.m. MT on aptn w.

The televised broadcasts will be available for streaming on APTN lumi 24 hours after airing.

Don’t miss the oppor­tu­ni­ty to celebrate the winter solstice with APTN! Join the conversation on Twitter or Instagram by tagging your posts with #IDLwintersolstice.

For more information and the complete IDL Winter Solstice roster, please visit indigenousdaylive.ca.

COVER STORY

IDL Winter Solstice Artists Shine Onstage and Offstage

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By Emelia Fournier, Communications Coordinator, APTN

his fall, the recording sessions of APTN Indigenous Day Live Winter Solstice brought together musicians of all stripes. Artists recorded in Winnipeg, Halifax, Montreal and remote locations in preparation for the broadcasts airing December 21-25 on APTN. Famed Newfoundlander Alan Doyle and Nova Scotian Carolina East shared the stage for their IDL Winter Solstice performance. East and Doyle had performed together in the past and were happy to be reunited.

“To be able to team up with him now and perform in such a professional setting is amazing,” said East.

“I wanted to have a cross section of the various genres of music we play to help with a grand celebration,” said Doyle. “I was also delighted to find a song that Carolina and I could sing together. She’s amazing after all!”

Doyle hopes to bring the energy of the stage to the screen. “I would love it if the songs led people to clap and sing along in their own homes. That’s what music did in my house when I was a kid. It brought everyone together.”

East, who also performed at APTN’s Summer Solstice Concert 2020, was thankful to be included in the winter solstice celebrations.

“For many years, I didn’t think I fit in anywhere, and APTN has accepted me as one of their own. It is always a pleasure to share the stage with such a talented and diverse group of people,” she said.

Bado. “In a way, [APTN Indigenous Day Live] is like celebrating with my brothers and sisters.”

When she took the stage, Bado found she was able to deliver her usual exuberant performance.

“It’s always great to have enough space to move and dance. The crew was the nicest, the makeup artists, the production staff, the camera operators… everyone! It was amazing,” she said.

Francophone musician Kelly Bado, who is performing at IDL for the first time, is also excited to be featured.

While the musicians performed, select works from Indigenous visual artists created a dynamic concert backdrop. Woodland-style artist Tehatsistahawi Kennedy’s artwork is paired with Bebe Buckskin’s IDL Winter Solstice performance.

“I was so honoured and blessed to be invited to share my music and my culture.

The earth is what holds us together, so this invitation shows unity in diversity,” said

Kennedy is looking forward to having his work televised. “I do not think my artwork has ever been showcased on a broadcast before,” he said.

Bebe Buckskin ARTS & ENTERTAINMENT | 11

COVER STORY

ncers Ivan Flett Memorial Da

Kennedy reflected on the importance of the winter solstice. “In my teachings, this is the time when our mother the Earth takes a rest.

We see that change in the land as everything slows down and grows cold. This season is significant to me because it provides us an environment to rest and reflect on our year— that is, of course, if we allow it to,” he said.

APTN Indigenous Day Live is typically held around the summer solstice but had to be postponed. Concerts around the world were abruptly cancelled in March, which came as a shock to musicians everywhere.

“I could not have ever imagined a scenario where every stage in the world went dark on the same day, but here we are. Waiting. All of us in the gig and gathering culture [are] waiting for the green light to turn back on,” said Doyle.

Concert broadcasts like IDL Winter Solstice have provided a socially-distanced performance outlet for musicians. While the pandemic has been uniquely challenging for musicians whose livelihoods and lifestyles revolve around touring and performing, it has also been an unexpected boon for creativity and family time.

“Spiritually, I have been both darkened by the days forced off the stage and enlightened 12 12 || ARTS ARTS && ENTERTAINMENT ENTERTAINMENT

by the forced time at home with my family.

Funny how a curse can make you feel blessed,” Doyle added.

Kelly Bado’s latest album’s recording was delayed due to the pandemic, but she took the time to improve her lyrics and work on her online presence. “Essentially, I’ve been doing all the things that we are too busy to do because we are on the road or performing,” she said.

Bado has also been staying creative with her 14-month-old son. “He loves playing with my instruments. We sing together sometimes— or at least he tries to in his own language.”

Despite the stress of raising a newborn and supporting his family during a pandemic, Tehatsistahawi Kennedy has been able to delve deeper into his own creativity.

“I have actually seen an increase in the success of my artistic career throughout this pandemic. I’ve come to learn that the vision of an artist is not limited to the ability to look outwards and depict the world around them; it also includes the ability to look inwards and gaze upon their own being as a source of inspiration,” he said. “Because of this realization, I have improved on the intricacy of my artwork and the subjects I choose to illustrate. The improvements to

myself as an artist in the past months were only made due to the pandemic.”

Some artists, like Carolina East, have preferred to look outward for creative support.

“Creativity has been a struggle during the pandemic, but I have an amazing team that always keeps me on task and encourages me to keep creating content. Most of my close friends are all involved in the music industry, so all our dinner parties (within our bubble) have always resulted in some great music,” she said.

East hopes to carry the support she’s received through the screen. She seeks “to inspire people of all ages to reach for their dreams no matter the challenges that may be ahead.

And let’s face it... 2020 has taught us that life can be HARD, but we can always figure it out and achieve great things.”

Tune in to APTN Indigenous Day Live Winter Solstice December 21-25 on APTN. Visit aptn.ca/schedule for your regional broadcast times. Broadcasts will be available on the APTN lumi streaming platform 24 hours after airing on TV.

SOCIAL ACTION LEADERSHIP

Anti-Violence Campaign Urges Action at Time of Crisis

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he moose hide pin, a small patch of tanned hide pinned to a shirt front, is becoming a familiar symbol of anti-violence efforts on Turtle Island. It’s worn by supporters of the Moose Hide Campaign, a growing movement working to end violence towards women and children. The focus is on engaging men and boys, but is inclusive of all Canadians.

The Moose Hide Campaign was founded nearly 10 years ago by an Indigenous father and daughter. While hunting on their traditional Carrier territory near the Highway of Tears in Northern British Columbia, where so many Indigenous women have been murdered or gone missing, they brought down a moose and decided to use its hide to address this tragic reality. Now, over two million pins have

been distributed, starting conversations and inspiring communities across Canada and the United States to take action.

This year, the campaign’s message has never been more important, said co-founder Raven Lacerte. “We’re seeing alarming levels of domestic violence and a growing mental health crisis as a result of the pandemic. Now is the time for us to support each other and take action together to end violence, and everyone can play a role.”

As the campaign ramps up its engagement of Indigenous communities, schools and universities across the country, it is also preparing to host its most ambitious event yet. On February 11, 2021, thousands of supporters will come together online for a day of action and fast for an entire day in order to bring awareness to growing violence.

One of the most important things people can do to help end violence against women and children is to promote gender equity, healthy relationships, and positive ideas of masculinity by speaking out against genderbased violence.

February 11 2021 Thousands of supporters will come together online for a day of action to bring awareness to growing violence.

You can be part of the change. On February 11, 2021, show your commitment and take part in the national online Moose Hide Campaign Day. To get involved and find out more, go to moosehidecampaign.ca.

ARTS & ENTERTAINMENT | 13

CULTURE

Examining Cultural Appropriation:

Working Toward Cultural Revitalization

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By William Morin

t can be hard to make sense of all the discussions and debates online and in print lately of cultural appropriation, in other words taking without permission.

Who has the right to use/misuse the art of another culture? When appropriators are called out, do walls of justification go up?

Is there a story to explain it away, or money to be made? If so, then nothing changes.

The theft of culture is what colonization did to Indigenous Peoples globally. Acculturation is what they sold us, and assimilation is what they imposed on us. Western societies dismissed, consumed, appropriated and misappropriated us as the norm.

Heron “zhashagi”/ Crane “Ojijaak” is one of our leadership clans, the one that communicates outside between the other communities.

They have many layers to their role as a leader and teacher, looking far, flying far and returning to support the community. Lines in the drawing rise like smoke “ombaabate” of a fire “shkode”, always connected to source, physically and spiritually.

14 | ARTS & ENTERTAINMENT

The Indigenous ways of seeing the universe and our place in nature are complex, unique and the source of Indigenous art. Translating our art and culture is an ‘in-cultural’ responsibility that can not be co-opted or outsourced by ‘out-cultural’ individuals around them.

Here’s a question: “Who knows what a totem pole is?” Whatever you answer, most of you will get it wrong. Even though the cultural art and the carved poles are unique to the northwest coast of the Americans, the word ‘totem’ is not from a west coast Indigenous language.

Comparably, the capital city of Canada, Ottawa, actually comes from the Odawa, an Anishinaabe-speaking sister tribe of the Ojibway. So, the word ‘totem’ is also pronounced ‘dodem’ in Ojibway, which means ‘clan’.

Many Indigenous tribal groups have clan systems within their respective geography.

As seen in drawings on ancient scrolls, the Ojibway animal clans are a complex precontact governing system aligned into a seven-pointed star codex.

This totem misnomer is a colonial hangover of our shared history. As an Anishinaabe artist and educator, decolonization seems the next course of action. I take it as my responsibility to do my part through my art, both as an anecdote and an antidote, in addressing this ongoing theft.

As my mom would say, “There is no word for art in Ojibway. It’s not what you do, it’s how you do it.” Ojibway scholar James Dumont says the Anishinaabek see the world from a 360 degree perspective, an all-inclusive view needed more now than ever before.

Over the years, Indigenous Peoples, primarily women, have challenged and “called out” the misuse and misrepresentation of Indigenous art and culture in mainstream media. Sadly, the issues have not received public recognition until a male Indigenous artist speaks up.

So, as an Anishinaabe mizinbiige-nini, and Ojibway artist and man, I am listening, miinwaa miigwetch—thank you for being defenders

William Morin

of our culture, Mizinbiige Ogiichitaa Kwewok, image warrior women.

It is important to recognize that most Indigenous languages in the Americas are verb-based—action words in tune with the natural world, where words are animate, with spirit, alive, living; or in-animate, not living. One of my language teachers, Doris Boissineau baa, pointed out that our art is not without spiritual thought. “The drawing is not of ‘a bear’, it becomes ‘the bear’, with spirit, alive….”

Our art is spiritually sourced and needs cultural insiders to translate. Anything else is gibberish and disrespectful, misleading the culture stolen.

The harm caused by cultural appropriation can lead to identity confusion, cultural distortion and spiritual damage of Indigenous Peoples.

This alone should be enough to encourage ally artists, media outlets and institutions to work with Indigenous members in the long journey from decolonization to cultural revitalization in our shared history.

William Morin is an Ojibway Anishinaabe artist from Michipicoten Anishinaabek (Mishibikwedenong), Indigenous activist, and professor of Indigenous Studies at the University of Sudbury in Sudbury, Ontario, Canada.

FOOD

ARTS & ENTERTAINMENT | 15

SUBMISSION

Kwigwatsi Studio:

A Beacon in Our Time

A

ncestry, ambition and art mesh in the new Kwigwatsi Studio, now standing proudly on the waterfront in Comox on Vancouver Island, an homage to the meaning of its name: eagle’s nest. Partners in life, art and business, renowned northwest coast artist Andy Everson (Kwakwaka’wakw) and owner of Totem Design House Erin Brillon (Haida/ Cree) have pooled their talent and energy to build a studio on the K’omoks First Nation.

The 1,500 sq ft studio will house the latest digital and screen printing equipment, allowing the duo to not only expand their product lines but welcome other artists to learn and advance their works.

As many non-Indigenous people become more aware of the devastating impacts of colonization, reconciliation is a vital discussion in our Canadian culture. The building of this studio is a prime example of the need for reconciliation, reconciliation that systematically deconstructs barriers facing Indigenous Peoples to attain economic equity. Most non-Indigenous people are unaware of how immensely difficult it is to build on Crown Reserve land. Banks are unable to give mortgages

Erin Brillon and Andy Everson

to further empower modern artists. “What we are doing today is the embodiment of everything our grandparents couldn’t do, and couldn’t be,” shared Brillon.

“Andy’s grandfather had wanted to create a Northwest Coast art school here on this very spot, and we plan to honour his legacy by developing art-based programs for artists that will be run through this studio space.”

without guarantees, and most Bands are unable to provide these mortgage guarantees. This makes investment into cultural endeavours extremely difficult and forces many to move away from their homes and cultural connections.

Kwigwatsi is a beacon in our time.

Not only will the studio be a centre for artist education but it will recall the Native Arts market back into Indigenous hands. Artists will “provide authenticallydesigned products that are made locally and in the most eco-friendly methods possible; that is what operating with Indigenous values means to us,” explained Brillon. It will offer a pathway to “uphold our culture in a contemporary way while holding true to our traditional values that teach us to give back.”

Kwigwatsi was built to honour the legacy of the past, fulfill the dreams of ancestors, and

The Copper Legacy, in honour of Brillon’s Haida grandmothers, will be an additional

'Anisalaga' Giclee Print on Acrylic by Andy Everson

16 | ARTS & ENTERTAINMENT

part of that giving back. The Copper Legacy will provide artist mentorship, aid in language revitalization, and help restore traditional practices of healing, farming and stewardship.

Andy Everson, Northwest Coast Artist

Kwigwatsi overlooks the Big House that Everson’s grandfather K’omoks Chief Andy Frank built. It stands as a signal fire—a sign of the end of an era and the hope of healing that comes soaring from Kwigwatsi, the eagle’s nest.

ARTS & ENTERTAINMENT | 17

MUSIC BUSINESS

All-Indigenous Radio Station Launches Online

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enise Halfyard wears many hats, all of which focus on inclusivity and connection through Indigenous arts and culture. She is a seasoned voice-over artist and owner of Aboriginal Buzz. Her most recent venture is The Frog Radio. Launched in September, The Frog Radio is a unique station that plays only Indigenous music, all day, every day. As the founder and CEO, Halfyard set out to create a radio station unlike any other—a platform for Indigenous artists, aspiring and well-established, to share their talent and culture with the world. The Frog Radio is constantly adding to its roster, and we just couldn’t wait to talk to Halfyard about the music, the artists, and the story behind the creation of her latest project. ​

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SAY: What is the story behind the name, The Frog Radio?

Halfyard: I am Wet’suwet’en, Tshimshian and Gitxsan from Northern British Columbia. I was raised in Terrace, British Columbia. My mom is Wet’suwet’en, and we are a matrilineal culture. I follow my mother’s clan, Laksilyu, which means Small Frog. So, The Frog Radio just made sense. It’s very personal. I also designed the logo myself. I am technically not an artist, but I was sketching out a pattern for a pair of frog earrings one day and later decided to use that pattern. I’m really proud of it.

SAY: What made you decide to host an all-Indigenous online radio station?

Halfyard: Last year I was listening to a podcast and I was introduced to the singer iskwē. I immediately looked her up, listened

to more of her songs and became an instant fan. I thought, “Man, this girl is good! I need to find more of this kind of music.” I know there are many talented Indigenous artists across Turtle Island, but she really opened my eyes to a wide range of genres out there.

As much as I appreciated the many stations that feature Indignenous music programs, it was rarely at an opportune time for me to listen. So, I concluded that we needed a place where we could listen to Indigenous artists all day and whenever we want. That’s what got me started.

SAY: The launch was very recent. What motivated you to start this fall?

Halfyard: At first it seemed like a mountain of a project, but after a year of humming and hawing, I decided I wanted to do it. In June, my grandmother passed away. It was

MUSIC BUSINESS

after her traditional burial that I decided I was going to do this for her, in her memory.

To carry and pass on tradition, cultural teachings and songs. So I put out the call to artists in July, asking them to send in their music as well as reaching out personally. I thought if by the end of September I had 100 songs, I would be happy. I launched September 21st and I had over 800 songs, and it’s growing all the time! In just the first week of collecting music, I had a collection from coast to coast, from Vancouver Island to Nova Scotia.

SAY: Your slogan is We Are Still Here.

What does that mean?

Halfyard: As many know, Canada has a shameful history. They tried to wipe us out but didn’t succeed. Today, we are singers. We are lawyers. We are teachers. We are writers.

We are filmmakers. We are still here! It’s meant to empower every Indigenous person who hears or sees it.

SAY: You play music from all over Turtle Island; do you have a favourite segment?

Halfyard: I came up with an idea to start

your day with healing, soothing music called Morning Medicine. It’s musical medicine for your soul—all instrumental, chanting and drumming. I love that none of the songs have any english language. But that’s not all The Frog Radio is. We play it all, from hip hop, to country, to pow wow, electronic and everything in between. As mentioned earlier, my eyes have been opened to the many diverse genres covered by talented Indigenous artists.

SAY: How is your station inclusive of all Indigenous artists?

Halfyard: One of the first musicians to send me his music was a guy from Ladysmith, British Columbia. He reached out and said, “I only have two songs. Is that okay?” and I said “Yeah, for sure!” This station is made for artists like that. You don’t have to have a whole album, and you don’t have to have thousands of followers. As long as you have a clean professional recording and you own the rights to your music (because we’re SOCAN and BMI affiliated which means royalties get paid) we will add it to our catalog. I want to give Indigenous artists their own platform

where they can be celebrated and heard.

So, if there are any artists who are teetering on whether or not they should record their song, do it! You have a place to be heard.

SAY: What can people do to help amplify and support your work?

Halfyard: Listen at thefrogradio.com! Buy a t-shirt! Submit your music! If you have suggestions of artists that you haven’t heard on the station yet, let me know and I will try to get their music added to our collection.

Follow us on social media and share with your friends!

ARTS & ENTERTAINMENT | 19

MUSIC

MATTMAC With melodic pop trap beats and an inspiring story, blind music producer and recording artist Mattmac has established himself as one to watch on the national music scene.

Mattmac’s debut album 20/20 is making waves with 180,000+ streams across all platforms. The thoughtful, honest lyrics,

heavy melodic trap beats and poppy vocals in the release allow listeners a glimpse into the mind of a creative genius who paints authentic auditory landscapes that depict struggle, healing, love and life on the rez from the eyes of one who does not see.

popular on the Canadian music circuit. It has garnered more than 50,000+ Spotify streams and charted top three on the NCI FM Indigenous Music Countdown hosted

by SiriusXM. On the mediabase radio charts, it reached all the way to the top 50.

“Paradise”, the album’s eight-track debut single released in November, has become

Blind since birth, Mattmac is from Garden Hill First Nation, Manitoba. He grew up surrounded by music both on the radio and in his community’s gospel choir. From an early age, he struggled with depression and found music beneficial in helping him cope. By age 13, he began to make beats, write lyrics, and subsequently taught himself to play both piano and guitar. Mattmac is grateful for the support of the Blind and Famous group, a USA-based collective of blind music artists who collaborate and encourage one another online. He attributes his competency in beat production software and equipment to their mentorship.

Mattmac’s music career was set in motion in 2016 when N’we Jinan, a travelling music studio program, visited his community and invited him to collaborate on a project.

Inspiration from his personal story was the impetus for the song and video titled “Help You See” that has been watched nearly 250,000 times on YouTube and Facebook.

This experience brought with it welcome connections with international music artist Nelly Furtado with whom he performed at Indigenous Day Live and We Day Canada in 2017. Mattmac hopes to continue to use his platform to inspire others to know that with hard work they too can accomplish whatever they dream.

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MUSIC

Kaeley Jade Armed with a soulful, velvety voice, singer-songwriter Kaeley Jade possesses the captivating ability to craft music that is both playful and poignant. Effortlessly blending lush poetry and catchy melodic lines, the Edmonton-based artist creates her own brand of indie pop that is fresh, polished and vibrant.

Recorded with the Juno-nominated team at Velveteen Audio, her debut EP Years Ago is an evocative exploration of the challenges that arise when building relationships, wrapped in a crisp indie pop package. Years Ago brims with powerful imagery and slick vocal lines, and is reminiscent of artists like Vance Joy and Maggie Rogers.

Since dropping her debut single “Years Ago” in January 2020, Jade has been making waves in the Canadian music scene. She has appeared at a multitude of venues, including the Big Valley Jamboree and the Tim Horton’s Brier,

and has lent her talent as a vocalist to the Edmonton Pops Orchestra. After a strong community response, the single “Years Ago” was added to the regular rotation on 102.3 NOW! Radio, and been featured in Spotify editorial playlists, including New Music Friday, New Music Friday Canada and Fresh Finds. Furthering her reach, her song “Elijah” was included in the feature film No Apology by Link to the Past Productions. An award-winning Métis artist, Jade’s music has been played on Indigenous radio stations across North America, and her latest single “Highway 16” broke the top 10 of the Indigenous Music Countdown.

Jade possesses an impressive ability to move from ballads to bops with ease, and there is an authenticity and personability in her stage presence that creates an experience that is both electric and evocative. Find Years Ago today on all major streaming platforms.

Leah Belle

Leah Belle is a country-singing dynamo, and only 18 years old.

Born and raised in Sudbury, Ontario, Canada, Belle has been singing since she could barely walk, and quickly started musical training at the early age of six.

Over the years, she has been influenced by a myriad of artists. She looks up to country icons such as Carrie Underwood and The Band Perry, while also striving to emulate pop power houses like Katy Perry, all while maintaining her love for the blues too.

Blending all these influences together, she has shaped a style that is uniquely her own.

Belle is a fresh face on the music scene with

a sassy attitude. But more importantly, she is a true performer who is passionate about driving her career forward.

Her first live stage performance was at the N’Wasamok Aboriginal Idol Competition held at The Grace Hartman Amphitheatre where she placed first among the 12 finalists. She was also the youngest person in the competition.

Since then, she has opened for The Trews and Shane Yellowbird, and her music is being played around the world on Sirius XM. Belle is signed with The Darren Ross Agency based out of Six Nations, Ontario, and has released two albums so far, Country Air and her latest album SHINE. ARTS & ENTERTAINMENT | 21

MUSIC

Herbie Barnes Herbie Barnes is well known for his prolific 30-year acting career with roles both onstage and in film. He has successfully filled the roles of director, actor, writer and teacher many times over, working throughout North America.

Although he continues to fulfill his dream of acting and directing, music has always played a large role in his life. Barnes is Anishnabe from Aundeck Omni Kaning on Manitoulin Island (Ontario), and Faded Pages is his debut musical release.

Launched in November, this album is a collection of songs that have been floating around in his head, and around campfires and stages for over thirty years.

They are about certain people who came into his life and left, but who still haunt him in wonderful ways. The down home jazzy pop country of Faded Pages boasts of classic lyrics that remind you of earlier days. No pop country album is complete without a ballad, and Barnes does not disappoint.

“Frankenstein's Lover” demonstrates the creative mind he has used for most of his career on stage.

Morrisseau in Copper Thunderbird or a singing and dancing Wikersham Brother in Seussical The Musical. He has written for television shows such as Guilt Free Zone, Buffalo Tracks and Tipi Tales, and has directed several major productions including Music Man (TIFT), Oliver the Musical (Bluff City Theatre), Inheritance (Alley and Touchstone Theatre) and Tales of an Urban Indian (Public Theater)—his work earning him a nomination for a John Hirsh Award for directing. Barnes’ film direction includes RepREZentin’ in Fort Chip and also as a shadow director with The Rez. For Barnes, music has the power to heal and entertain. It takes him back to better times and inspires him to create new memories.

An influential and seasoned performer and teacher, he hopes these songs can inspire others in the same way.

You may recognize Barnes from his various stage roles, which include Bilbo Baggins in The Hobbit, Norval

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Kaeley Jade Mattmac Leah Belle Herbie Barnes

Visit us at IndigenousinMusic.com

PROFILE

Reconciliation through Song

A

ndrea Menard is a talented Métis powerhouse performer and songstress who surpasses the boundaries of culture and language. A five-time Gemininominated actress and multiple award-winning singer/songwriter, she is also a TEDx speaker and the founder of the Sacred Feminine Learning Lodge.

Orchestra. Rubaboo is the Michif word for “leftovers” stew and Rubaboo (the concert) is certainly a feast for the eyes and the ears.

Filled with unity, sovereignty, Métis culture, and some “leftover” frustration from the continued ignorance of many Canadian’s regarding Indigenous history, Menard invites Canada to discover that we are not “leftover” citizens of this nation.

Recently, Menard debuted her newest Pops concert Rubaboo with the Regina Symphony

SAY Magazine caught up with Menard to talk about life and the importance of Indigenous women's empowerment and the current work she is doing.

SAY: In your acting career, you play strong women characters and write songs that empower women. Why is women’s empowerment important to you?

Menard: I have never felt truly safe in this world, so I want to create systemic safety for others. Too many Indigenous women and girls are targeted with violence and racism; we have been forced to “survive” in a white man’s world instead of being allowed to blossom and flourish in our own feminine ways and

natural rhythms. We have the right to feel safe, loved and beautiful just the way we are.

Like my song “Silent No More” encourages, my purpose is to use voice to bring about this change.

SAY: How does being a Métis woman inform your work in the world?

Menard: My deep connection to the land and spirit world, and my commitment to living a “good life” comes from my heritage.

Am I more like our warrior Gabriel Dumont or our peacemaker Louis Riel? I have to say I’m more like Louis—a peacemaker at heart.

I have aspects of being a Métis warrior, I mean my Anishinaabe name is Fire Woman for goodness sake, but my true purpose is to bring balance to this world. My whole mission in life is to bring people back to themselves, to the sacred teachings, to ceremony. If my offerings can bring healing to just one person, then I’ve succeeded.

SAY: If there is one thing that you could change in the world, what would it be?

Menard: I want to create a world that honours the natural world, the Lifegivers and Mother Earth. I want to dissolve the existing Western systems that devalue Indigenous and feminine knowledge. That is what my company, the Sacred Feminine Learning Lodge, is all about— to facilitate what my Elders call the Rise of the Sacred Feminine. I want to make room for practices that honour communication, healthy emotional expression, compassion, stillness and ceremony.

SAY: What self-care practices do you engage in that allow you to stay busy and creative?

Menard: I am ferocious about my alone time.

It is the only way I can feel and register the natural rhythms that are calling me. I sit in stillness every day. I walk in nature every day. I express my emotions every day. I try to stay on top of the pain and suffering that pummels me, because it doesn’t just go away.

The trauma we experience needs our attention and our expression. I am convinced it is the only way we can get healthy as a people.

Born in Manitoba, Canada, Andrea Menard is a proud member of the Métis Nation of Canada.

She carries the names Skooteah Equahh (Fire Woman in Anishinaabe) and Notigwew Yutin (Grandmother Wind in Cree).

ARTS & ENTERTAINMENT | 23

Photo credit: Jaime Leigh Gianopolous

PHOTOGRAPHY

STRONG, RESILIENT, INDIGENOUS Jenna Brown, co-Chair at the Assembly of Manitoba Chiefs (AMC) Assembly in Portage la Prairie, January 2020.

Photographer

Teena Legris is proud to be an Indigenous photographer who revels in life’s context. A self-proclaimed “Photowalker”, Legris offers a glimpse into the personalities, alleyways and side streets of Canadian cities while showcasing the beauty and authenticity of humanity. She is intrigued by the stories behind each composition and aims to capture moments that inspire thought and celebrate culture, emotion, and life.

A member of the Peter Ballantyne Cree Nation (Saskatchewan), Legris currently works as the communications officer with Keewatinohk Inniniw Minoayawin Inc. (KIM) and loves advocating for equitable healthcare for First Nations.

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“ 'This is the new normal' they keep telling us. 'We all need to make sacrifices.' 'We have to keep the economy going.' ” But none of this is normal. These are just the newest versions of the same colonial lies that brought us here to begin with. Restoring the lungs of the earth, restoring balance, slowing down, breathing deeply, living sustainably with a clear mind with respect for that which gives us life—this would be normal. Living in fear of the air, of being near the ones we love, being masked so we can continue to consume and extract is not normal. Greed is the pandemic. Blind pursuit of power, hopeless ignorance—these are the great illnesses of our time.

- Nikki Iyolo Sanchez Nikki Iyolo Sanchez is a Pipil/ Maya and Irish/Scottish academic, Indigenous media maker, decolonial educator, writer and front-line land defender. Her TEDx talk “Decolonization is for Everyone” and the trailer for her award-winning docu-series RISE exploring global Indigenous resurgence can be viewed on YouTube.

PHOTOGRAPHY

Baahkuukawiia/Early Morning Woman Margo Real Bird was photographed near her home on the Crow Indian Reservation.

Real Bird’s portrait was recently included in an exhibition of Crow culture and art at the Field Museum in Chicago, Illinois, USA. The exhibit Apsáalooke Women and Warriors will be on display until July 2021.

Photographer

Adam Sings In The Timber is a documentary and portrait photographer from Billings, Montana. He is an enrolled member of the Crow Tribe of Montana, currently based in Berkeley, California. His current project Indigenizing Colonized Spaces is a portrait project that features Native people in urban settings—land that once was inhabited by tribal people.

“Skye” from the Land Back Camp: Our Voices Currently on display at THEMUSEUM in Kitchener, Ontario.

Photographer

Shawn Johnston (they/them) is a Two Spirit Anishinaabe originally from Couchiching First Nation located on Treaty #3 territory in Ontario, Canada. They are an awardwinning photographer and have ongoing exhibits in London and Kitchener-Waterloo (Ontario). They are currently the co-organizer for O:se Kenhionhata:tie, also known as Land Back Camp.

ARTS & ENTERTAINMENT | 25

PROFILE

Performing Artist Amplifies Indigenous Voices

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cko Aleck, a daughter of the Nlaka’pamux Nation and raised with the shishalh Nation, now lives, works and plays on the West Coast of British Columbia, Canada, in the traditional territories of the Pentlatch, Snaw-Naw-As and Snuneymuxw First Nations. She is both a performing artist and multimedia digital artist using multiple disciplines in each form. She combines spoken word, rap, and singing while performing, and blends music, sound and video production with ease.

Photo credit: Adam Ziorio Photography

Aleck is a graduate of the Art Institute of Vancouver with a diploma in Professional Recording Arts (2016), recipient of the Fred Sherratt MusiCounts Award for Outstanding Recording Arts and Sciences (2017), and founder of Sacred Matriarch Productions. Sacred Matriarch Productions is a creative outlet that honours ancestral teachings in business through multi-media production.

26 | ARTS & ENTERTAINMENT

How did she decide on her business name? During meditation, she often finds inspiration and clearer paths. The word “matriarch” continued to press forward in her mind. After contemplating other names, none of them felt right, explained Aleck. “I closed my eyes and silenced my mind, and eventually Sacred Matriarch Productions came to me.” The responsibility of carrying such a weighty name was terrifying. While scrolling on Facebook, she came across a photo of her great-great-grandmother. In the comments, she discovered someone saying he had a recording of this woman on a wax cylinder. Now able to listen to her great-great-grandmother, she was moved to tears and received the courage to press forward in her ambitious dream. Such a clear message had never come through

from her ancestors: “It’s time and we’ve got you.” Sacred Matriarch Productions was born. All her self-doubt was erased at that moment and replaced with a heart and vision to make a difference.

As the daughter of a residential school survivor and cycle-breaker for her two young sons, she believes in using her position of influence to bring healing from intergenerational trauma and to use every opportunity to address the dark history of Canada. Her organization serves grassroots youth and community projects by intertwining ancestral knowledge woven into spaces with digital media and performance storytelling. Her focus is to amplify the voices of underrepresented Indigenous women and youth. Her love for her culture and art shines through not only in her cultural performances but also in her workshop creation and facilitation, program development, art installations, and hip hop shows.

MUSIC MENTORSHIP

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By APTN Communications

n support of Indigenous musicians, APTN is proud to announce the Indigenous Music Accelerator program, a mentorship-based initiative inspired by APTN Indigenous Day Live’s Music Incubator program. This new program is presented

by RBCxMusic, a platform designed to support and inspire youth through the power of music. It is part of RBC’s broader dedication and commitment to the arts, including the RBC Emerging Artist Project, which helps artists bridge the gap from ‘emerging’ to ‘established’ by providing networking, training and exposure opportunities.

This new program will be open to Indigenous artists who are actively pursuing a career in the music industry.

existent,” said Valerie Chort, vice president of Corporate Citizenship at RBC. “That's why we are proud to support the Indigenous Music Accelerator program, providing opportunities for more Indigenous artists to advance their careers in music.”

The Indigenous music industry has incredible talent from all genres of music just waiting to reach even broader audiences.

- Sky Bridges

“The Indigenous music industry has incredible talent from all genres of music just waiting to reach even broader audiences.

The Indigenous Music Accelerator program, presented by RBCxMusic, can help Indigenous artists expand their audience base and provide support in their path to success,” said Sky Bridges, APTN’s COO.

RBC is a longtime supporter of arts organizations. Since 2003, its investments in the arts have exceeded $80 million. In 2020 alone, the RBC Foundation donated $8 million through the RBC Emerging Artists Project to over 185 organizations in Canada, helping more than 5,900 artists take their careers to the next level.

“Getting ahead in the music industry has always been challenging. COVID-19 only compounded those challenges by making opportunities for live performances, networking and exposure scarce or non-

This exciting new program will be delivered

by Canada’s Music Incubator in Toronto (COVID-19 restrictions permitting) over the course of five days. Through a selection process, seven Indigenous musicians from

across Canada will be chosen to be mentored in their areas of interest. The program is tailored to each individual artist’s needs.

Transportation, accommodations and per diems will be included.

Last year, APTN released the National Indigenous Music Impact Study (NIMIS), which featured the voices of several Indigenous musicians. In the report, “many musicians point to the value of mentors, and the importance of seeking and taking advice as reasons for their success.” For the full NIMIS report, visit corporate.aptn.ca/ musicstudy.

The Indigenous Music Accelerator program will provide access to the benefits of mentorship outlined in the NIMIS report. The program will include business development, career guidance, music industry workshops and one-onone meetings with some of Canada’s top music industry professionals. Areas of expertise include every facet of the music industry, from branding to budgeting to vocal training.

Applicants must be Canadian citizens who are 18 years of age or older and identify as Indigenous. The program will be adjusted in accordance with COVID-19 restrictions.

Full criteria and program details will be released in the new year.

ARTS & ENTERTAINMENT | 27

FOOD

Chuck with Therese, Odette, Menic with pickup in Manawan

Chuck and Cezin in Kitigan Zibi

Chuck and Theodore in Wikwemikong with chaga

Chuck Hughes Speaks about His Culinary Travels in Turtle Island

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By APTN Communications

APTN: Where did the idea for Chuck and the First Peoples’ Kitchen come from?

Hughes: I had the idea for the series five years ago when I’d just finished a show called Le Monde selon Chuck that brought me to 14 countries. I’d learned about Indigenous influences all over the world but not in Canada. It made me realize that I didn’t know any words in Cree or Anishnaabemowin, even though I speak Spanish, a language from a country that’s so far away. I realized how little I knew of Indigenous Peoples in Canada.

Not the one that most people know, but a real beaver tail!

I made maple syrup from A to Z. I snowshoed to collect 137 litres of maple sap and boiled it down to two litres. I acquired a whole new respect for ingredients.

APTN: What are some memorable moments of the production?

Hughes: Everybody was so generous, sharing their culture without expecting anything in return. I was very lucky. In our lives today, everything goes fast. It's all virtual, all online.

When you go to a community, you can spend an entire day in the bush with no cell service.

That’s when you really connect and share with people, and you realize you’re living great experiences. I’m really looking forward to going back!

APTN: What do you think of Indigenous cuisine?

Hughes: It’s very honest. I say it often: start with good ingredients, use a simple technique, and you’ll always get delicious results.

APTN: Do you have plans for a second season?

Hughes: We have a second season [in development], but with COVID-19, communities are closed. I’m excited to start the research and see where we’ll go. Many stars of the series have become my good friends. I met Johnny [Flaherty] in Iqaluit (Nunavut), but he’s from Green Fjord in the high Arctic. He hasn’t been back since leaving as a kid. I would like to go there with him.

Each episode [taught me a new cooking technique]. I’ve transformed a lot of animals, but I’d never skinned a beaver before. I’d never eaten beaver, and we made beaver tails.

APTN: In other interviews, you said this experience changed your life. Would you like to elaborate?

Hughes: The show taught me about traditions,

My good friend Cezin Nottaway, who’s in the first episode, often speaks of her traditions and was also a huge influence.

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Photo credit: Dominique Lafond

huck Hughes is a well-known chef, TV personality and co-owner of top Montreal restaurants. He has embarked on a new adventure with Chuck and the First Peoples’ Kitchen, where he visits Indigenous communities and learns about their culinary arts. APTN sat down with Chuck to chat about his experience creating the show.

Chef Chuck Hughes

yes, but I also saw the current situation, good and bad. Seeing that definitely changed the conversation for me and changes it for others I interact with. I walked into this wanting to learn traditions and visit communities. I didn’t think it would change my life.

Chuck and the First Peoples’ Kitchen is airing on APTN and available for streaming on APTN lumi. Visit aptn.ca/schedule for your regional broadcast times.

Ready to cook?

Page 29 features two recipes from Gesgapegiag, Quebec, that you can try at home today.

FOOD

Sabun Soup Recipe by Stephen Jerome A simple traditional dish that is really delicious and easy to adapt or customize.

INGREDIENTS 4 large potatoes 2 large onions 1 salmon tail Salt Pepper

DIRECTIONS 1. Put all ingredients in a pot, and top off with water. Season with salt and pepper.

2. Bring to a boil and simmer for 30 minutes, or until potatoes are cooked.

3. Smash one potato per person in individual bowls, add some broth and a piece of salmon, and serve with a side of fiddleheads.

Lusgnign

Recipe shared by Elder Maggie Jerome Revitalized by Angel Ward

INGREDIENTS

6 cups flour 6 tsp baking powder 3 Tbsp sugar ½ tsp salt ½ cup shortening 2 Tbsp butter 1 egg ½ cup milk ½ cup water

DIRECTIONS 1. Mix flour, baking powder, sugar and salt in a large bowl.

2. Cut in shortening and butter until crumbly.

Feasting on sabun with Stephen Jerome and family

3. In a small bowl, mix together egg, milk and water.

4. Add wet ingredients to the flour mixture. The actual mixing is important to get the correct consistency. The dough must be sticky first, then add flour to the outside and mould the dough using the flour coating. Avoid overkneading the dough or it will become tough and hard.

5. On a pan lined with parchment paper, mould the Lusgnign into an oval disc. Sprinkle with flour and bake at 350°F for 25 minutes, or until golden brown.

Chuck and goose hunters ARTS & ENTERTAINMENT | 29

BUSINESS

Entrepreneur Turns to Lessons from the Land to Navigate COVID-19

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By Brenda Dragon

hen the pandemic hit in March, I became very worried for my loved ones and for all of humanity. When the Northwest Territories borders closed to travellers, my anxieties heightened as I knew that fifty per cent of our revenue comes from retailers, many of which are tied to tourism.

For the past five years, we have worked very hard to build Aurora Heat—a northern Indigenous business that offers sustainable products—to where we are today. The uncertainty of COVID-19 made our growth uncertain.

Aurora Heat offers natural and reusable fur warmers that our customers across North America now tuck into their mitts, hats, boots and pockets to replace the need for single-use and chemical-based warmers.

Our products are made of premium sheared beaver fur and inspired by my family’s roots as trappers in Northern Canada. I’ve spent a lot of time on the Land, and like many northern Indigenous People, I have been taught survival from Nature. This reminded me of my inherent resilience.

I resisted the feelings of impending doom and went into action. My goal was absolute: I was going to carry Aurora Heat to a better place post-pandemic. We’re certainly still swimming to remain above water, but what follows are the core activities that have kept us afloat. My hope is that they might help you persevere during these unsettling times.

Make Time to Take Stock

Even if you feel too busy fighting fires, you need a sound strategy to navigate the pandemic. I needed support, so I brought on a vibrant young business consultant.

Together, we assessed the must-dos to continue bringing in revenue and what could be put aside. Most importantly, we identified areas to improve user experiences within our online sales channels knowing that this is where we’d make up lost revenue.

Check In with Your Customers

In exchange for a discount code, we sent out a short online survey to get a pulse on what customers continue to love about Aurora Heat. We gained valuable insights that have 30 | ARTS & ENTERTAINMENT

Brenda Dragon and her daughter Chloe Dragon Smith enjoying traditional winters on the Land in Fort Smith, Northwest Territories.

allowed us to hone in on the core brand values that keep customers coming back, which has fed updated messaging on our new website.

unique earrings to traditional beaded cell phone warmers!

Apply for Grants

Knowing that retail wholesales would continue to struggle, we’ve worked hard to launch a new website with better marketing analytics and improved user experiences.

With better data, we now can see the social ads that resonate with our core customer groups all over the world.

There are many grants and wage subsidy options out there for Indigenous-owned businesses and women. Apply for them all.

We used this federal grant finder: innovation.ised-isde.canada.ca.

Make Changes for Remote Working and Safety

Centralize your documents so staff can work virtually together! We migrated to the cloud.

Now our remote team can seamlessly work from home and access everything they need.

For our artisans in the Fort Smith workshop, we’ve implemented health and safety protocols based on guidelines from health authorities.

Innovate and Create

Shifting gears from normal activities, I prototyped many of the products that had been percolating in my mind. Some of the new products were even inspired by customers in the survey. I’m pleased to share that we’ve launched a handful of new products, from

Be Brave and Pivot

COVID-19 has brought forth a few positives; I chose to realize some for Aurora Heat, and I hope there will be some for your business too. It forced us to dig deep, pull our best selves forward and persevere. Being outdoors is now a safer place for kids, families and friends to be together. Our strength is offering traditional Dënesųłiné ways of keeping warm and comfortable in the cold. We are excited to continue bringing our way of life to Canadians, and increasingly global communities.

Brenda Dragon, a Dënesųłiné and French Canadian woman, is the designer and founder of Aurora Heat, Inc. which is based in Fort Smith, Northwest Territories, Canada.

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