CONTEMPORARY INDIGENOUS MAGAZINE
NCI FM RADIO Celebrates 50 Years
Internationally Acclaimed
ARTIST TANYA TAGAQ Featured in NFB Film
EVER DEADLY Meet the Talented
Jillian Dion ISSUE 121 ENTERTAINMENT
DISPLAY UNTIL SEPTEMBER 1, 2023
PM 43436539 PRINTED IN CANADA $8.99
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contents.summer 2023 ISSUE 121
18 Music - Graeme Jonez 20 Music - Chantil Dukart 22 Music - Logan Staats 24 A Celebration of Indigenous Innovation
28 Consent and Gender Justice 32 The Power of Dance and Inspiration
36 Poem - “A Visit to Woodland Cultural Centre”
38 Advertiser Index
ENTERTAINMENT
8 Cover Feature Meet Jillian Dion, the Talented Canadian Actress who Appears in the Upcoming Martin ScorseseDirected Feature, Starring Lily Gladstone, Leonardo DiCaprio and Robert De Niro Cover image by Kristine Cofksy / The Portrait Sessions
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Inuk Throat Singer Tanya Tagaq and Award-Winning Filmmaker Chelsea Mcmullan Come Together to Create the Powerful Documentary Ever Deadly
The Manitoba Institute of Trades and Technology (MITT) Hosts Its First Pow Wow, Marking a Significant Step Forward in the Growth of Indigenous Initiatives
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We Celebrate a Significant Milestone with NCI FM Radio, which Has Been a Vital Source of News, Culture and Entertainment for Manitoba’s Indigenous Community for over 50 Years
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Meet Entrepreneurs Keanna Liske and Lise Coocoo-Dubé who Are Paving the Path for Other Indigenous Women to Start Their Own Businesses JULY 2023 | 3
calendar of EVENTS 2023
Photo courtesy of NAIG
JULY 15–23
SEPT 18-19
The 10th North American Indigenous Games will host competitions in 16 sports within 21 venues across Kjipuktuk (Halifax), Dartmouth, Millbrook First Nation and Sipekne’katik, and will bring together more than 5,000 athletes, coaches and team staff from 756+ Indigenous Nations. naig2023.com
The inaugural Indigenomics SHE conference is a space to amplify the voices, experiences and leadership of Indigenous women in business who lead the way for economic growth and development in Canada. Winnipeg, Manitoba, Canada indigenomicsinstitute.com
North American Indigenous Games (NAIG)
AUG 9
International Day of the World’s Indigenous Peoples
August 9th pays tribute to the Indigenous communities of the world—an estimated 370 to 500 million Indigenous Peoples living in 90 countries. un.org/en/observances/indigenous-day
AUG 11-12
2023 International Indigenous Hip Hop Awards
Indigenomics SHE
SEPT 30
National Day for Truth and Reconciliation
This day of honouring and remembrance coincides with Orange Shirt Day. We honour those who survived the residential schools and remember those who did not. Every Child Matters. nctr.ca
SEPT 30
2023 Reconciliation Run
A two-day event celebrating Indigenous arts and culture, recognizing performers and small businesses through live music engagement and educational conferences. Vancouver, British Columbia, Canada indigenoushiphopawards.com
A half marathon where we can run in honour of all of those who never got the chance. The in-person event will take place on the grounds of the former Birtle Residential School Ruins, Birtle, Manitoba, Canada Virtual option to participate as well. raceroster.com/registration/75639/entry
AUG 15-16
OCT 17-19
The 47th Annual Elders Gathering is an important chance for the Indigenous Elders to meet and renew contacts and share information. Vancouver, British Columbia, Canada bcelders.com
An annual event, the six-day festival showcases film and video, digital and interactive, and audio media work created by Indigenous artists (directors, producers, writers and designers) at all levels of experience. Toronto, Ontario, Canada imaginenative.org
2023 Elders Gathering - “Stronger Together”
SEPT 12-13
TechNations Conference and Trade Show
Hosted annually by the Ontario First Nations Technical Services Corporation (OFNTSC), TechNations 2023 is Ontario’s premier showcase for the technical services industry for First Nations communities, leaders and decision-makers. Thunder Bay, Ontario, Canada ofntsc.org/event/technations-2023
imagineNATIVE Film + Media Arts Festival
OCT 18
Indigenous Women in Leadership (IWIL) Business Forum
Hosted by the CCAB, this forum focuses on understanding how we can empower female entrepreneurs and create meaningful opportunities to diversify the workforce. Vancouver, British Columbia, Canada ccab.com/events
SAY Magazine makes every effort to ensure our calendar of events is up to date; however, we encourage you to check event websites regularly for more information.
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EDITOR’S MESSAGE
“When they see my face, they’ll feel represented and they’ll feel beautiful and be proud of their skin colour and their background, and it’s something to never be ashamed of.” ~ Model, actress and TV personality Ashley Callingbull, Global News, March 10, 2022
SINCE 2002
SAY MAGAZINE Volume 22, Issue 3 SAY Magazine is a bi-monthly publication that publishes six issues a year—one issue every eight weeks.
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alented Indigenous activists and role models like Ashley Callingbull (quoted above) have been using their platforms to advocate for Indigenous rights, and accurate and positive representation in the entertainment industry, specifically on screen, in film and television. In an interview with actress Jillian Dion (on the cover), she explains how shows like Rutherford Falls and Reservation Dogs in particular have really pushed the boundaries and opened people's eyes to incredible storylines and characters played by Indigenous actors—a long overdue requisite in the media industry. Thanks to productions like these, and decades of hard work by so many Indigenous actors, writers and directors, doors are finally opening wider for Indigenous Peoples in mainstream media. In this issue of SAY Magazine, we celebrate those in the entertainment industry, from a local Manitoba radio station showcasing Indigenous voices for over five decades to the talented storytellers who amaze and entertain us on screen, through music, and on stage through the power of dance. Now, more than ever, Indigenous youth are seeing themselves represented on larger public platforms, in positive roles, and in brilliant and authentic ways. For the artists affected by the writer’s strike, we hope you find work to feed your spirit and creativity. For our Indigenous writers fighting for equity, we see you and support you and hope a resolution is found soon. ~ Danielle Vienneau, Editor-in-Chief
SAY Magazine is published by Spirit of Youth Enterprises Inc. Mailing Address: Kildonan Place, RPO Box 43084 Winnipeg, MB Canada R2C 5G7 E: info@saymag.com saymag.com Publishers: Dominick Blais and Kent Brown Editor-in-Chief: Danielle Vienneau: editor@saymag.com Editorial Team: Sarah Ritchie: sarah@saymag.com Theresa Peters: theresa@saymag.com Art Director: Orli Gelfat: orli.g.design@gmail.com Sales Team: Megan Henry: megan@saymag.com Dominick Blais: sales@saymag.com 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. SAY Magazine assumes no responsibility for statements made by advertisers or in submitted material. Graphics, photographs, editorial content and other printed material that are created by SAY Magazine are the property of Spirit of Youth Enterprises Inc. and may not be used without written permission from the publishers. Printed in Canada ISSN: 1707-3049 GST: 856627534RT0001 This project has been made possible [in part] by the Government of Canada
2023-24 Upcoming Issues Issue Name
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122
Leadership
Jul. 21
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Aug. 15
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123
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Sept. 1
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124
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Nov. 1
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Winter 2024
125
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Jan. 5
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SAY Magazine acknowledges that we publish 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. As a diverse team of both Indigenous and ally collaborators, we strive to embrace, embody and live the truth that we are all Treaty people. All our relations! Connect with us: www.facebook.com/saymagazine www.twitter.com/saymagazine www.instagram.com/say_magazine www.pinterest.ca/saymagazine www.linkedin.com/company/say-magazine
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JULY 2023 | 5
CELEBRATION
MITT’s Pow Wow Marks an Important Step Forward in the Growth of Indigenous Initiatives Sponsored by MITT
On Friday, April 14, 2023, the Manitoba Institute of Trades and Technology (MITT) took an important step forward in the growth of Indigenous initiatives and supports at the college with its first Pow Wow, which was a resounding success.
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he event celebrated the achievements of Indigenous graduates from across MITT’s programs, bringing together students, staff members, guests, community members, dancers and drummers in a traditional Indigenous ceremony. “We are thrilled by the response. The Pow Wow is part of the work we’re doing to support Indigenous learners and meet their cultural and learning needs at MITT,” says Rhonda Klippenstein, MITT’s manager of Indigenous initiatives and community development. “The community’s participation shows their willingness to accompany us as we continue our journey to create a welcoming environment for Indigenous learners that embraces and incorporates their culture.”
The Pow Wow is just one component of MITT’s broader commitment to supporting Indigenous learners, building relationships with Indigenous communities and advancing reconciliation across all aspects of the college. By collaborating with Indigenous Peoples, MITT aims to embed reconciliation into its campuses and programs, paving the way for a stronger shared future. The day-long event included a traditional pipe ceremony, drumming, dancing, singing and feasting, and featured Indigenous crafters. More than 70 dancers showcased their colourful regalia and dances, and four drum groups filled the room with song, creating an energy felt by everyone present. Graduates were recognized with honour songs and traditional gifts.
CELEBRATION
“We are thrilled by the response. The Pow Wow is part of the work we’re doing to support Indigenous learners and meet their cultural and learning needs at MITT” - Rhonda Klippenstein
One of the graduates recognized was Fawn Seymour, a student in the Women of SteelTM: Forging Forward program offered at MITT in partnership with the CWB Welding Foundation. The program is funded in part by the Government of Canada’s Adult Learning Literacy and Essential Skills – Women’s Employment Readiness Program. Designed to introduce those identifying as women to the welding and welding-related skilled trades while reducing barriers to education for designated equity groups, the program gave Seymour a chance to train for a career she’s passionate about. The opportunity to celebrate this at the first-ever Pow Wow was meaningful for Seymour, who participated as a graduate and a dancer. “I’m a jingle dress dancer; I have been dancing since I was a little girl,” says Seymour. “Sharing my culture with my classmates and school was a powerful experience. The most emotional and motivating moment was when I stood in the graduation line wearing my regalia. Seeing all the hard work I put into this program and pursuing my passion in welding was truly a special moment.” Adding even more significance to the occasion, Seymour’s younger brother, who completed MITT’s carpentry program, was also recognized as a graduate and proudly stood alongside Seymour in the graduation line.
The Pow Wow concluded with a traditional feast created by MITT’s Culinary Arts and Design students and Food Services staff. A crowd of hundreds gathered to savour the delicious meal and express gratitude towards the individuals who contributed their support, knowledge and gifts throughout the day. “The Pow Wow was an important milestone for MITT that demonstrated our commitment to creating a safe and supportive environment for our Indigenous learners that recognizes and embraces their cultural and spiritual needs,” says Neil Cooke, Vice-President, Academic. “We look forward to the Pow Wow being an annual recognition of the hard work of our Indigenous learners and the future that education makes possible.” MITT’s supports include Indigenous student advisors and a Knowledge Keeper who offer guidance and resources to support students throughout their academic journeys. The Aazhogan Indigenous Centre, located at MITT’s Henlow Campus, is a dedicated space for assistance and community.
To learn more about MITT’s programs and Indigenous initiatives, visit MITT.ca.
JULY 2023 | 7
COVER STORY
Jillian Dion in
KILLERS FLOWER of the
MOON By Danielle Vienneau
Of Plains Cree, Métis and French Canadian descent, actress Jillian Dion belongs to the Saddle Lake Cree Nation and appears as Minnie Kyle in the upcoming Martin Scorsese-directed feature, starring Lily Gladstone, Leonardo DiCaprio and Robert De Niro.
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Photo by Kristine Cofksy / The Portrait Sessions
COVER STORY Killers of the Flower Moon premiered at the 76th Cannes Film Festival on May 20, 2023, and will be released exclusively in theatres in October. Written for the screen by Eric Roth and Scorsese, the film is based on the 2017 fact-based book Killers of the Flower Moon by David Grann. The story is set in 1920s Oklahoma and details the serial murders of members of the oil-wealthy Osage Nation—a string of brutal crimes that came to be known as the Reign of Terror. The book details the formation of the FBI; however, the film adaptation focuses more on the Indigenous side of the story and the people killed after oil was discovered on tribal land. In this Western crime drama that depicts American greed and the injustice and cultural erasure of Indigenous Peoples in the United States, Mollie Burkhart, played by Lily Gladstone, is married to a white man named Ernest Burkhart, played by Leonardo DiCaprio. Dion plays Minnie Kyle who is the youngest of Mollie’s three sisters and the first to be murdered by poison because of her oil wealth inheritance. SAY Magazine recently had the pleasure of speaking with Dion about her upbringing, acting career and experience making this extraordinarily poignant film.
SAY: Tell us about your childhood and family.
Dion: My parents divorced when I was young, so I was raised primarily by my father. My mom is Cree and Métis. She spoke the language fluently but unfortunately didn’t pass the language on to me. My father, who is my adopted father, is Dene from Cold Lake, Alberta, so I grew up around Edmonton, Calgary, Bonnyville and Cold Lake. My dad started taking me to pow wows when I was eight years old, which was a really integral part of my life now that I look back. It really taught me a lot about the culture and the importance of dance. Being a single father, my dad would get some of the other moms to braid my hair and help me get ready. I have a really fond memory of this family whose last name is Snow—I remember the Snow women always doing my hair. I’m so glad my father did that for me. I still love hearing pow wow music—it really transports me back to that place.
SAY: Tell me about how you got involved in acting, and how going to the Gathering of Nations Pow Wow was integral to the beginning of your career.
Dion: So this is a really serendipitous story involving a casting director whose name is Rene Haynes. When I was seven or eight, I was on a bus shuttle in Edmonton with my mom, and this woman on the bus noticed me and said to my mom, “I think Jillian is really energetic; has she ever considered acting?” Until that point I’d never considered it—I had never done theatre or anything similar—but we took the card anyway. Fast forward a few years and my father, his partner at the time, and I drove to Albuquerque for the Gathering of Nations Pow Wow in an RV, which was a huge adventure in itself. We went to the pow wow where my mind was blown! There was so much beautiful regalia everywhere, and it was the biggest pow wow I had ever seen. My dad happened to look through the local Albuquerque paper one morning and came across a tiny square ad calling for Indigenous girls around my age to attend an open casting call. For whatever reason, he told me I should go, regardless of the fact that I had never acted before. But because I have such incredible trust in my father, I went. I remember walking into the space, the assistant greeted me and then introduced me to the casting director, Renee Haynes. I went into my wallet where I still had this business card from two years prior, and I was like, “Is this you?” Following that, I had my first official audition. JULY 2023 | 9
COVER STORY
SAY: Since you had never acted before, what was your first audition experience like?
Dion: The initial audition was fairly simple. It was more about getting to know who I was, gauging my comfort level on camera and my personability. After that, I was given material to practise and memorize. When I went back into the second audition I remember, for the first time ever, really embracing the imagination and the magic behind the experience, and behind that particular scene. It was descriptive of where I was—within the four walls around me I was able to see a bright soaring sky above me, and I somehow managed to transport myself into that moment in an authentic way. I really challenged myself at that audition because I wanted to make my dad proud. Two months later, I got a call from Rene about going to LA to audition for a Terrence Malick movie. I didn’t end up getting the part, but it was my first foray in a professional setting and it really opened the door to this new world of acting that I definitely enjoyed right off the jump.
SAY: I understand you took a break from acting to pursue school and travel for a while, but now you are appearing in a Martin Scorsese film! Tell me about your recent experience at the Cannes Film Festival in France. Dion: Cannes was insane and super unexpected—just a magical whirlwind and beyond anything I ever thought was going to happen when I got back into acting seven years ago. It was the first time Killers of the Flower Moon was shown on a global level, and I couldn’t be more proud of our team. Marty (Martin Scorsese) is of course amazing, so I’ve never felt anything but extremely welcomed and comfortable since day one of stepping on set, even at my initial audition. There’s just been a level of respect for the story, the lives of the people we are portraying and the tragedy that encompasses all of it.
SAY: What does it mean to you to be involved in this film?
Dion: It’s massive. It holds a lot of weight and responsibility that I’m honoured to 10 | ENTERTAINMENT
carry. I feel like the universe chose the people that it did to be in this film because we are strong women. But we understand that there is a responsibility to truthfully tell the story because it’s a reality for a lot of Indigenous families, everywhere. I get choked up because I know people whose immediate family members have been affected by the missing and murdered Indigenous women, girls and 2SLGBTQI+ tragedy that is still ongoing. There’s a responsibility to tell the truth, and I’m glad that it’s being told on a larger scale. Hopefully this will help it get more traction and more eyes on the story.
SAY: It must have been an emotional experience.
Dion: It absolutely was. It was of utmost importance to really protect myself. Before going in and doing the performances that I did, I took prayer and ceremony practices very seriously before going and doing these scenes. I brought sweetgrass with me everywhere, and I gave everyone in Oklahoma a braid of sweetgrass.
SAY: You worked alongside many talented actors on this film, including Tantoo Cardinal. Have you worked with her before?
Dion: Tantoo Cardinal is a legend, trailblazer and movie mamma extraordinaire. She’s fantastic! I’d never worked with her before this film, and it’s so funny because when we were all cast (the four sisters) there was speculation about who would play our mom, and then it was announced that it was Tantoo and we were beside ourselves with excitement. I’ve always admired her and her work and everything she’s done for the community. It was so awesome to see her so happy on a world stage where she belongs and deserves to be. I consider her a friend outside of this, and I look forward to working with her more in the future because there is no sign of her slowing down.
SAY: Any other memorable moments you wish to share? How was working with Leonardo DiCaprio and Robert De Niro? Dion: I was truly in awe of the calibre of the talent I was fortunate enough to work with on this film. The whole experience
was incredibly relaxed. Marty has some sort of movie magic where it is such a calm, inviting and peaceful environment—Oklahoma also feels that way to me. You couldn’t help but feel at home and welcomed just because of the people who were around, and I mean that in terms of the celebrities, but also Osage is a super welcoming, wonderful community. On that same vibe, I remember when I first talked to Leo, we talked about the UFC fight the night before, and in one of the scenes that I have with Robert De Niro, he cracked a joke that made me laugh so hard! Those were really cool moments.
Photo by Gisela Schober/Getty Images
Images from Killers of the Flower Moon Courtesy of Apple TV+
COVER STORY
SAY: What do you say to the young Indigenous girl who dreams of becoming an actress or working in the film industry?
Dion: I would say have fun with it. Live in that imaginary world. Don’t take crap. Once you know where you want to go, hard work will take you a long way, and it doesn’t matter where you’re from just as long as you keep going and pursuing your goals. There’s a space for everyone in the industry, and you might hear “no” 10,000 times before you hear “yes.” I remember clearly, Lily (Gladstone) was on the precipice of giving up acting when she got this role. It just took some time and the right character to come along, so don’t give up. Keep pushing forward and make sure you stand up for yourself, and never forget who you are and where you’re from because it’s what will make you stand out in the industry.
SAY: Talk about Indigenous representation in film and what you see for the future.
Dion: Shows like Rutherford Falls, which was amazing, and obviously Reservation Dogs are setting standards and breaking down borders and winning awards for being so unique. We have amazing stories to tell and we’re funny as heck. So I think the world is going
Jillian Dion attends the Killers of the Flower Moon red carpet during the 76th annual Cannes Film Festival at Palais des Festivals on May 20, 2023, in Cannes, France.
to see that now, and again with this movie—in addition to other productions focusing on Indigenous issues or with an Indigenous cast— it’s just another stepping stone for Indigenous Peoples. Not only that, but I think we’re being seen more in other scopes as well, like Ashley Callingbull who won the Mrs. Universe pageant in 2015. I respect her quite a bit because she broke down barriers for Indigenous women and what beauty standards are. Even Ethan Bear in the NHL is breaking those standards down. We’re coming and we’re coming fast and strong—there’s no stopping us. I think this is just the beginning, the beginning of it all. Killers of the Flower Moon will premiere in select theatres on October 6, 2023 and worldwide on October 20, before streaming globally on Apple TV+.
Danielle Vienneau, Editorin-Chief with SAY Magazine, believes in the power of sharing positive stories to inspire greatness in others. To submit your story, email editor@ saymag.com. JULY 2023 | 11
FILM
Tagaq singing in concert
Ever Deadly A National Film Board of Canada Production Ever Deadly is a stunning National Film Board of Canada (NFB) featurelength documentary highlighting avant-garde Inuk throat singer Tanya Tagaq and created in collaboration with awardwinning filmmaker Chelsea McMullan. The film weaves concert footage from one amazing performance by Tagaq with stunning sequences filmed on location in Nunavut, Canada. The result is a film that seamlessly bridges landscapes, stories and songs with pain, anger and triumph through the expressions of one of the most innovative musical performers of our time. 12 | ENTERTAINMENT
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ver the years, many individuals have approached Tagaq about making a documentary; however, it wasn’t until she was asked by her friend Chelsea McMullan, co-writer and co-director of Ever Deadly, that she decided it was the right time. Originally from Cambridge Bay (Iqaluktuuttiaq), Tagaq now divides her time between Nunavut and Toronto. A member of the Order of Canada, a Polaris Music Prize and JUNO Award winner and recipient of multiple honorary doctorates, Tagaq is an original disruptor, a world-changing figure at the forefront of seismic social, political and environmental change. Produced by Lea Marin, Anita Lee and Kate Vollum for the Ontario Studio in Toronto, Ever Deadly explores Tagaq’s transformation of sound with an eye to colonial fallout, natural freedom and Canadian history. We witness
her intimate relationship with the Nuna—the Land—a living, breathing organism present in all forms of her improvised performances. To date, this momentous film has received special mention from the Canadian Documentary Jury and the 2022 Vancouver International Film Festival, and Audience Choice for Best Canadian Documentary Feature at the 2022 Yellowknife International Film Festival. Rising to new acclaim, Ever Deadly has been picked up by Kino Lorber Inc. for distribution in the United States. With a library of over 4,000 titles, Kino Lorber has been a leader in independent art house distribution for 35 years. Ever Deadly is destined to a new, more vital life in a larger market! Watch now, free of charge, across Canada at nfb.ca.
Photo by Thomas van der Zaag, Courtesy NFB
FILM
Tanya Tagaq Director’s Statement
“This process has been exhilarating and interesting. Bringing the crew up to Nunavut was the highlight for me. Realizing that’s how I feel in the South, in your culture. I am always cautious, not quite knowing how to behave, not having a handle on the rules. Watching the crew learn how to drive an ATV on the tundra and take in the majesty of the land gave me a sense of peace. Thank you to Chelsea and the crew for taking the time to film.” Story and images courtesy of the National Film Board of Canada, 2022
Image from film: Tagaq and Laakkuluk Williamson Bathory throat singing together. Traditional throat singing involves two women singing closely together using a “call and response” technique.
Image from film: Tanya and her mother, Mary. Mary’s family was forcefully relocated to Cambridge Bay by the Government of Canada in the 1950s.
Chelsea McMullan “The first time I saw Tanya Tagaq perform, my mind was fully blown. When she walks out onto the stage, she gives you an experience. Having the opportunity to participate in channeling Tanya’s art, voice and life into film has been the greatest creative endeavour of my life. Ever Deadly is meant to be an experience, to flood over you and take you on a journey guided by a live performance for the ages. In the process, we touch on many parts of who Tanya is—the unparalleled musical talent, the bold voice speaking truth to power, the poet and philosopher reaching deep into herself, how fiercely she loves her family and how relentlessly she fights.”
Photo by Luis Mora, Courtesy NFB
Director’s Statement
JULY 2023 | 13
MUSIC
NCI FM Radio:
Celebrating over 50 Years of Indigenous Voices and Music By Rebecca Chartrand
For over 50 years, NCI FM Radio has been a vital source of news, culture and entertainment for the Indigenous community in Manitoba and beyond. As the first Indigenous-owned and -operated radio station in the province, NCI FM has played a pivotal role in promoting Indigenous voices and music, and has become an important part of the province’s media landscape.
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MUSIC
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or many years, Indigenous Peoples were excluded from historical records, maps and other forms of documentation. This exclusion contributed to the erasure of Indigenous Peoples from history, making it difficult for them to connect with their past and understand their place in the world—a painful reality that cannot be ignored. NCI FM Radio is an essential tool in the fight against this erasure. By providing a platform for Indigenous artists to share their stories and experiences, the radio station is helping to preserve Indigenous history and culture. It is also helping to educate nonIndigenous people about the experiences of Indigenous Peoples in Canada, which is essential for building understanding and reconciliation. Dave McLeod, the CEO of NCI FM Radio, is the man behind the music. His outgoing and engaging character has made him a beloved friend to many in the community, always at local events and using social media platforms to illuminate the great things that are happening all around Winnipeg. He celebrates musicians, artists and community do-gooders, keeping him insightful of what’s happening in Neechi country. McLeod’s love for his community is evident. He’s a true believer in the power of community, and he works tirelessly to bring people together and celebrate the things that make his community unique.
Dave McLeod
Under the leadership of McLeod, NCI FM has grown and expanded over the last 20 years, reaching more listeners and providing a platform for Indigenous artists and musicians to showcase their talents. McLeod and his team are responsible for the NCI FM Jam Talent Showcase which provides aspiring singers with the opportunity to perform live and record one of their own songs. One of the hallmarks of NCI FM is its dedication to promoting Indigenous music. The station has featured many talented musicians from Manitoba and other parts of Canada, including William Prince, Don Amero, Indian City, Tanya Tagaq, Buffy Sainte-Marie and A Tribe Called Red. NCI FM has also been instrumental in promoting Indigenous music festivals and events, such as the Manito Ahbee Festival and the Indigenous Music Awards.
JULY 2023 | 15
Tracy Bone Tracy Bone is an artist who has benefited from winning the NCI FM Jam Talent Showcase in 1998 in Thompson, Manitoba. Since then, she has dedicated her time to music. Today she is a beautiful light in the music industry. Her spirit names are Saskisow (Ignites The Fire/She’s On Fire) and Peta Awanyanke (Keeps The Fire). Born and raised in Manitoba, this Anishinaabe musician has been spreading soulful messaging through her music for years. Her songs are not only catchy and punchy but carry a powerful message that resonates with youth. Growing up, Bone used music as an escape from her immediate surroundings. She found solace in the melodies and lyrics that she created, and it wasn’t long before she realized that her music had the power to touch others as well. Her favourite selfpenned song, “Woman of Red”, is a testament to this. It’s a song that emerged from her ponderings about her journey as a young Anishinaabe woman, and it’s a song that honours the strength and resilience of her ancestors despite the trauma they endured. But her music isn’t just about honouring the past, it’s also about shining a light on the issues that our communities still face today. Another favourite original song, “Survivor In Me” carries a powerful message. It speaks about addiction and sexual abuse, and the types of issues that became part of our families and communities as a result of Residential Schools. Bone’s lyrics are raw and honest, and they speak to the experiences of so many of our youth today. Bone is not just a musician, she’s a role model. She’s someone who has overcome incredible obstacles in her life and uses her gifts to inspire others to do the same. Her music is a beacon of hope for youth who might be struggling with their own traumas, and it’s a reminder that no matter how hard things might seem, there is always a way to survive and thrive. 16 | ENTERTAINMENT
NCI FM RADIO
MUSIC
A spiritual force to be reckoned with, Bone believes in the power of energy and the importance of connecting with others on a deeper level. It’s this spiritual connection that she taps into when she’s on stage, and it’s what makes her performances so captivating. Despite her success, Bone admits that she still gets nervous before going on stage. But she’s found ways to manage her anxiety and channel her energy in a positive way. She spends time preparing and visualizing her performance, and she also takes time to connect with her band members and focus on the message they want to send.
For Bone, performing is more than just a job, it’s an expression of her soul. She loves nothing more than connecting with her audience and feeling the energy in the room. One of her most memorable performances was at the Boyle Street Shelter in Edmonton, Alberta, in 2017. The audience was captivated by her music, and the appreciation they showed her was overwhelming. It was also her birthday that day, and the entire crowd sang "Happy Birthday" to her. It was a moment of reciprocation that touched her heart and reminded her why she does what she does. If you haven’t heard her music yet, you’re missing out on something truly special.
MUSIC
Crystal Hillman indescribable. Feeling honoured and accomplished, she’s proved to herself that she is progressing as a live performer, and growing as an artist and person.
This year, Crystal Hillman, a talented female Indigenous singer, won the NCI FM Jam Talent Contest. Hillman, who hails from Sandy Bay First Nation, about 200 km northwest of Winnipeg, grew up in a French Métis community called St. Francois Xavier. She now lives in Selkirk, Manitoba, with her husband and has been there for 14 years. Hillman is deeply honoured to have been included in the talent lineup at NCI Jam and hopes to continue making her family and people proud. She also hopes to inspire other youth to follow their dreams and always challenge themselves for future growth. The entire experience at NCI Jam was everything Hillman had imagined it to be, and the rush she felt on stage was
Hillman loves being on stage and the feeling she gets when she successfully captivates the audience. A song can make people feel happy and uplifted, or remind them to remain strong. Hillman channels her emotions and expresses herself through music. She wants the crowd to feel every note and word she sings, and when the crowd is silent, it’s just her and the song. Winning first place at the NCI FM Jam Talent Showcase has left Hillman sitting on cloud nine, and she wishes she could relive that feeling one more day. Hillman has been fortunate to learn from powerhouse musician Tracy Bone and is grateful for her kind words and useful advice. Hillman can relate to Bone’s style, which is bluesy and country-rock, and loves how Bone closes her eyes to feel the emotional and/or important parts of the song and then bursts with energy when necessary. Bone’s voice hits the back of the room, and that is what Hillman aims to do as well. Hillman recently performed at the Manito Ahbee Festival in Winnipeg, and she is excited about being able to perform live throughout the summer. She is deeply grateful for the opportunity to share her music with the world and hopes to inspire other youth to follow their dreams.
Rebecca Chartrand,
the CEO of Indigenous Strategy Alliance, is an Anishinaabe First Nations woman from Treaty 4 territory in Manitoba with over 25 years of experience in K-12 and postsecondary education, including the arts. She has a strong sense of pride in her identity and is highly respected for her courage, integrity, voice and vision. Chartrand’s work focuses on bridging diverse communities through reconciliation, anti-racism, diversity, equity and inclusion (DEI), and Indigenous and multicultural education frameworks. She leverages Indigenous ways of teaching, learning and leading to bring a holistic perspective to her leadership style and purpose-driven initiatives. JULY 2023 | 17
MUSIC
Cinematic and Masterful By Theresa Peters
Seasoned musical storyteller Graeme Jonez is a mixedblood Ojibway (Anishinaabe). Although he lives in modernday Toronto, Ontario, his single “100 Days Deep” has dished out a dramatic and lyrical image of a dark time in Turtle Island history. “100 Days Deep” is set during a futuristic zombie war but represents the lurking shadows and pain of a colonial past.
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Jonez’s first widely-distributed album Creatures & Criminals is no less poignant. This dramatic collection of 13 songs written over more than 10 years is driven by storytelling and a uniquely Indigenous perspective, drawing inspiration from dark folk, murder ballads and Delta blues music. Although mostly fictional, each song has underlying messages important to Jonez. The album is meant to be consumed from start to finish, the same as a piece of literature; each song, including “100 Days Deep”, is a step on a 44-minute journey. The elevation of Jonez’s compositions to top-tier was left in the capable hands of Toronto-based producer Derek Downham and engineer Tim Foy of The Nelson Room Studio. The final production, a soundscape for Jonez’s legends, is masterful and cinematic. The veteran songsmith refers to his music as “folk”, but keen listeners will recognize it as more indie rock than traditional. The folk feel comes from the consistent sounds of acoustic guitar and harmonica, but by adding electric guitars, drums, keyboards and a myriad of other instruments as accouterments to the story, Jonez leaves hints of his 1960s influences throughout the album. The road to today has been one of significant accomplishment. After gaining public notice following his 2006 track “Black Magic Goldmine”, Jonez was featured on the 2009 compilation album Dig Your Roots: Aboriginal alongside acclaimed artists Tanya Tagaq, Leela Gilday and Digging Roots. Soon after, he was admitted to the prestigious Manitoba Music Indigenous Music Residency where his lyrical style thrived. Jonez thanks the Ontario Arts Council and the Toronto Arts Council for their support of his newest album and encourages artists everywhere to reach out to all the resources and funding available to them. It is this dedication to his craft and traditional roots in the Sheguiandah Ojibway First Nation that has informed his storytelling, allowing him to embed a modern twist that has made Jonez the vibrant artist he is.
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MUSIC
JULY 2023 | 19
MUSIC
Rooted with Purpose and Ready to Soar By Theresa Peters
Grounded by her ancestral roots, Chantil Dukart soars as a member of the Eagle Clan, and descendant of Cecil and Anna Barnes and the Tsimshian and Sugpiaq Indigenous Peoples of Alaska. Dukart is a jazz pianist, composer and singersongwriter rooted in her history but unafraid to reach new horizons with the inflection of pop, funk and jazz music.
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Raised in the aftermath of the residential school forced assimilation of her grandparents, Dukart felt stripped of her cultural inheritance, but, never one to accept the status quo, this talented young artist is seeking to connect the past by acting as a bridge between those steeped in tradition and those who feel isolated by their Westernized upbringings. Now she aims to use her knowledge, talent and charisma to make a difference. “One of the challenges of American multiculturalism is that the melting pot risks losing identity and connections with ancestors,” says Dukart. “My personal experience speaks to this, as I have always felt both deeply connected and cut off from my Indigenous roots. I want to inspire and connect with other Indigenous creatives who don’t necessarily fit into the stereotypical native artist paradigm.” Dukart is an accomplished artist by many standards. She earned her BA in Music at the prestigious Frost School of Music at the University of Miami in Florida and has performed all over the world—from five-star hotels in the United States to an Australian cruise line, and at local venues in her hometown of Anchorage, Alaska. Her first album In the Beginning gained her
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unsolicited contact from five major record labels, and her most recent album release entitled Lady and the Champ (September 2022) has been highly acclaimed due to its polished blend of pop and jazz music. Her easy-going nature and enjoyable personality make her an in-demand public figure and role model. Dukart has become a prominent community member as an on-air radio DJ at the premier radio station Jazz 93.5 in Colorado Springs, and the swell has propelled her music and public speaking career. Her personable character is instrumental in her quest to connect Indigenous creatives, creating a web of connections and mutual Indigenous understanding. “There is not enough representation of Indigenous artists in the pop/ jazz/mainstream music narrative," says Dukart. "I strongly believe I can best serve my community by continuing to create pop/funk/jazz music that highlights the visibility of native artists who don’t fall into the traditional native art aesthetic.” A highly-skilled entertainer and composer, Dukart is a powerhouse on and off the stage. Most of all, she is a credit to her ancestors and an integral support to Indigenous creatives all over North America. It is her time to soar.
Photo credit: DukArt Photography
MUSIC
JULY 2023 | 21
MUSIC
Music Is
Medicine In 2018, veracious Mohawk singer-songwriter Logan Staats was chosen from 10,000 hopeful contestants vying for a spot on the musical competition show The Launch. Staats won before an audience of 1.4 million viewers, officiating the breakthrough that would lead him to Nashville and Los Angeles. This also led to the release of his single “The Lucky Ones”, which won the Indigenous Music Award for Best Radio Single and reached #1 in Canada.
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MUSIC
Staats has since come home to Six Nations of the Grand River, making the decision to reconnect with his roots. “I wanted to bring my songwriting back to the medicine inside of music, to the medicine inside of reclamation,” he says following a phase of constant travel and intensity. Since returning home, Staats has been able to create music authentically again, reclaiming his sound through honest storytelling and unvarnished, sometimes painful, reflection. To Staats, music is a prescription for healing, thoughtfully composed and offered to listeners in need of comfort. With a renewed sense of self, he’s been working away on his highly anticipated album A Light in the Attic. The songs on A Light in the Attic represent the sparks of a courageous journey. He sings of reconciliation, recovery from addiction, surviving intergenerational trauma and healing after heartbreak. The lead single “Deadman” was written during Staats’ recovery. It’s a song of dual meaning, illuminating not only romantic love but a salvaged love for life itself. As Staats’ ancestors were residential school survivors, the video for “Deadman” was partially filmed on the property of the Mohawk Institute, a former residential school in Brantford, Ontario. (The Six Nations of the Grand River has since called for that location to be among grounds searched for remains.) The video follows Staats through his community, including Land Back Lane, where Six Nations land defenders have mobilized to protect the area from proposed subdivision development. On the tear-jerking “California”, Staats sings of romantic agony and failed grand gestures. “It’s so sad and so dramatic,” he says, “but it’s a true story.”
With what could be an antidote to the heartache of “California”, “Wish I Knew Your Name” tells the story of Staats getting a ride from an elder when he was a kid. After he got in the car, he realized the woman’s husband’s ashes were along for the trip. It scared him then, but he’s come to view that moment as formative. “Of all the songs I’ve written, this one is my favourite,” says Staats. “It’s about un-definitive, enduring love.” Staats’ love of home is at the heart of A Light in the Attic. “My nation and my community are in every chord I play and every note I sing,” says Staats. “They’ve saved me.” Counting musical icon Buffy SainteMarie, for whom Staats has opened, among his mentors, Staats wants to pay forward the guidance he’s received from his own community by connecting Photo credit: Dahlia Katz with Indigenous youth through music. He frequently leads workshops and visits local schools, and in May he performed as a special guest at the 2023 Outside Looking In (OLI) Annual Showcase in Toronto, Canada’s largest Indigenous youth dance performance. “I want young people to know there’s a reason to keep going,” he says. A Light in the Attic is proof of that reason. Staats says, “There is a way out of the dark.”
MUSIC INTERVIEWS by LARRY K. July 24 I Graeme Jonez July 31 I Chantil Dukart Aug 7 I Logan Staats
Native Voice One
NV1.org
The Native American Radio Network
Visit us at IndigenousinMusic.com
JULY 2023 | 23
ECONOMIC DEVELOPMENT
A Celebration of Indigenous Innovation By Danielle Vienneau
Comedic Illusionist Chris Funk
A sold-out event, the 2023 Vision Quest Conference and Trade Show bustled with activity, welcoming more than 1,000 delegates and 100 exhibitors over two days at the RBC Convention Centre Winnipeg in May. The annual theme “From Vision to Reality” continues to reflect thriving and sustainable Indigenous communities and the growing achievements of Indigenous Peoples.
Grand Entry
The highly anticipated networking event also offered attendees the chance to meet and take pictures with Vision Quest keynote speakers Olympian Waneek Horn-Miller and Grey Cup Champion JR LaRose following their presentations.
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Delegates and members of the public had the unique opportunity to explore exhibitor booths, meeting many leaders in Indigenous business, entrepreneurship and education. The trade show also provided a space for artisans to showcase their talents and craftsmanship, selling their products and promoting their businesses. A distinctive component of Vision Quest is that the trade show is open to everyone free of charge—a chance for youth and many community members to partake in an incredible opportunity for learning and information exchange without financial barriers.
Walking Wolf Singers and Dancers
Photos by Sarwar Nuristani and courtesy of Vision Quest
Indian City
SAY Magazine was honoured to be among the many businesses that set up a booth at this year’s event, and we look forward to continuing to support youth engagement, Indigenous business, community and economic development as a Vision Quest Conference and Trade Show media partner, now and in the future.
The energy and sense of community were truly palpable, from the inspirational keynote presentations and guest speakers to the interactive workshops and the incredible talent that kept the delegation engaged and entertained. The conference wrapped up with a banquet exclusively for delegates. Special mention goes to the Walking Wolf Singers and Dancers (an award-winning pop/folk/rock collective from Winnipeg), Indian City, and award-winning artist Gayle Sinclaire for creating a one-of-a-kind art piece in real-time—a truly remarkable demonstration of creative genius. After dinner, guests were mesmerized by the event's headliner, comedic illusionist Chris Funk, who performed his “Redefining Wonder” show and amazed all in attendance.
SAVE THE DATE
2024 Vision Quest Conference and Trade Show May 15 and 16 at the RBC Convention Centre Winnipeg vqconference.com
Danielle Vienneau, Editorin-Chief with SAY Magazine, believes in the power of sharing positive stories to inspire greatness in others. To submit your story, email editor@ saymag.com. JULY 2023 | 25
ENTREPRENEURSHIP
KEANNA LISKE
BROWS BY KEANNA - OSBORNE, MANITOBA
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eanna’s studio is as warm and inviting as her personality. Keanna is a brow specialist, specializing in cosmetic tattooing, micro-blading and micro-pigmentation, and her studio reflects her desire to provide you with a quality and personalized service. Keanna chose this career to help people feel beautiful. On the surface, her path to get to a career in Permanent Make-Up (PMU) may seem unusual. Keanna’s first passion was to help animals. She worked at an animal shelter, and she went to Thailand to help at an elephant sanctuary. However, at the heart of both lines of work has been a strong desire to help others, which she has channelled into aesthetics.
#ResilientWomen 26 | ENTERTAINMENT
Keanna is constantly learning and is not afraid to seek help as she builds her business. She says, “I guess what drives me the most is seeing how much opportunity is out there for me to grow and learn.” Keanna started her career learning from a mentor while working in an aesthetics shop. In creating her own business, Keanna has continued to actively learn how to best manage her business. While Keanna uses an accountant, she actively seeks to learn from her to understand the financial process better. Keanna has also been learning and perfecting how to use social media and Instagram marketing to build her business. She feels, now more than ever, there is an additional need to learn how to survive in business during uncertain times. Relationships are essential to Keanna. She notes that the most significant benefit of her career has been the relationships with her clients. “Usually what I tell people is that I’m not just one of these brow artists, I’m their friend. I am there to listen to them when they are going through hard times. You know, usually, people think that it is just 30 minutes where they are sitting there getting a service done. But that’s also 30 minutes where somebody tells me about their life and tells me things that they do not feel comfortable sharing with other people. So, I get to support them in ways that other people do not. So, building those relationships and getting to know them more on a personal level is a very rewarding part of my job.” The relationship with her community and its support is also vital to Keanna. “If we are feeling a little bit defeated, we’ll kind of reach out
#IndigenousProsperity
Sponsored by:
to each other and just be there to support one another. It’s a very great community.” She stresses the importance of reaching out to your colleagues and peers. “A huge thing that helped me become the artist that I am is seeing the way that other people work, what works for them and then trying it out and seeing if it works for me. I think the support system that I have behind me is what helped me to be where I am today. I tend to sometimes get nervous about asking people for help because I do not ever like to be a burden on somebody. But over time, and I guess being an entrepreneur building a business, you learn that it is very okay to reach out to others and ask for help when you need it.” Keanna has found the Louis Riel Capital Corporation and the Manitoba Metis Federation to be extremely helpful to her path to success. “I had enough to start, but it wasn’t enough to push me to really be successful in the way that I envisioned my business to be.” She also appreciates the connections they have provided so that she can have support if she ever feels that she cannot do something on her own. “They’re always a phone call away if I need to reach out to them, if I need help with anything, so it’s really nice just having somebody there who I can turn to when I do feel like I need that little extra push.” Keanna’s advice to someone wanting to start their own business is to “just go for it.” She adds, "It’s always going to be scary. It’s always going to be nerve-wracking, but you are never going to know if you will fail or succeed unless you try.”
ENTREPRENEURSHIP
LISE COOCOO-DUBÉ DÉPANNEUR ÉNERI - MANAWAN, QUÉBEC
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Sponsored by:
ise Coocoo-Dubé knows how to make the most of a challenge. As an Aboriginal woman and an entrepreneur, she says it is important to be resilient and capable of responding to a changing environment. Lise and her partner own and operate a convenience store in their community of Manawan, Québec. The Éneri convenience store, named in honour of her father, offers the usual convenience food, several fastfood take-out options, a deli counter, video rentals and propane filling services. In business for 12 years, she talks about what is important to her in her business. “I am proud to provide essential services and jobs to people in my community. Currently, we have eight full-time employees and three part-time. That’s not bad! I’m proud to be part of the economic development of my community.” The store is open from 7 a.m. to 11 p.m., seven days a week, because, as Lise explains, “We open earlier for the moms, in case they need milk for their children. We always want to be there for the community.” She tells us what inspired her business: “It was my father who inspired me. There was a convenience store on the road between Manawan and St-Michel. It had always bothered my father that non-Natives had opened the convenience store without his permission. We wanted to evict them so we could build our own. But in the end they closed, and since the Manawan population had grown, we decided to open a convenience store in the village.”
They started small as a business in a tiny trailer, without so much as running water. She describes a dream she had about her father at about that time. “When we wanted to build the counter in the little trailer, we bought all the materials, but the guy couldn’t start the work right away. Then one day I had a dream about my father. He showed up and said, 'There’s no one working on this, I’m going to do it myself.' Then he went into the trailer and started taking out the materials to build our countertop. The next day I called my nephew and told him about my dream. After that, he called someone and the person showed up five minutes later, and said, ‘Okay, what do I do?’ That got the ball rolling,” she recounts with a laugh. “That’s why we named our business after him. I feel like he has always been there with us.” She also mentions the Native Commercial Credit Corporation (NCCC) and its support. “The NCCC played a major part in our business. They recognized our efforts, they took us seriously, they recognized all the steps we had taken, and they helped us grow. Without them, all this would have been impossible.” She continues, “I know a lot of girls and young women who would like to start a business. I know it’s hard. You have to be strong, and you can’t be afraid to speak your mind and to speak your truth.” She continues, “Be bold. Be brave. Be persistent. I know one day someone will hear you.”
Learn more about some of the Indigenous women entrepreneurs that the Aboriginal Financial Institution network has supported at nacca.ca JULY 2023 | 27
SELF-DETERMINATION
PART 4
Consent and Gender Justice in Indigenous Self-Determination By Dr. Rauna Kuokkanen
In this four-part article series, Research Professor Rauna Kuokkanen shares the key findings of her research that has been published as the book Restructuring Relations: Indigenous SelfDetermination, Governance and Gender (Oxford University Press, 2019). For her comparative study, she interviewed over 70 Indigenous individuals from Sápmi, Greenland and Canada, the majority of whom were women. She wishes to share her findings as a means to increase awareness and empower women. 28 | ENTERTAINMENT
I
ndigenous self-determination politics stress the importance of collective consent in achieving Indigenous rights. A frequently used acronym for consent is FPIC (free, prior and informed consent). Collective consent is widely seen as one of the main ways of advancing Indigenous self-determination. It means that Indigenous Peoples, societies and communities discuss internally whether they give permission and agree to proposed measures, development plans and so on. Much less focus has been given to individual consent and its importance in implementing Indigenous selfdetermination.
SELF-DETERMINATION
Collective and Individual Consent Are Inseparable
Consent plays a critical role in both land use and interpersonal relations. A common view of self-determination among those who participated in my research was that Indigenous self-determination is based on the norm of free, prior and informed consent. It has two inseparable sides: collective consent with regard to Indigenous lands and individual consent with relation to their own bodies. Individual consent is, however, too often overlooked when discussing violations of Indigenous People’s bodily integrity.
"Individual consent is the foundation of individual self-determination and body sovereignty."
Consent is closely linked to the norm of integrity, discussed in the first part of the series. Integrity is achieved and practised through active consent. With regard to land use, consent is collective; a community must decide and give it together. Individual consent is always a personal matter and decision. Individual consent is the foundation of individual self-determination and body sovereignty. In the past couple of decades, active consent has become a central part of eliminating sexual violence. Individual consent has not, however, been as widely accepted as collective consent has been. It is almost the opposite; unspoken social norms make physical and sexual violence possible, and weaken or threaten individual consent. Rape culture that downplays sexual violence and blames the victim is rampant in some segments of society, such as in the military and sports, and on university campuses.
Body Sovereignty
Discussions of body sovereignty have increased our understanding of the links between Indigenous Peoples’ collective and individual consent, and strengthened the connection between the two. Body sovereignty means that everybody has a right to make decisions over their own bodies, including deciding one’s sexual orientation and its representation, the way in which one dresses and which gender one identifies with. JULY 2023 | 29
SELF-DETERMINATION
For some, body sovereignty is a way to heal and reclaim their own bodies and identities from misogyny, homophobia, and other public surveillance and control. For others, body sovereignty means coming out, rejecting gender binaries and heteronormativity, and decolonizing and restoring Two Spirit, queer or other LGTBQ+ identities. A collaborative project between the Native Youth Sexual Health Network and Women’s Earth Alliance called Violence on the Land, Violence on our Bodies explains how colonialism works at the intersection of Indigenous lands and Peoples. The exploitation of Indigenous lands and bodies is interconnected. The exploitation of Indigenous women and their bodies has been inseparably linked to the ongoing exploitation and dispossession of Indigenous lands and resources since the first contact. Settler colonialism has to destroy Indigenous bodies that represent Indigenous political, legal and economic systems in order to get access to Indigenous lands and resources.
Gender Justice
Consent is threatened by unequal gender power relations. Women are not always included in the collective process of obtaining consent, despite its different effects on men and women. Indigenous gender justice forms the foundation of Indigenous self-determination that is free from gendered violence and discriminatory gender practices. It also rejects the division or hierarchy between self-determination and gender. Based on my research, I suggest that Indigenous gender justice means, above all, three things: protecting and upholding Indigenous children, eliminating gendered violence, and rematriating Indigenous governance (discussed in a previous issue). Indigenous gender justice also means that women and gender-diverse 30 | ENTERTAINMENT
SELF-DETERMINATION
people and their activities on the land are included on an equal footing with those of men when considering consent. As an example, we need to challenge views of hunting and fishing as male or gender-neutral activities. We also need to create space for all genders within those activities and give equal importance to women and gender-diverse people’s roles on the land, such as seed protectors, healers and medicine collectors. Instead of neglecting the concerns and views of Indigenous children and young people, we need to see them as essential to the future survival of Indigenous communities. For some, a key element of restoring or reclaiming traditional governance is to stress the centrality of children in decision-making. Love of and concern for children and future generations are also frequently mentioned by many Indigenous women as a reason for taking a stand and taking to the streets. In many Indigenous communities (including urban ones), extended family networks still exist and form the central web of social relations. Yet we cannot ignore the questions this raises, such as: What is an Indigenous idea of family? How can we ensure that Indigenous ideas of family are free from sexist or macho biases, such as the lower status of women? How do we guarantee that these ideas do not normalize violence as an acceptable way of disciplining “annoying” or “unruly” women or asserting male authority? Some Indigenous communities have traditions and teachings of holding women up. This is different from glorifying unspecified notions of culture or tradition. Romanticizing culture and tradition can increase concerns about and barriers to safety. We do not, however, need to reject
traditions or traditional teachings. We need to examine them with an eye for oppression and gender discrimination. Indigenous laws play a central role in Indigenous gender justice and in eliminating violence against Indigenous women. Indigenous laws are different from community-based justice models and restorative justice approaches, such as peacemaking, which can be established on unequal gender relations and may pressure women to reconcile with their oppression. There is no Indigenous selfdetermination without Indigenous gender justice, and there is no Indigenous gender justice without restructuring all relations of domination. Self-determination together with gender justice reconstructs the relations of domination into relations of consent. This involves creating new collective norms. One important new norm would be a strong norm of consent that includes both collective and individual consent. We need to recognize the failure of the old norms and establish new collective norms, so that, for example, there would be consequences for the person who abuses their wife on Saturday and shows up at the council meeting on Monday. We also need to rethink what collective responsibility would mean in practice. What roles and responsibilities would the community institutions, informal groups and networks have? What would be the role of kinship relations in upholding and promoting the norm of integrity, especially at the individual level? What kind of new institutions need to be created and at what level? How would we build them from an understanding that gender matters?
Rauna Kuokkanen
Rauna Kuokkanen (Sámi) is a Professor of Arctic Indigenous Studies at the University of Lapland (Finland), an Adjunct Professor at the University of Toronto, and a 2021-2023 Fulbright Arctic Initiative Fellow. She previously lived and worked in Canada for nearly 20 years. Kuokkanen is a longtime advocate for the protection of Sámi sacred sites, particularly Suttesája, a sacred Sámi spring in Northern Finland. Currently, she leads the Siida School project, a communitydriven renewal of Sámi Siida system. For more information visit rauna.net. JULY 2023 | 31
DANCE
Canada’s Largest Indigenous Youth Performance Delivers the Power of Dance and Inspiration Submitted by Outside Looking In
What does it take to create Canada’s largest Indigenous youth dance performance? This year, it took over 250 Indigenous students from 13 communities across the country working tirelessly over eight months with some of the country’s best professional choreographers.
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ince 2007, Outside Looking In (OLI) has been the driving force behind an accredited school dance program that culminates with the mindblowing Annual Showcase—and equally important, it has boosted Indigenous student graduation rates to well over 96%.
hard-working dancers—both off and on the stage. Before the curtain was raised, a VIP reception hosted by George Stroumboulopoulos featured speeches by former Governor General Michaëlle Jean and the Honourable Jody WilsonRaybould, former Minister of Justice and Attorney General of Canada and best-selling author.
So far, 2023 has been a recordbreaking year for OLI with the most participating students and communities ever. The energy, passion and sheer joy flowing from the stage of Toronto’s Meridian Hall had the enthusiastic audience moving and applauding every pop and lock.
Fashion designer Lesley Hampton, in collaboration with stylist Andrea Rose, styled the wardrobe for the showcase. Each look highlighted edgy streetwear with hip hop influence and subtle nods to Indigenous design. Joining the dancers on stage were special guest performers, including Anishinaabe DJ and producer Boogey the Beat, Indigenous Music Award-winning Mohawk singer-songwriter Logan Staats, and Canada’s Walk of Fame’s 2022 Emerging Musician Program Grand Prize Winner Mattmac.
“I loved being at the Meridian Hall again,” says Trey Monias, a 17-year-old Grade 11 student from Garden Hill First Nation, Manitoba. “The crowd was singing so loud and hyping us up, it was so amazing. The evening show was so emotional for me because it was our last performance and the experience was about to end.” Some very big names were on hand to lend their support to these 32 | ENTERTAINMENT
“2023 has been a great year all the way ’round,” says Tracee Smith, CEO and founder of OLI. “We have six new communities, including our first in Quebec, and we see this momentum carrying through to next year.”
DANCE
Participating communities for the
2023 Annual Showcase:
Pinaymootang First Nation, Manitoba
Baker Lake, Nunavut
Garden Hill, Manitoba
Native Canadian Centre of Toronto, Ontario
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DANCE
Webequie First Nation, Ontario
Tasiujaq, Nunavik, Quebec
Pikangikum First Nation, Ontario
St. Theresa Point, Manitoba
Red Sucker Lake, Manitoba
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Big Island Lake Cree Nation, Saskatchewan
DANCE
Lac La Croix, Ontario
Seven Oaks School Division, Winnipeg, Manitoba
Plans for the 2024 Annual Showcase are well underway with several communities already committed to incorporating the OLI dance program into their school year. “Dancing is very healthy for my spiritual, mental, emotional and physical health,” explains Taison Geyshick, an 18-year-old Future Leader and OLI dancer from Lac La Croix First Nation in Manitoba. “I learned what I am capable of when I push myself. Stepping out of my comfort zone is essential for more opportunities.”
Outside Looking In (OLI) was founded in 2007 and is a nationally-registered charitable organization that aims to empower Indigenous youth through the transformative art of dance while they pursue education, increase their mental and physical health, and engage in self-expression.
Photos courtesy of OLI and by Dahlia Katz
Wasagamack, Manitoba
JULY 2023 | 35
RECONCILIATION
A Visit to Woodland Cultural Centre
Six Nations of the Grand River By Peter McIntyre
We stand, peering out the windows No one to make us sit In rows, erect, face forward. See you standing in front of us Do you know we are here, Can you feel our presence? Peering, yes, but there is nothing To see we do not know Nothing we anticipate seeing To enjoy or enrich us Scene we have seen, experienced Long before you arrived To wonder how we lived in this place. Living it was not. You know a small piece of it, you hear See, listen, understand But we cannot tell you Our response, our feeling... Learning firsthand from us No longer exists as a possibility We see out the windows Actually sightless. Yet we are here We know where we are To us there isn’t a secret No mystery, nothing to find To discover or unearth As we occupy these spaces.
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You don’t know, aren’t sure Want to discover Yet there is no strange place For us; we are here, in it. We don’t relish being here Never did, never will Yet we cannot leave... It isn’t that we don’t know how All souls know that... It is, where do we go? Is where we were before we were here Still there? Are those among whom we were Still there if we arrive? Will anyone greet us, dance with and for us, build and ignite a fire? Does what was home before this was not Remain somewhere for us? To return, to wander, to meander To embrace, feel, smell, caress, touch, taste To stand, look, peer at a place That we could after all this Call home? A place for us to rest... Rest in Peace.
Photos courtesy of Peter McIntyre
RECONCILIATION
Woodland Cultural Centre
Behind the Poem On July 2, 2021, Peter McIntyre and his wife Karen decided to visit the Woodland Cultural Centre (the site of the former Mohawk Institute Residential School) to witness the shoe display on its front steps. “We wanted to see this demonstration of empathy and solidarity with the students who had attended, particularly those who did not leave,” says McIntyre. “Our intention was to see a place we had barely known existed and pay our respects to the lives of children who had had their futures imprisoned.”
Survivor Geronimo Henry, aka Fish
They stood at the front steps where the flags and banners hung along with the empty shoes. Several minutes passed until they looked at the second-story windows. “Both of us had the sense that several sets of eyes watched us,” explains McIntyre. “Following that, we walked around the building out onto the open space behind and then around the other side. Throughout we shared the sense of others who continued to observe us.” Upon their return home, McIntyre felt an urgency to write. “The words came in a flood as I wrote as quickly as possible. Except for creating stanzas and arranging
the lines, the poem is as I heard it. I had a strong sense, then and now, that while I wrote, others, the remaining souls at Woodland, had spoken the words.” “I feel this is the point. If I received this communication there, where else are there souls who feel trapped, blocked or stymied in their journeys home? Perhaps there are others out there who can speak for those souls,” says McIntyre. An educator by trade, McIntyre has taught primarily English and History, along with Geography, Arithmetic, Spelling, and Creative and Academic Writing at the primary and secondary school levels. His early writing is mainly academic; however, poetry always found its way into his consciousness. While he pursued other professional careers over the last 40 years, it is only recently that he realized that poems constitute a calling to express ideas and feelings, and he sees the natural world as a guide. “I have had the sense from those earlier days that I wrote from a different place than the room where I sat,” says McIntyre. Over the years, McIntyre has gathered a collection of poems in hopes of publishing them one day soon.
JULY 2023 | 37
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