DOCSLIB.ORG

Two-Spirited People of Manitoba, Inc. College of Nursing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Two-Spirited People of Manitoba, Inc. College of Nursing College of Nursing Two-Spirited People of Manitoba, Inc. • Social Determinants of Health are a group of social and • Societal stigma, colonized attitudes, and prejudice directed towards economic factors related to people’s place in society1. For some Two Indigenous people and sexual minorities. This may result in a lifetime Spirit people, they include ongoing effects of colonization; of harassment, discrimination and victimization4, 5. displacement from native lands, native lands, segregation in Indian • Isolation, exclusion and rejection by families, communities and Residential Schools, inadequate housing, the 60’s Scoop, and society prevents access to relevant health and social services. subsequent loss of family connections, language and culture. Homophobia and fear of violence pushes some Two-Spirit people • Two-Spirit people’s sources of strength namely their culture, away from their home communities6. languages, land rights, and opportunities for self-determination are • In the city environment, Two Spirit people may experience poverty, 2 compromised . homelessness, societal homophobia, racism from society and the • Resurgence of Two-Spirit identities, histories, and pride is a positive LGBTQ+ community8, 9, 15. 2 social determinant of health . • Overrepresentation of Two Spirit youth as street involved, homeless; • Two-Spirit people view health holistically; this considers physical, and having experienced childhood trauma10. psychological, social, and spiritual factors3. • Suicide rates of Two-Spirit people are hard to obtain. • Two-Spirit people may be part of the LGBTQ+ community but relate • 18.4% of Indigenous peoples have seriously considered suicide18. more to cultural identity within their Indigenous community. These increased suicide rates reflect a national crisis. • Some LGBTQ+ groups and Indigenous Nations may hold perceptions • First Nations youth are at risk for suicide, five to seven times higher where Two-Spirit people aren’t fully accepted in either group11. than non-Indigenous youth19. • Mental health is negatively affected when people are forced to hide • Two-Spirit people are at risk for suicide due to homophobia, violence, their identity; while coming out may result in discrimination, stigma, cultural loss, isolation and rejection2, 10. and violence related to homophobia6. • Approximately 50% of gender diverse youth have attempted suicide9. • Spiritual trauma - psychological and emotional injury that may • 54% of Trans and Two-Spirited people reported thoughts of hurting cause loss to culturally specific coping; i.e. smudging or speaking with themselves7. 28% reported at least one attempted suicide7. Elders. This may lead to drug or alcohol use12. • 76% of gender-diverse Indigenous people reported serious thoughts of • Posttraumatic Invasion Syndrome - unnatural and genocidal suicide9. 48% reported at least one attempted suicide 9. disruption of cultural knowledge, practices, and self-governance • When raised by people who survived boarding schools, Two-Spirit 12 through exploitation and oppression . It is often a lifelong people reported higher incidences of anxiety, PTSD and suicidal experience affecting entire tribes, communities, and nations. thoughts10. • Addictive substances - used to cope with intergenerational trauma, common in many communities13. • LGBTQ+ youth use addictive substances at a 190 % higher rate than • Despite centuries of oppression, Two-Spirit people continue to be heterosexual youth; related to traumatic abuse, stigma, resilient. discrimination, and violence14. • Today there is a movement to recognize Two-Spirit as traditional Health Concerns experienced by Aboriginal knowledge keepers, healers, and role models for overcoming trauma12. Transgender/Two Spirit People in Manitoba (2009) • Ongoing healing from generations of trauma requires an Indigenist % of sample Two-Spirit approach with intergenerational mentoring, ceremony, and a return to the Two-Spirit cultural ethic of support12. Mental Health • Two -Spirit people are reclaiming their stories through art, theatre, film, literature, and activism. See reverse for resources and anxiety15 81.5% educational material. depression15 87% • For example, Resolution #45 passed by Chiefs- in -Assembly July loneliness15 88.9% 2018 supports the development of the Two- Spirits in Motion foundation and has called for national inclusion and recognition of emotional numbness15 80.8% the Two-Spirit people. irritability15 88.9% • Two-Spirit women braided symbols of resilience on the road to Psychological / Spiritual healing and recovery: o (1) People resilience, the mind; loss of interest15 92% o (2) Collective resilience, the body; loss of ambition15 84% o (3) Cultural resilience, the spirit22. low self-esteem15 84.6% body image concerns15 88.9% Violence • Co-Director, Two-Spirited People of physical assault15 78% Elder Albert McLeod, Manitoba, Inc. https://twospiritmanitoba.ca sexual assault16 85% • Dr. Elaine Mordoch, Rady Faculty of Health Sciences, College of Nursing, University of Manitoba related to gender identity9 73% • Chantelle Chartier, Research Assistant related to domestic partner17 79.2% • River Steele Guillas, Research Assistant Cognitive / Physical poor concentration15 91.7% chronic fatigue15 76.9% sleep disturbances15 94% physical numbness15 65.4% sense of injustice with a desire for change15 91.3% The purpose of this project is to raise awareness and increase knowledge of Two-Spirit people. This bulletin provides a historical to contemporary overview of Two-Spirit people. Funded by Winnipeg Suicide Prevention Network References: 1. Government of Canada. Social Determinants of Health and Health Inequalities [Internet]. 2018 [cited 1 April 2019]. Available from: https://www.canada.ca/en/public-health/services/health-promotion/population-health/what-determines-health.html 2. Hunt, S. An introduction to the health of two-spirit people [Internet]. 2016 [cited 1 April 2019]. Available from: https://issuu.com/nccah- ccnsa/docs/rpt-healthtwospirit-hunt-en 3. Marshal M., et al. Suicidality and Depression Disparities Between Sexual Minority and Heterosexual Youth: A Meta-Analytic Review [Internet]. Journal of Adolescent Health. 2011 [cited 1 April 2019]. Available from: 10.1016/j.jadohealth.2011.02.005 4. Meyer I. H. Prejudice, social stress, and mental health in lesbian, gay, and bisexual Populations: Conceptual issues and research evidence [Internet]. American Psychological Association. 2003 [cited 1 April 2019]. Available from: https://doi.org/10.1037/0033-2909.129.5.674. 5. Brotman S., Ryan B., Jalbert Y., Rowe B. Reclaiming Space-Regaining Health: The Healthcare Experiences of Two-Spirit People in Canada. Journal of Gay & Lesbian Social Services. 2002 [cited 1 April 2019]; 14(1): 67–87. 6. Brotman, S., Ryan, B., Jalbert, Y., Rowe, B. The impact of coming out on health and health care access. Journal of Health & Social Policy. 2002 [cited 1 April 2019]; 15(1): 1-29. 7. Taylor C. Nowhere Near Enough: A Needs Assessment of Health and Safety Services for Transgender and Two-Spirit People in Manitoba and Northwestern Ontario [Internet]. 2006 [cited 1 April 2019]. Available from: https://ninecircles.ca/wp-content/uploads/2017/04/Trans- Needs-Assessment-Full-Report.pdf 8. Ristock J, Zoccole A, Passante L, Canadian Institutes of Health Research and Sexual and Gender Diversity. Aboriginal two-spirit and LGBTQ migration, mobility and health research project: Winnipeg final report [Internet]. 2010 [cited 1 April 2019]. Available from: http://www.2spirits.com/PDFolder/MMHReport.pdf 9. Scheim A, et al. Barriers to well-being for Aboriginal gender-diverse people: Results from the Trans PULSE Project in Ontario, Canada. Ethnicity and Inequalities in Health and Social Care. 2013 [cited 1 April 2019]; 6(4): 108–120. 10. Hunt, S., National Collaborating Centre for Aboriginal Health. Emerging priorities. Introduction to the Health of Two-Spirit People: Historical, Contemporary and Emergent Issues [Internet]. 2016 [cited 1 April 2019]. Available from: https://www.ccnsa-nccah.ca/docs/emerging/RPT- HealthTwoSpirit-Hunt-EN.pdf. 11. Monette L., Albert D., Waalen J. Voices of Two-Spirited Men [Internet]. 2001 [cited 1 April 2019]. Available from: http://www.2spirits.com/PDFolder/Voice2SpiritMen.pdf 12. Jolivette, A. Indian blood: HIV and colonial trauma in San Francisco's two-spirit community. 2001 [cited 1 April 2019]. Seattle: University of Washington Press. 13. Walters K. Critical Issues and LGBT-Two Spirit Populations: Highlights from the HONOR Project Study [Internet]. Indigenous Wellness Research Institute University of Washington. 2010 [cited 1 April 2019]. Available from: http://216.230.117.100/hmd/~/media/48F5A3AC27CA4812B11288E36927382C.ashx 14. Addiction Research on the Treatment of Addiction. Intersections of Mental Health Perspectives in Addictions Research Training [Internet]. 2016 [cited 1 April 2019]. Available from: http://addictionsresearchtraining.ca/ 15. Taylor C. Health and Safety Issues for Aboriginal Transgender/Two Spirit People in Manitoba. Canadian Journal of Aboriginal Community- based HIV/AIDS Research [Internet]. 2009 [cited 1 April 2019]; 63–84. Available from: http://www.caan.ca/wp- content/uploads/2012/05/Health-and-Safety-Issues-for-Aboriginal-TransgenderTwo-Spirit-People-in-Manitoba.pdf 16. Lehavot, Keren et al. Abuse, Mastery, and Health Among Lesbian, Bisexual, and Two-Spirit American Indian and Alaska Native Women [Internet]. Cultural Diversity and Ethnic Minority Psychology. 2009 [cited 1 April 2019]; 15(3):
Load more

Recommended publications
  • Ayapaahipiihk Naahkouhk
    ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com­ munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians.
    [Show full text]
  • ROSALIE FAVELL | ​Www
    ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca ​ ​ EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) ​ ​ 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) ​ ​ 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) ​ ​ 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – ​ ​ ​ September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) ​ ​ 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) ​ ​ 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. ​ ​ (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – ​ ​ July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) ​ ​ 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) ​ ​ 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) ​ ​ 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada.
    [Show full text]
  • Koffler Gallery History in Remaking Panel Discussion Wednesday, November 11, 2020
    Koffler Gallery History in Remaking Panel Discussion Wednesday, November 11, 2020 Camila Salcedo: Good evening and thank you for joining us tonight. My name is Camila Salcedo, and I’m the public engagement and education assistant at Koffler Gallery. I’m super excited to bring a wonderful group of artists here tonight for our History and Remaking Panel featuring Rosalie Favell, Ivana Dizdar, Anique Jordan, and our moderator, Madelyne Beckles. I want to start by acknowledging that both myself and Koffler Gallery are located in Toronto, the traditional territory of the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee, and the Wendat peoples and as an urban center also now home to many First Nations, Intuit, and Metis peoples. Since we’re currently virtually gathering on Zoom, I’d also like to acknowledge that the Zoom headquarters are located on Muwekma Ohlone territory, also known as Silicon Valley. In order to be responsible treaty people, I believe that we must learn about the ways that modern day nation states continue to perpetuate colonial violence, so for this reason I call on everyone here tonight to research ways that you can help the many indigenous communities fighting systemic racism across the country. To pivot from that a bit, I would like to thank our funders and partners who make events like tonight’s possible, so I would like to thank the Toronto Arts Council, Ontario Arts Council, the Canada Council for the Arts, CIBC Wood Gundy, and the Koffler Family Foundation. This program tonight is presented in conjunction with our current exhibition, the Natalie Brettschneider Archive by artist Carol Sawyer, and is presented in partnership with Scotiabank Contact Photography Festival.
    [Show full text]
  • CURRICULUM VITAE: Barry Ace | ​Barryacearts
    CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] ​ ​ SELECTED GROUP AND SOLO EXHIBITIONS Upcoming (2021 - 2022) Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Queen ​ ​ Victoria Museum and Art Gallery, Launceston, Tasmania. (January 15 - May 16, 2021). ​ Anishinaabe-bimaadiziwin. Solo Exhibition. Curators – Danny Hussey and Bridget Thompson. Central Art ​ ​ Garage, Ottawa, Ontario (April 2021). Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Footscray ​ ​ Community Arts Center, Melbourne, Australia. (August 1 – September 31, 2021). ​ Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Thunder ​ ​ Bay Art Gallery, Thunder Bay, Ontario. (Fall 2021 – Winter 2022). ​ waabiganikaade / it is made of clay. Solo exhibition. Curator – Denis Longchamps. Canadian Clay and ​ Glass Gallery. Waterloo, Ontario. (Summer 2022). Current (2020 – ongoing) ​ ​ J. S. McLean Centre for Indigenous & Canadian Art. Group Exhibition. Art Gallery of Ontario, Toronto, ​ ​ Ontario. (July 1, 2018 – ongoing) Canadian and Indigenous Galleries. Group Exhibition. National Gallery of Canada, Ottawa, Ontario. ​ ​ (September 1, 2019 – ongoing) To Be Continued: Troubling the Queer Archive. Group Exhibition. Curators – Anna Shah Hoque and Cara ​ Tierney. Carleton University Art Gallery, Ottawa, Ontario. (September 24 – May 16, 2020). Barry Ace | www.barryacearts.com 1 ​ ​ 2020 Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Art ​ Gallery of Algoma, Sault Ste. Marie, Ontario. (September 12 – November 14, 2020) Àbadakone / Continuous Fire / Feu continuel. Group Exhibition. Curators – Greg Hill, Rachelle Dickenson, ​ Christine Lalonde. National Gallery of Canada, Ottawa, Ontario. (November 8, 2019 – April 5, 2020) 2019 mazinigwaaso / to bead something: Barry Ace: Bandolier Bags as Cultural Conduit. Solo exhibition.
    [Show full text]
  • Nanabozho's Sisters
    ESSAYS NANABOZHO’S SISTERS WANDA NANIBUSH Nanabozho is a half-spirit, half-human shape- [A]s children we realized that we were shifting Anishinaabe who lives on in our stories different from boys and that we were and art. They (and this is the proper pronoun) treated different—for example, when break rules and boundaries through hilarious, we were told in the same breath to be sometimes ridiculous situations for the benefit of quiet both for the sake of being ‘ladylike’ the whole community. The laughter that comes and to make us less objectionable in from their actions shows us our own flawed the eyes of white people. In the process character and the changeability of our way of of consciousness-raising, actually life- doing things. The spirit of Nanabozho lives in the sharing, we began to recognize the sisters (meaning friends) gathered together in this commonality of our experiences and, from exhibition: Rebecca Belmore, Lori Blondeau, Dana the sharing and growing consciousness, Claxton, Thirza Cuthand, Rosalie Favell, Ursula to build a politics that will change our Johnson, Shelley Niro, and Anna Tsouhlarakis. lives and inevitably end our oppression.... Their works are audacious, rebellious, and cutting We realize that the only people who care edge. The freedom to be whoever one wants to enough about us to work consistently for be outside the prescriptions and oppressions our liberation are us. Our politics evolve of a two-gender system, colonialism, sexism, from a healthy love for ourselves, our and heteronormativity is created through sisters and our community which allows imagination, satire, and ironic reversals.
    [Show full text]
  • Contemporary Metis Visual Culture and Identity Jessie Short, BA Global
    All of My Blood is Red: Contemporary Metis Visual Culture and Identity Jessie Short, BA Global Studies Social Justice and Equity Studies Submitted in partial fulfillment of the requirements for the degree of Master of Arts . Faculty of Social Sciences, Brock University St Catharines, Ontario © 2011 Abstract This thesis explores notions of contemporary Metis identity through the lens of visual culture, as articulated in the works of three visual artists of Metis ancestry. I discuss the complexities of being Metis with reference to specific art works by Christi Belcourt, David Garneau and Rosalie Favell. In addition to a visual culture analysis of these three Metis artists, I supplement my discussion of Metis identity with a selection of autoethnographic explorations of my identity as a Metis woman through out this thesis. The self-reflexive aspect of this work documents the ways in which my understanding of myself as a Metis woman have been deepened and reworked in the process of conducting this research, while also offering an expanded conception of contemporary Metis culture. I present this work as an important point of departure for giving a greater presence to contemporary Metis visual culture across Canada: Acknowledgements This work is dedicated to all of those wonderful and inspiring people in my life who have played such an integral part in this journey, whether or not they are aware of their impact. Thank you with all of my heart Ray and Taira, Chantel, Kelsey and Zack and my grandparents. Thank you to all of those who I have only recently met and who helped me along the way, Margot, Maria, David, Rosalie, Christi, Tony and too many others to name here.
    [Show full text]
  • MAWA May June July 09
    may, june, july, august, 2009 611 main street winnipeg manitoba canada r3b 1e1 204-949-9490 | [email protected] | www.mawa.ca s Canadian economic forecasts continue to look glum, with t r increased rates of personal bankruptcy and rising unemployment in A most parts of the country. Less personal wealth translates into less revenue from taxation, a situation that has led the federal govern- e h ment to forecast a deficit of $34 billion for the current year, a t projection that many claim will be higher. d The implications of shrinking tax-based budgets will have n ramifications for those of us in the arts. Recently the Province of a British Columbia reacted to an anticipated annual deficit of $495 n million by slashing the budget line for arts and culture from $19.5 o i million in 08/09 to less than $11.8 million in 09/10 (a 40% decrease), s with further reductions projected in years to come. This gutting of s e arts funding was framed as essential belt-tightening. But is it essential c or ideological? e Alberta, despite a reputation for not being the most arts- R friendly province, has committed to keeping cultural funding stable and has even suggested a slight increase in forthcoming years. This staying-the-course is even more significant in light of Alberta’s projected $4.7 billion deficit this year. Perhaps Wild Rose Conservatives have studied the recent statistics regarding the income generated by the arts in Canada; perhaps Alberta realizes that funding of the arts makes good economic sense.
    [Show full text]
  • CURRICULUM VITAE: Barry Ace ​
    CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] ​ ​ ​ ​​ Barry Ace – Anishinaabe (Odawa), b. 1958 Barry Ace is a practicing visual artist and currently lives in Ottawa, Canada. He is a band member of M’Chigeeng First Nation, Manitoulin Island, Ontario, Canada. His mixed media, assemblage ​ ​ and textile works explore various aspects of cultural continuity and the confluence of the historical and contemporary. Drawing inspiration from multiple facets of traditional Anishinaabeg (Odawa) culture gathered from historical sources, traditional knowledge, found objects and cultural research, Ace creates objects and imagery that utilize many traditional forms and motifs. By disrupting the reading of these works with the introduction of other elements, Ace endeavours to create a convergence of the historical and contemporary. He states, “My textile and paper works ​ replicate traditional Great Lakes’ floral motifs often sourced from reclaimed and salvaged electronic schematics and circuitry (capacitors and resistors) that act as metaphors for cultural continuity (antithesis of stasis), bridging the past with the present and the future. In doing so, my work intentionally integrates traditional cultural art practices, such as beadwork, which is then juxtaposed against contemporary ephemera, breaking new ground as a distinct genre of contemporary indigenous abstraction.” ​ As a practicing visual artist, Ace has been exhibiting since the 1990s, his work has been included in numerous group and solo exhibitions, including:
    [Show full text]
  • MAWA Newsletter, Spring 2009
    february, march, april, 2009 611 main street winnipeg manitoba canada r3b 1e1 204-949-9490 | [email protected] | www.mawa.ca news from main street news from MAWA is a mere 15-minute walk from downtown. Talk about neighbourhood: more people on the street, a diversity of services location, location, location! Yet the Disraeli Highway cuts us off and some historic preservation. So far, most of these initiatives have from the Exchange with speed, noise and pollution, and perhaps been inclusive of existing businesses and residents. So far, few have nowhere in the city is the legacy of colonization – poverty and been displaced. substance abuse – more evident. This winter the City of Winnipeg is revising Plan Winnipeg by As Richard Florida describes in The Rise of The Creative Class, creating a secondary plan for South Point Douglas, which they define the reclamation of neglected neighbourhoods often begins with a as extending from MAWA north to the tracks and east to the Louise first wave of pioneers who move in, make improvements, and create Bridge. Our mayor has been quoted as describing the neighbourhood safety and community. Who are these brave urbanistas? According as a “jewel”. And it is! As long as our city and business leaders see to Florida, largely artists. Certainly that is true on North Main: diversity as its greatest asset, and don’t approach the area with a MAWA, the Edge, Manitoba Printmakers…. But there are also older literal or figurative demolition ball, creating a blank slate upon businesses and many individuals who make North Main home.
    [Show full text]
  • CURRICULUM VITAE: Barry Ace ​
    CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] ​ ​ ​ ​​ Barry Ace – Anishinaabe (Odawa), b. 1958 Barry Ace is a practicing visual artist and currently lives in Ottawa, Canada. He is a debendaagzijig (citizen) of M’Chigeeng First Nation, Odawa Mnis (Manitoulin Island), Ontario, ​ ​ Canada. His mixed media, assemblage and textile works explore various aspects of cultural ​ ​ continuity and the confluence of the historical and contemporary. Drawing inspiration from multiple facets of traditional Anishinaabeg (Odawa) culture gathered from historical sources, traditional knowledge, found objects and cultural research, Ace creates objects and imagery that utilize many traditional forms and motifs. By disrupting the reading of these works with the introduction of other elements, Ace endeavours to create a convergence of the historical and contemporary. He states, “My textile and paper works replicate traditional Great Lakes’ floral ​ motifs often sourced from reclaimed and salvaged electronic schematics and circuitry (capacitors and resistors) that act as metaphors for cultural continuity (antithesis of stasis), bridging the past with the present and the future. In doing so, my work intentionally integrates traditional cultural art practices, such as beadwork, which is then juxtaposed against contemporary ephemera, breaking new ground as a distinct genre of contemporary indigenous abstraction.” ​ As a practicing visual artist, Ace has been exhibiting since the 1990s, his work has been included in numerous group and
    [Show full text]
  • Portraits of Pride Works by Ten Canadian Artists
    ART CANADA INSTITUTE INSTITUT DE L’ART CANADIEN JUNE 4, 2021 PORTRAITS OF PRIDE WORKS BY TEN CANADIAN ARTISTS June marks the celebration of Pride Month. Saluting many of the greatest figures in Canadian art who are part of the LGBTQ2S+ community, we’re showcasing works of early pioneering artists alongside those by important creators working today. LGBTQ2S+ artists have existed throughout Canadian history, yet prevailing laws and social stigmas prevented queer identity from being openly explored in visual culture until the late 1960s. Since then, art has served as a powerful means of not only giving visibility to this marginalized community, but also challenging normative ideas about gender and sexuality. This week we’re looking at some of the most memorable moments in the history of queer Canadian art, from General Idea’s iconic painted AIDS logo, 1988–90, to Kent Monkman and Jean Paul Gaultier’s 2017 performance piece representing their symbolic union. We’re also highlighting the exciting work of emerging artists—including Wynne Neilly, who recently shot trans actor Elliot Page for the cover of Time magazine—who reveal new perspectives on the pride, strength, and resilience of the LGBTQ2S+ community. Our admiration goes to these individuals and others who are forging a more just and inclusive understanding of the world, presented through their art. Sara Angel Founder and Executive Director, Art Canada Institute PRIDE BLOOMS DITCHFLOWERS by Zachari Logan Zachari Logan, Pride Blooms Ditchflowers, 2020, from Eunuch Tapestries, Collection of the Nerman Museum of Contemporary Art, Overland Park. With Pride Blooms Ditchflowers, 2020, Saskatoon native Zachari Logan (b.1980) celebrates the diversity of the natural world, explaining that “this vibrancy is congruent with my thinking about Pride, reinforcing the reality that sexual diversity is not only natural, but found regularly in all species.” In this enchanting drawing, ditch flowers illuminate the nighttime wilderness with the effervescent colours of the Pride flag.
    [Show full text]
  • Teacher Resource
    TEACHER RESOURCE CURRICULUM THEMES CURRICULAR CONNECTIONS Identity; Photography GRADE 6 | CP6.11- Students will both explore how an artist uses portraiture to convey identity and try their hand at depicting a person’s identity through drawing. ROSALIE FAVELL: FACING THE CAMERA: DAPHNE ODJIG This image of artist Daphne Odjig is part of a large series of portraits that Favell created called Facing the Camera from 2008 to 2016. Favel wished to document the Indigenous arts community, re-evaluating the relationship between Indigenous peoples and photographic documentation, which was often in its own way a form of domination. Curator Michelle LaVallee wrote the following about this body of artwork: In Facing the Camera, Favell recognizes the agency of the individual. There are numerous social, cultural and personal factors—positive and negative, Aboriginal and Western—that are brought together in a conscious and unconscious way, through which the sense of self is expressed. The individuals are not posed by the photographer but are given space to find their own way of dealing with the camera. “For most, standing in front of a camera is unnerving. For many Aboriginal peoples, however, placing oneself within the photographic frame is a political act.” Facing the Camera is a contemporary visual archive which offers a snapshot of many of the significant intellectual and creative players who have individually and collectively made contributions to contemporary Indigenous art production and practices. These proud, strong, diverse and dynamic professionals include artists and curators of a previous generation such as Daphne Odjig, Alex Janvier, Tom Hill, Rita Letendre, and Shirley Bear, as well as her contemporaries, including Gerald McMaster, Shelley Niro, Ruth Cuthand, Kent Monkman, Adrian Stimson, Lori Blondeau, and Candice Hopkins, to name a few.
    [Show full text]