DOCSLIB.ORG

Community, Collaboration, and Artistic Practice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Community, Collaboration, and Artistic Practice Western University Scholarship@Western Electronic Thesis and Dissertation Repository 9-9-2016 12:00 AM Representing Wilderness: Community, Collaboration, and Artistic Practice Michael J. Farnan The University of Western Ontario Supervisor Patrick Mahon The University of Western Ontario Graduate Program in Art and Visual Culture A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Michael J. Farnan 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Fine Arts Commons Recommended Citation Farnan, Michael J., "Representing Wilderness: Community, Collaboration, and Artistic Practice" (2016). Electronic Thesis and Dissertation Repository. 4142. https://ir.lib.uwo.ca/etd/4142 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This dissertation project serves as an inquiry into Canadian representational practices and discourses surrounding colonialism, wilderness, nature and nationhood. The written thesis presented here is part of a multidisciplinary project that also comprised of an art exhibition held at Western’s McIntosh Gallery, from June 3rd to Junes 25th, 2016. This paper, alongside the drawing, sculpture, and videos created for my exhibition, examine depictions of nature and nation in Canada through an analysis of antimodernism, primitivism, and a seeking of the spiritual connected to constructions of “white wilderness” and the spatial imaginary of Canada’s colonial frontier. This paper also explores ways in which decolonial art and theory seeks to challenge those same configurations of identity and power, including the development of settler-based decolonizing strategies aimed at unsettling dominant political and cultural narratives. Specifically in relation to my own art practice, this means challenging the enduring colonial legacies of Canada’s settler past and the contemporary representational practices that continue to privilege and empower colonial constructions of space and place. This dissertation project proposes a collaborative-based research practice that operates in relation to issues of the local, domestic, and lived practices of people and their interaction with the environment. As such, this paper examines mainstream articulations of nature and nation in Canada through historicized interpretations of dominant Settler/First Nation narratives and demonstrates how an understanding of this history becomes vitally important when trying to achieve performative, transformative, and collaborative understandings of the colonial experience that continues to define life in Canada. Keywords: Wilderness, Nature, Nationalism, Canadian Art, Postcolonial, Decolonial, Antimodernism, Settler Colonialism, Group of Seven, Primitivism, Whiteness, National Parks, Canoe, Grey Owl, Tom Thomson, Video Art, Collaboration. i Acknowledgments I would like to thank my principle supervisor Patrick Mahon for his tireless work on my behalf. His insight, patience, and unwavering support will always be appreciated. I would also like to thank my dissertation committee members Kelly Jazvac and Sarah Bassnett, who provided invaluable critical feedback, presented alternative perspectives, and have shown me an incredible amount of support during the course of this project. The work in my accompanying exhibition features lead performances and collaborative directions by Lori Blondeau and Adrian Stimson; the work of Cinematographers Clark Ferguson and David Hartman; Sound/Recording artists, Jordan Poniatowski and Joel Alain; and Canoe Dancing by William Brims. Behind the production of the show was an incredible support cast that included technical and production assistance from Western Visual Arts staff: Andrew Silk, Julia Beltrano, and Jennifer Slauenwhite; McIntosh Gallery support from James Patten, Brian Lambert, and Lucas Azevedo Cabral. My work in Saskatchewan would not have been possible without the guidance of Gord Vaadland, support from PAVED arts in Saskatoon, and the incredible network of family and friends that reside there. I would also like to thank Paula Dias from the Visual Arts Department for her tireless and generous support and guidance throughout my time here at Western. I dedicate this project and offer an eternal debt of gratitude to my family, my parents, brothers, and most importantly to my wife Jennifer LaChapelle. And lastly, to my two children Violet and Matthew, thank you for always reminding me of what is truly important in this wonderful life we share. The Representing Wilderness exhibition was organized by McIntosh Gallery in collaboration with Western University’s Department of Visual Arts Ph.D. program in Art and Visual Culture. The research for this project has been generously supported by the Social Sciences and Humanities Research Council of Canada. ii Table of Contents Abstract ................................................................................................................................ i Acknowledgments ............................................................................................................... ii Table of Contents ............................................................................................................... iii List of Figures ..................................................................................................................... v Preface ............................................................................................................................... vii Introduction ......................................................................................................................... 1 Theoretical Framework and Research Methodology .......................................................... 1 On Nature and Wilderness ............................................................................................. 1 The Roots of Wilderness in Canadian Art ..................................................................... 3 The Human and the Natural ........................................................................................... 5 My Artistic Practice as Research “In Nature” ................................................................ 6 Postcolonial and Decolonial ........................................................................................... 7 Chapter 1 ........................................................................................................................... 15 Arguments and Orientations ............................................................................................. 15 Antimodernism, Settler Colonialism, and the Group of Seven .................................... 15 Notions of Primitivism, Whiteness, and Early Spiritual Roots .................................... 25 Chapter 2 ........................................................................................................................... 34 Contemporary Articulations of Nature and Nation ........................................................... 34 Constructions of Place, Space, and White Wilderness ................................................ 34 National Parks: Theorizing Domesticated Nature ........................................................ 43 Chapter 3 ........................................................................................................................... 53 Artistic Strategies and Exhibition Practices ...................................................................... 53 Creative Frameworks and Artistic Practice .................................................................. 53 Chapter 4 ........................................................................................................................... 69 iii Final Outcomes and Significant Collaborative Practice ................................................... 69 Field Work and Studio-Based Research ...................................................................... 69 Previous Exhibitions and Related Projects .................................................................. 74 The Canoe, Collaboration, and a New National Parks Project .................................... 82 Projecting the Past into Visions of a Fantastical Future .............................................. 87 Exhibition Images ........................................................................................................ 92 Conclusion ........................................................................................................................ 98 Learning to Listen and See Differently ............................................................................. 98 References and Bibliography .......................................................................................... 109 Curriculum Vitae ............................................................................................................ 117 iv List of Figures Figure 1. N2N Exhibition Invite .............................................................................................. 75 Figure 2. Dance for the Narrows, 2015. Production Still. Bill Brims in Canoe ..................... 76 Figure 3. Mammo’wiiang To Make Change, Installation Image. Work in foreground by Leah Decter and Jaimie Isaac, (official denial) trade value in
Load more

Recommended publications
  • Youth the Missing Solution Transcript
    www.e-Dialogues.ca e-Dialogue Series on Urban Sustainability Urban Sustainability: Youth—The Missing Solution? Wednesday, June 23rd, 2010 Participants Ann Dale, Canada Research Chair in Sustainable Community Development, Royal Roads University, Moderator Steve Dotterrer, Principal Planner, City of Portland Rebecca Foon, Planner, Sustainability Solutions Group Afton Halloran, Sustainable Urban Agriculture Youth Intern, Dar es Salam, Tanzania Pam Phan, Youth Planning Co-ordinator, City of Portland Caitlin Purvis, Youth Intern, Planning Institute for the City of Colima, Mexico Kathleen Wilson, Youth Led Development Coordinator, The Co-operators, Regina Dialogue Ann Dale Welcome to today's conversation on the critical role that youth have to play and how to optimize their influence in urban sustainability. I am delighted to be hosting this dialogue in partnership with the interns of the International Centre for Sustainable Cities (ICSC). We will be conducting a series of conversations on this critical public policy issue, so please look at our site for future announcements. Could I ask each of our expert panellists to briefly introduce themselves, your physical location, and your first impressions of your internship. Zoe, if you are on-line, perhaps you can explain this particular internship program? May I add a personal note, we in the East have just experienced an earthquake, estimates ranging from 5.0 to 6.1, regardless, it has been experienced as far away as Montreal, Toronto, New York, Michigan and Ohio. My place here is close to the epicentre. Regardless, it took several seconds for me and my dogs to get outside as I had to grab the counter top to stop from falling, as I was swaying back and forth.
    [Show full text]
  • Fringe Festival * Goal * Arthurs * Mike Leigh * Cannes * Mural * Rachel
    JUNE 2019 • Vol. 7 No. 9 • CULTMTL.COM 7 No. Vol. JUNE 2019 • FREE * Fringe Festival * Goal * Arthurs * Mike Leigh * Cannes * Mural * Rachel Bloom 176 & 211 Bernard, Mile End Librairie Drawn & Quarterly table of Cult Mtl Open Every Day contents is... Infemous comedy hour host Kate Hammer on her Fringe Lorraine Carpenter Festival show, a Shakespeare editor-in-chief mash-up comedy called [email protected] The Peers. Photo by Mathieu Samson Alex Rose film editor [email protected] Nora Rosenthal arts editor [email protected] Clayton Sandhu to-do list 6 contributing editor (food) ALL EVENTS 7–9 PM AT 176 BERNARD OUEST Rob Jennings editorial assistant ( UNLESS OTHERWISE NOTED ) city 8 Goal MTL 8 :rant line™ 9 VOTED #1 BOOKSTORE Chris Tucker AND #1 COMICS STORE! :persona mtl 9 art director Thank you to all of our readers! food & drink 10 Advertising READINGS AND BOOK LAUNCHES [email protected] Arthurs 10 THURS JUNE 13 An evening with Kaveh Akbar, Paige Lewis, and friends Contributors: Johnson Cummins WED JUNE 19 Emma Jacobs launches music 13 Sarah Deshaies Little(r) Museums of Paris Ryan Diduck Album reviews 13 Brandon Kaufman THURS JUNE 20 QC Fiction: Double Translation Launch! Erik Leijon :hammer of the mods 14 Darcy MacDonald MON JUNE 24 Nora Samaran launches Al South Turn This World Inside Out: The Emergence of Nurturance Culture (AK Press) film 19 General inquiries + feedback [email protected] THURS JULY 4 Adrian McKerracher launches Peterloo/ Mike Leigh 19 What It Means to Write: Creativity and Metaphor Cannes 20 On Screen 22 BOOK CLUBS SUN JUNE 9 D+Q COOKS! COOKBOOK CLUB arts 24 Ott olenghi Simple by Yotam Ottolenghi Cult MTL is a daily arts, film, music, food Kate Hammer/ Fringe 24 MON JUNE 10 TRUE READS and city life site.
    [Show full text]
  • Precarious Indigeneity
    RUNNING HEAD: Precarious Indigeneity PRECARIOUS INDIGENEITY: AINU IDENTITY-MAKING IN (DIGITAL) NORTH AMERICA AND ITS ROOTEDNESS IN WESTERN INDIGENOUS EXPERIENCE by Cheyanne Connell Bachelor Of Arts (Hons.), Simon Fraser University, 2019 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Masters Of Arts (Anthropology) In the Faculty of Arts and Social Sciences Department Of Sociology and Anthropology © Cheyanne Connell 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work is held by the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Precarious Indigeneity I Declaration of Committee Name: Cheyanne Connell Degree: Master of Arts in Anthropology Title: PRECARIOUS INDIGENEITY: AINU IDENTITY- MAKING IN (DIGITAL) NORTH AMERICA AND ITS ROOTEDNESS IN WESTERN INDIGENOUS EXPERIENCE Committee: Chair: Dr. Pamela Stern Professor, Anthropology Dr. Michael Hathaway Supervisor Associate Professor, Anthropology Dr. Kate Hennessy Committee Member Associate Professor, School of Interactive Arts & Technology Dr. ann-elise lewallen Examiner Associate Professor, East Asian Languages & Cultural Studies University of California, Santa Barbara Precarious Indigeneity II Ethics Statement Precarious Indigeneity III Abstract Based on digitally-mediated fieldwork conducted in 2020/2021, and building on existing scholarship, this thesis works to understand how Ainu in North American experience Indigenous identity-making. Working with eight young adults of self-identified Ainu ancestry at various stages of their Ainu journeys, but all started within the last few years, I ask how Ainu and Ainuness is learned and understood through their primary connection and access to Ainu community and culture: digital spaces. From this, I argue that whereas Ainu identity-making of those who grew up and live in Japan is rooted in Japanese Ainu experience, American Ainu identity-making is largely informed by and rooted in Western Indigenous experience.
    [Show full text]
  • Coyolxauhqui-La-Réunifiée: Femme De Terre En Quête D'appartenance: Une
    Coyolxauhqui-la-réunifiée : Femme de terre en quête d’appartenance Une recherche auto-ethnographique Mémoire présenté dans le cadre du programme de maîtrise en étude des pratiques psychosociales en vue de l’obtention du grade de maître ès arts PAR © Sarah-Maria LeBlanc Août 2019 Composition du jury : Diane Léger, présidente du jury, Université du Québec à Rimouski] Jeanne-Marie Rugira, directrice de recherche, Université du Québec à Rimouski Florence Vinit, examinatrice externe, Université du Québec à Montréal Dépôt initial le 13 juin 2019 Dépôt final le 20 août 2019 UNIVERSITÉ DU QUÉBEC À RIMOUSKI Service de la bibliothèque Avertissement La diffusion de ce mémoire ou de cette thèse se fait dans le respect des droits de son auteur, qui a signé le formulaire « Autorisation de reproduire et de diffuser un rapport, un mémoire ou une thèse ». En signant ce formulaire, l’auteur concède à l’Université du Québec à Rimouski une licence non exclusive d’utilisation et de publication de la totalité ou d’une partie importante de son travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, l’auteur autorise l’Université du Québec à Rimouski à reproduire, diffuser, prêter, distribuer ou vendre des copies de son travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l’Internet. Cette licence et cette autorisation n’entraînent pas une renonciation de la part de l’auteur à ses droits moraux ni à ses droits de propriété intellectuelle. Sauf entente contraire, l’auteur conserve la liberté de diffuser et de commercialiser ou non ce travail dont il possède un exemplaire.
    [Show full text]
  • Your Montreal Cheat Sheet + King Princess * POP Montreal * Luna & More
    SEPTEMBER 2019 • Vol. 8 No. 1 8 No. Vol. SEPTEMBER 2019 • • CULTMTL.COM FREE Your Montreal cheat sheet + King Princess * POP Montreal * Luna & more letter table of Cult Mtl from the is... Part 1 07.06–08.09.2019 contents Part 2 27.09.2019–19.01.2020 editor Rising NYC pop-rock star King Princess on sexuality and Lorraine Carpenter gender, art and feelings and editor-in-chief Part 3 07.02–17.05.2020 getting into the music business [email protected] the right way. Hey students, Photo by Vince aung alex Rose Sortis du cadre : film editor [email protected] Welcome back, and welcome to Cult MTL’s Nora Rosenthal arts editor Out of the Box: eighth annual Student Survival Guide. [email protected] letter from the editor 4 Clayton Sandhu Going back to school doesn’t have to hurt so contributing editor (food) Gordon MATTA-CLARK hard. This city is buzzing with enough activity to-do list 7 and entertainment to get you through the year, Chris Tucker city 8 and balancing your studies with an exciting art director Revu par and rewarding social life is easy, and even :persona mtl 8 affordable. food & drink 10 advertising [email protected] Selected by Yann Chateigné Luna 10 Let us steer you. Because that's what we do. Contributors: music 12 dave Jaffer Along with offering a pile of practical King Princess 12 darcy Macdonald Hila Peleg information to help you navigate the city and POP Montreal 14 Special thanks: gregory Vodden make the best use of its many services, this studENT surviVaL gUidE 16 Kitty Scott guide features pointers on Montreal food, eating 16 nightlife, shopping and art, along with loads of other leisure activities, from cycling to spas.
    [Show full text]
  • Constellation
    CONSTELLATION La critica musicale ha spesso identificato alcuni generi musicali con le città nelle quali si erano sviluppati, arrivando a far coincidere musica e toponomastica come nel caso del Canterbury sound o del Madchester. In realtà di solito si è trattato di un tentativo di semplificare la realtà per rendere intelligibili fenomeni la cui complessità sarebbe stata di difficile comprensione alla maggioranza dei lettori delle varie riviste del settore; basti pensare alla San Francisco psichedelica, al country di Nashville, all'elettronica berlinese, alla Seattle grunge o a Londra per il punk, ecc. Detto ciò, in pochi avrebbero immaginato che nel novero di queste “capitali” musicali sarebbe apparso il nome di Montreal, principale città del Quebec canadese. Eppure se dovessimo cercare una città con la quale identificare il post- rock degli anni Duemila non potremmo che guardare verso questa metropoli di più di un milione e mezzo di abitanti, se non altro per l’etichetta discografica indipendente Constellation records che vi ha sede. Nata nel 1997, la Constellation si è fin da subito caratterizzata per le “ostiche” scelte musicali e di marketing, dimostrando negli anni un'ammirevole coerenza che le ha permesso di intercettare le espressioni più avanzate e innovative del movimento post-rock canadese – ovvero il meglio del post-rock tout-court –, distinguendosi commercialmente dalle tante etichette indipendenti grazie a confezioni in digipack dominate da colori tenui e da un’originalità grafica e iconografica che diventa determinante nel trasmettere anche visivamente i contenuti musicali. Ma forse per comprendere il percorso qui proposto occorre partire dall’inizio, ovvero dalla definizione di Post-rock.
    [Show full text]
  • Community Vitality
    Community Vitality from adaptation to transformation Ann Dale, Rebecca Foon, Yuill Herbert and Rob Newell Community Vitality from adaptation to transformation Copyright © 2014, Ann Dale, Rebecca Foon, Yuill Herbert, Rob Newell All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior written permission from the publisher, or, in the case of photocopying or other reprographic copying, permission from Access Copyright, 1 Yonge Street, Suite 1900, Toronto, Ontario M5E 1E5. Fernweh Press 11 Alex Cox Road, RR1 Tatmagouche, Nova Scotia, B0K 1V0 ISBN: 978-0-9939803-0-5 Printed and bound in Canada Editor: Kate Kennedy, katekennedyeditor.com Design: Domino Creative, dominocreative.ca Manuscript Integrity: Elaine Dale Cover photo: Tomaz Sedonja, Getty Images In memory of my beloved mother, Catherine Dale October 8, 1919 – March 26, 2013 Women’s Auxiliary Air Force (WAAF 1939-1945), she brought the boys home. Her strength of mind, her courage, her integ- rity, her sense of humour and most importantly, her love for her family (and her beautiful big blue eyes and smile) have left a lasting legacy to many. Table of Contents Introduction ...................................................................................................................................................................... 01 1. Thriving vs. Surviving: The Concept of Community Vitality ................................................. 03 2. At the Intersection: Existing Measures of
    [Show full text]
  • TIP 61 Behavioral Health Services for American Indians and Alaska Natives
    BEHAVIORAL HEALTH SERVICES FOR TIP 61 AMERICAN INDIANS AND ALASKA NATIVES Part 1, Chapter 2 Introduction About the Stories and Vignettes In this chapter, you will meet four American Indian A collaborative effort using a consensus process led and Alaska Native clients and their providers. to development of these four stories. The consensus Some of the providers are non-native, and others panel used a composite of client experiences in are native, although they may be working in tribes counseling to come up with the backgrounds, different from their own. The consensus panel has geographic regions, and other identifying details of made significant efforts to present realistic counsel- the clients in the vignettes, so that the histories and ing scenes using culturally responsive approaches client–provider dialogs are not complete accounts of that include integrating traditional healing with specific people. Any associations with actual people, mainstream approaches such as motivational inter- presenting problems, or events are coincidental. viewing (MI), family therapy, and psychoeducation, as well as other modalities. MASTER PROVIDER NOTES This chapter centers around four stories. Each story includes some background for the provider, tells the These are comments about the strategies history of the client, and highlights learning objec- tives as well as client–provider dialog that demon- used, possible alternative techniques, and strates specific knowledge and skills for providing insights into the client–provider relationship. behavioral health counseling to American Indians These notes represent the combined and Alaska Natives. The stories capture culturally experience and wisdom of the consensus relevant issues in a variety of specific situations panel and other contributors to this TIP.
    [Show full text]
  • Announces Lineup for Third DIRECT CURRENT, Its Contemporary Culture Immersion (March 8–21)
    Press Release FOR IMMEDIATE RELEASE: November 5, 2019 The John F. Kennedy Center for the Performing Arts Announces Lineup for Third DIRECT CURRENT, Its Contemporary Culture Immersion (March 8–21) Focus on Female Creators – Including Ellen Reid, Patti Smith, and Jeanine Tesori – Honors 100th Anniversary of Women’s Suffrage; Other Artists Include Chris Thile and Washington National Opera Press photos available HERE (WASHINGTON, D.C.)—DIRECT CURRENT, the John F. Kennedy Center for the Performing Arts’s two-week celebration of contemporary culture, returns for a third season. With special emphasis on female creators, on works new to the District of Columbia, and on interdisciplinary creations, the 2020 spring immersion showcases some of the most provocative, original and pioneering voices in the arts today. DIRECT CURRENT takes place on March 8–21 at the Kennedy Center—including the flexible indoor and outdoor spaces of the REACH, its unprecedented new expansion—and beyond. Next year marks the 100th anniversary of the 19th amendment to the U.S. Constitution, which granted women’s suffrage. To honor this milestone centennial, DIRECT CURRENT 2020 not only shines a light on female artists and their work, but also collaborates with the Vital Voices Global Partnership. This D.C.-based, international non-profit provides a support network and platform for women leaders in all disciplines around the world, helping to make their vision for global change a reality through long-term investments to develop their skills, expand their connections, and enhance their visibility. DIRECT CURRENT’s wealth of offerings span the artistic spectrum, from the D.C.
    [Show full text]
  • Jace Lasek CV OCT 2020
    Jace Lasek [email protected] www.breakglass.ca www.jacelasek.com Education 1997 - 1999 Emily Carr Institute of Art and Design, Vancouver, B.C. Received B.F.A. in Photography 1992 - 1996 University of Regina, Regina, SK Studied English, Philosophy and Fine Art Selected Sound Production/Album Credits 2020 Godspeed You! Black Emperor – Recorded and mixed forthcoming LP. 2020 Terry Uyaruk – Produced/recorded/mixed “Nunarjua Isulinginniani” LP. 2020 The Jerry Cans – Produced/recorded/mixed “Echoes” LP. 2020 Rebecca Foon – Produced/recorded/mixed “Waxing Moon” LP. 2005 - 2020 Land of Talk – Recorded/mixed “Applause, Cheer, Boo, Hiss” EP; Produced/recorded/mixed “Cloak and Cipher” LP; Co- produced/recorded “Life After Youth” LP, mixed 1-4, 7-8 of “Indistinct Conversations” LP. 2019 Matana Roberts – Recorded “Coin Coin Chapter Four: Memphis” LP. 2019 Blessed – Produced/recorded/mixed “Salt” LP. 2019 Tunic – Produced/recorded/mixed “Complexion” LP. 2018 Foreign Diplomats – Produced/recorded/mixed “Monami” LP. 2018 Lydia Képinski – Mixed “Premier juin” LP. 2020, 2004 Bell Orchestre – Mixed forthcoming album. Recorded tracks for “Recording a Tape the Colour of Light” LP. 2011 - 2018 Moonface – Mixed “This One’s For The Dancer and This One’s For The Dancer’s Bouquet” LP. Mixed “My Best Human Face” LP and “Organ Music Not Vibraphone Like I’d Hoped LP. 2013 - 2017 Esmerine – Recorded/mixed “Mechanics of Dominion,” “Lost Voices” and “Dalmak” LPs. 2016 And The Kids – Co-produced, recorded and mixed “Friends Share Lovers” LP. 2012, 2016 Luyas – Produced/recorded/mixed “Animator” LP; Mixed “Say You” LP. 2015 Wake Island – Mixed “Out” LP. 2015 Yes We Mystic – Co-produced/recorded/mixed “Forgiver” LP.
    [Show full text]
  • ESMERINE Lost Voices CD / 180Glp / DL RELEASE DATE: 16 OCTOBER 2015
    ESMERINE Lost Voices CD / 180gLP / DL RELEASE DATE: 16 OCTOBER 2015 Instrumental chamber rock ensemble feat. Bruce Cawdron (Godspeed You! Black Emperor), Rebecca Foon (Silver Mt. Zion) and Jamie Thompson (Unicorns, Islands) Follow-up to their 2014 Juno award-winning album Dalmak (Instrumental Record Of The Year) Montréal chamber rock ensemble Esmerine return with Lost Voices , the most dynamic CST 116 • CONSTELLATION • and incendiary record of the group’s career, following its acclaimed and Juno award- winning 2013 release Dalmak . Led by co-founders Bruce Cawdron (Godspeed You! Black Emperor) on mallet instruments and Rebecca Foon (Thee Silver Mt. Zion, ARTIST: ESMERINE Saltland) on cello, Esmerine also includes drummer Jamie Thompson (The Unicorns, Islands, Little Scream) and multi-instrumentalist Brian Sanderson. TITLE: Lost Voices Lost Voices is the result of multiple recording sessions led by Vid Cousins (Kid Koala, TRACKLIST: Amon Tobin, Colin Stetson) and was mixed/produced by Jace Lasek (The Besnard 01 The Neighbourhoods Rise Lakes) at his Breakglass Studio in Montréal. The album features several tracks that are 02 A River Runs Through This City hands down among the band’s most rocking, making newfound use of electric guitars 03 Pas Trop Pas Tropes (courtesy a variety of guest players) alongside the group’s nucleus of marimba, strings 04 19/14 and percussion. Esmerine also welcomes bassist Jeremi Roy (who began touring with 05 A Trick Of The Light the group in 2013) as an official member; his contrabass work adds potent low-end to 06 My Mamma Pinned A Rose On Me the heavier jams on the new album.
    [Show full text]
  • Plastic Shamans, Intellectual Colonialism and Intellectual Appropriation in New Age Movements
    The International Journal of Ecopsychology (IJE) Volume 2 Issue 1 Vol 2 (1) Article 10 4-30-2021 Plastic Shamans, Intellectual Colonialism and Intellectual Appropriation in New Age Movements Joseba I. Arregi PhD EHU.edu, [email protected] Follow this and additional works at: https://digitalcommons.humboldt.edu/ije Part of the Alternative and Complementary Medicine Commons, Cognitive Psychology Commons, Community Psychology Commons, Counseling Psychology Commons, Environmental Public Health Commons, Environmental Studies Commons, Health Psychology Commons, Human Ecology Commons, Medical Humanities Commons, Other Philosophy Commons, Outdoor Education Commons, and the Place and Environment Commons Recommended Citation Arregi, Joseba I. PhD (2021) "Plastic Shamans, Intellectual Colonialism and Intellectual Appropriation in New Age Movements," The International Journal of Ecopsychology (IJE): Vol. 2 : Iss. 1 , Article 10. Available at: https://digitalcommons.humboldt.edu/ije/vol2/iss1/10 This Article is brought to you for free and open access by the Journals at Digital Commons @ Humboldt State University. It has been accepted for inclusion in The International Journal of Ecopsychology (IJE) by an authorized editor of Digital Commons @ Humboldt State University. For more information, please contact [email protected]. Arregi: Plastic Shamans Published by Digital Commons @ Humboldt State University, 2021 1 The International Journal of Ecopsychology (IJE), Vol. 2, Iss. 1 [2021], Art. 10 Plastic Shamans, Intellectual Colonialism and Intellectual Appropriation in New Age Movements Joseba I. Arregi [email protected] https://digitalcommons.humboldt.edu/ije/vol2/iss1/10 2 Arregi: Plastic Shamans Abstract The reality of colonialism plagues indigenous populations and continues into the present, generating new scenarios of oppression.
    [Show full text]