DOCSLIB.ORG

Daphne Odjigodjig the Art of a Firebrand Nettie Wiebe Why Food Is a Feminist Issue Homeless Women Who Is Listening?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daphne Odjigodjig the Art of a Firebrand Nettie Wiebe Why Food Is a Feminist Issue Homeless Women Who Is Listening? her-053 Spring 2011 v24n4.qxp 3/25/11 11:24 PM Page C1 QUEER PARK 5 TRAPS TO AFGHANISTAN: WRESTLING AVOID OVERSEAS WHAT NEXT? WOMEN’S NEWS & FEMINIST VIEWS | Spring 2011 | Vol. 24 No. 4 BUY CANADIAN DAPHNEDAPHNE ODJIGODJIG THE ART OF A FIREBRAND NETTIE WIEBE WHY FOOD IS A FEMINIST ISSUE HOMELESS WOMEN WHO IS LISTENING? $6.75 Canada/U.S. Publications Mail Agreement No. 40008866; Display until June 21, 2011 her-053 Spring 2011 v24n4.qxp 3/25/11 11:24 PM Page C2 INVEST IN PUBLIC SERVICES CAW Full Spring 11.indd 1 25/03/11 12:17 PM her-053 Spring 2011 v24n4.qxp 3/25/11 11:24 PM Page 1 SPRING 2011 / VOLUME 24 NO. 4 news CHILD-SEX TOURISM TARGET OF PUBLIC CAMPAIGN . 6 by Katie Palmer WHAT DO AFGHAN WOMEN WANT? . 7 Women in Afghanistan have little faith that their gains will hold at a time when their government has beckoned the Taliban to the negotiating table. What do women of the country want from countries like Canada? by Lauryn Oates QUEER PARK WRESTLING PINS HOPE ON ACCEPTANCE . 11 by Arwen Brenneman REBELLES WITH A CAUSE . 15 7 features FIELD OF DREAMS . 16 Herizons has an inspired chat with Nettie Wiebe, a food radical from Saskatchewan who just happens to be running for Parliament in the upcoming federal election. by Renée Bondy A ROOF OVER THEIR HEADS. 20 A May conference on homelessness among women will be the first of its kind in Canada. The author explores 20 the needs of homeless women and why they are unique in many cases, compared to men’s needs. by Victoria Bailey THE ART OF DAPHNE ODJIG . 24 Daphne Odjig has been radical in addressing issues of colonization, the displacement of Aboriginal peoples and the status of Aboriginal women and children, bringing Aboriginal political issues to the forefront of contemporary art practices and theory. by Jann L.M. Bailey 5 TRAPS TO AVOID VOLUNTEERING OVERSEAS . 32 Lofty ideals and a desire to change the world compel many people to volunteer their time overseas. However, it is difficult to keep one’s own privilege in check. Here’s a checklist of traps that volunteers working in developing countries often fall into. by Katie Palmer 16 HERIZONS SPRING 2011 1 her-053 Spring 2011 v24n4.qxp 3/25/11 11:24 PM Page 2 VOLUME 24 NO. 4 MAGAZINE INK MANAGING EDITOR: Penni Mitchell FULFILLMENT AND OFFICE MANAGER: Phil Koch ACCOUNTANT: Sharon Pchajek BOARD OF DIRECTORS: Phil Koch, Penni Mitchell, Kemlin Nembhard, Valerie Regehr EDITORIAL COMMITTEE: Gio Guzzi, Penni Mitchell, Kemlin Nembhard ADVERTISING SALES: Penni Mitchell (204) 774-6225 DESIGN: inkubator.ca RETAIL INQUIRIES: Disticor (905) 619-6565 PROOFREADER: Phil Koch COVER: Thunderbird Woman, by Daphne Odjig; 47 photo copyright Kamloops Art Gallery. arts & ideas HERIZONS is published four times per year by HERIZONS Inc. in MUST-HAVE MUSIC . 36 Winnipeg, Manitoba, Canada. One-year subscription price: $27.50 Sweet Vibration by Maiko Watson; Aam Zameen by Kiran plus $1.92 GST = $29.42 in Canada. Subscriptions to U.S. add $6.00. Ahluwalia; Let England Shake by PJ Harvey; Follow Your International subscriptions add $9.00. Cheques or money orders Bliss by Po’ Girl; We Kill Computers by The Pack A.D. are payable to: HERIZONS, PO Box 128, Winnipeg, Manitoba, CANADA R3C 2G1. Ph (204) 774-6225. SPRING READING . 38 SUBSCRIPTION INQUIRIES: [email protected] Fauna by Alissa York; I Still Don’t Even Know You EDITORIAL INQUIRIES: [email protected] by Michelle Berry; Ape House by Sara Gruen; The Second ADVERTISING INQUIRIES: [email protected] Trial by Rosemarie Boll; Thinandbeautiful.com WEBSITE: www.herizons.ca by Liane Shaw; Farmer Jane: Changing the Way We Eat HERIZONS is indexed in the Canadian Periodical Index and heard by Temra Costa; Pink Noises: Women on Electronic Music on Voiceprint. and Sound by Tara Rodgers; The Jagged Years of Ruthie J. GST #R131089187. ISSN 0711-7485. by Ruth Simkin; Gold Metal Diary by Hayley Wickenheiser; The purpose of HERIZONS is to empower women; to inspire hope Muslim Women Reformers by Iida Lichter; I Feel Great and foster a state of wellness that enriches women’s lives; to build About My Hands edited by Shari Graydon; Sex, Lies and awareness of issues as they affect women; to promote the Pharmaceuticals by Ray Moynihan and Barbara Mintzes. strength, wisdom and creativity of women; to broaden the bound- aries of feminism to include building coalitions and support among FILM REVIEW . 47 other marginalized people; to foster peace and ecological aware- ness; and to expand the influence of feminist principles in the The Maid world. HERIZONS aims to reflect a feminist philosophy that is Review by Maureen Medved diverse, understandable and relevant to women’s daily lives. JUSTICE BERTHA WILSON: Views expressed in HERIZONS are those of the writers and do not ONE WOMAN’S DIFFERENCE . 45 necessarily reflect HERIZONS’ editorial policy. No material may be by Debra Ostrovsky reprinted without permission. Due to limited resources, HERIZONS does not accept poetry or fiction submissions. HERIZONS acknowledges the financial support of the Government of Canada through the Canadian Periodical Fund (CPF) columns for our publishing activities. PENNI MITCHELL . 5 HERIZONS gratefully acknowledges the support of the Manitoba Arts Council. Let Them Eat Rice Publications Mail Agreement No. 40008866, Return Undeliverable LYN COCKBURN . 48 Addresses to: PO Box 128, Winnipeg, MB, Canada R3C 2G1, Email: Branding the Pope [email protected] Herizons is proudly printed with union labour at SUSAN G. COLE The Winnipeg Sun Commercial Print Division and Will be back next issue is printed on Forest Stewardship Council-certified paper. 2 SPRING 2011 HERIZONS her-053 Spring 2011 v24n4.qxp 3/25/11 11:24 PM Page 3 letters CHRYSLER CONDEMNED end up with two back hands One of Herizons subscribers shared her letter with us Put Anthrax on a Tampax and slap you till you after watching a commercial during the SuperBowl tele- can’t stand” cast. We thought readers would be interested in hearing how she registered her offence to Chrysler. I respectfully request that you remove Eminem from your advertisements immediately and apologize to your moth- Letter to: ers, sisters and daughters. Reid Bigland Let’s all take a stand against degradation and violence. President, Chrysler Group LLC CATHERINE LAKE Toronto, On I was saddened to see that Chrysler chose Eminem to embody the revitalized North American auto industry. A PORN AGAIN quick scan of your company history and current diversity Thank you for publishing the initiatives demonstrates an organization committed to the article “Porn Again” in the advancement of women and visible minorities. Winter 2011 issue. It was so In stark contrast to this image is Eminem. When you apropos to receive this in the choose him to represent your company, you have chosen mail just days after the unbe- to attach your products and image to misogyny and rape. lievable protest in Italy, in My tax dollars are helping to rebuild Chrysler. From which a million people across government websites I read that: “Of the $3.7 billion com- the country protested, among mitted to Chrysler by Canada and Ontario, $2.9 billion has other things, the image of been drawn upon to date. Chrysler emerged from bank- women in the Italian media. ruptcy protection on June 10, 2009. As additional Said one of the protest organizers, Ida Poletto: “Women consideration for providing loans to Chrysler, Canada and in this country are denigrated by the repeated, indecent Ontario received a 2 percent equity stake in the restruc- and ostentatious representation of women as a naked tured firm.” sexual object on offer in newspapers, television and And this is how you repay us? Shame on you. advertising. It’s intolerable.” Here is a very small sample of offensive lyrics, from I suggest that your readers check out Jane Caputi’s Eminem’s 2002 song, “Superman:” 2007 film The Pornography of Everyday Life, which “I’ll slap you off that barstool addresses the implications of having pornographized There goes another lawsuit images of women saturating everyday media. The film Leave handprints all across you also has the unique approach of illuminating the appropri- Good lordy wody you must be gone off that ation of traditional, sacred images of women by the water bottle pornography industry. You want what you can’t have Thank you for your excellent work! oh girl that’s too damn bad PENNY DARLING Don’t touch what you can’t grab Lake Worth, Fla contributors JANN L.M. BAILEY MAUREEN MEDVED Jann L. M. Bailey has been involved in Maureen Medved’s writing has been the contemporary art field for over 30 published in literary magazines and years. She organized A Legacy of Sur- her plays have been produced in Van- vival, the first public exhibition of the couver, Waterloo and Toronto. art of the Secwepemc Nation, B.C., and In 2007, Bruce McDonald directed is responsible for building one of Canada’s leading collec- Maureen’s screen adaptation of her novel, The Tracey tions of contemporary First Nations art. In 2005, she Fragments. Maureen is currently completing another co-curated Canada’s participation in the Venice Biennale novel. She teaches in the creative writing program at the with Vancouver-based artist Rebecca Belmore, the first University of British Columbia. Aboriginal woman artist to represent Canada. HERIZONS SPRING 2011 3 her-053 Spring 2011 v24n4.qxp 3/25/11 11:25 PM Page 4 CHANGE YOUR WORLD CHANGE YOUR LIFE Is your wish list for a better world too daunting? Volunteer overseas With the support of thousands of Canadians, Inter Pares is already doing all these things and much, much more.
Load more

Recommended publications
  • Aird Gallery Robert Houle
    ROBERT HOULE LOOKING FOR THE SHAMAN CONTENTS INTRODUCTION by Carla Garnet ARTIST STATEMENT by Robert Houle ROBERT HOULE SELECTED WORKS A MOVEMENT TOWARDS SHAMAN by Elwood Jimmy INSTALL IMAGES PARTICIPANT BIOS LIST OF WORKS ABOUT THE JOHN B. AIRD GALLERY ROBERT HOULE CURRICULUM VITAE (LONG) PAMPHLET DESIGN BY ERIN STORUS INTRODUCTION BY CARLA GARNET The John B. Aird Gallery will present a reflects the artist's search for the shaman solo survey show of Robert Houle's within. The works included are united by artwork, titled Looking for the Shaman, their eXploration of the power of from June 12 to July 6, 2018. dreaming, a process by which the dreamer becomes familiar with their own Now in his seventh decade, Robert Houle symbolic unconscious terrain. Through is a seminal Canadian artist whose work these works, Houle explores the role that engages deeply with contemporary the shaman plays as healer and discourse, using strategies of interpreter of the spirit world. deconstruction and involving with the politics of recognition and disappearance The narrative of the Looking for the as a form of reframing. As a member of Shaman installation hinges not only upon Saulteaux First Nation, Houle has been an a lifetime of traversing a physical important champion for retaining and geography of streams, rivers, and lakes defining First Nations identity in Canada, that circumnavigate Canada’s northern with work exploring the role his language, coniferous and birch forests, marked by culture, and history play in defining his long, harsh winters and short, mosquito- response to cultural and institutional infested summers, but also upon histories.
    [Show full text]
  • Chronology of Daphne Odjig's Life: Attachment #1
    Chronology of Daphne Odjig’s life: Attachment #1 Excerpt p.p. 137 – 141 The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition by Bonnie Devine Published by the National Gallery of Canada in collaboration with the Art Gallery of Sudbury, 2007 1919 Born 11 September at Wikwemikong Unceded Indian Reserve, Manitoulin Island, Ontario, the first of four children, to Dominic Odjig and his English war bride Joyce Peachy. Odjig’s widowed grandfather, Jonas Odjig, lives with the family in the house he had built a generation earlier and which still stands in Wikwemikong today. The family is industrious and relatively prosperous by reserve standards. Jonas Odjig is a carver of monuments and tombstones; Dominic is the village constable. The family also farms their land, raises cows, pigs, and chickens and owns a team of horses. 1925 Begins school at Jesuit Mission in Wikwemikong. An avid student, she turns the family’s pig house into a play school where she teaches local children to read and count. When they tire of her instruction she converts the play school into a play church and hears their confessions. The family is musical. Daphne plays the guitar; Dominic the violin. They all enjoy sing-a-longs and music nights listening to a hand-cranked phonograph. She develops a life-long love of opera singing. She is athletic and participates in the annual fall fairs at Manitowaning, the nearest off-reserve town, eight miles away, taking prizes in running and public speaking. Art is her favourite subject and she develops the habit of sketching with her grandfather and father, both of whom are artistic.
    [Show full text]
  • Indian Art in the 1990S Ryan Rice
    Document generated on 09/25/2021 9:32 p.m. RACAR : Revue d'art canadienne Canadian Art Review Presence and Absence Redux: Indian Art in the 1990s Ryan Rice Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Les années 1990 sont une décennie cruciale pour l’avancement et le Volume 42, Number 2, 2017 positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des URI: https://id.erudit.org/iderudit/1042945ar faits de cette période avec des détails fort nécessaires. Pensé comme une DOI: https://doi.org/10.7202/1042945ar historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont See table of contents suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la Publisher(s) communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle , du Musée d’art contemporain de Montréal, il UAAC-AAUC (University Art Association of Canada | Association d'art des V reste urgent de faire une analyse critique des préoccupations contemporaines universités du Canada) plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée. ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Rice, R.
    [Show full text]
  • Download Curriculum Vitae
    Dr. DAPHNE ODJIG C.M., O.B.C., R.C.A., L.L.B. Governor General’s Laureate, Visual & Media Arts 2007 Daphne Odjig is a Canadian artist of Aboriginal ancestry. She was born September 11,1919 and raised on the Wikwemikong Unceded Indian Reserve on Manitoulin Island (Lake Huron), Ontario. Daphne Odjig is the daughter of Dominic Odjig and Joyce Peachey. Her father and her grandfather, Chief Jonas Odjig, were Potawatomi, descended from the great chief Black Partridge. Her mother was an English war bride. The Odjig family was among the Potawatomi who migrated north and settled in Wikwemikong after the War of 1812. The Potawatomi (Keepers of the Fire) were members with the Ojibwa and Odawa, of the Three Fires Confederacy of the Great Lakes. Daphne passed away at age 97 in Kelowna, BC on October 1, 2016. Art Media: Oils, Acrylics, Silkscreen Prints, Murals, Pen and Ink, Pastels, Watercolours, Coloured Pencils Recent and Upcoming Exhibitions: Daphne Odjig: Four Decades of Prints Touring exhibition of limited edition prints organized by the Kamloops Art Gallery ❖ Kamloops Art Gallery, Kamloops BC, June 8 – Aug 31, 2005 ❖ Winnipeg Art Gallery, Winnipeg MN April 22 – July 16, 2006 ❖ Canadian Museum of Civilization , Ottawa January 18 – April 20, 2008 The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition Touring exhibition organized by Art Gallery of Sudbury and National Gallery of Canada ❖ Art Gallery of Sudbury, Sudbury ON September 15 – November 11, 2007 ❖ Kamloops Art Gallery, Kamloops BC June 8 – August 31, 2008 ❖ McMichael Canadian Art Collection, Kleinberg ON Oct. 4 , 2008 – Jan 4, 2009 ❖ Institute of American Indian Arts Museum, Santa Fe NM, June 26 – Sept.
    [Show full text]
  • Witnesswitness
    Title Page WitnessWitness Edited by Bonnie Devine Selected Proceedings of Witness A Symposium on the Woodland School of Painters Sudbury Ontario, October 12, 13, 14, 2007 Edited by Bonnie Devine A joint publication by the Aboriginal Curatorial Collective and Witness Book design Red Willow Designs Red Willow Designs Copyright © 2009 Aboriginal Curatorial Collective and Witness www.aboriginalcuratorialcollective.org All rights reserved under international copyright conventions. Published in conjunction with the symposium of the same title, October 12 through 15, 2007. Photographs have been provided by the owners or custodians of the works reproduced. Photographs of the event provided by Paul Gardner, Margo Little and Wanda Nanibush. For Tom Peltier, Jomin The Aboriginal Curatorial Collective and Witness gratefully acknowledge the financial support of the Canada Council for the Arts and the Ontario Arts Council Cover: Red Road Rebecca Belmore October 12 2007 Image: Paul Gardner Red Willow Designs Aboriginal Curatorial Collective / Witness iii Acknowledgements This symposium would not have been possible without the tremendous effort and support of the Art Gallery of Sudbury. Celeste Scopelites championed the proposal to include a symposium as a component of the Daphne Odjig retrospective exhibition and it was her determination and vision that sustained the project through many months of preparation. Under her leadership the gallery staff provided superb administrative assistance in handling the myriad details an undertaking such as this requires. My thanks in particular to Krysta Telenko, Nancy Gareh- Coulombe, Krista Young, Mary Lou Thomson and Greg Baiden, chair of the Art Gallery of Sudbury board of directors, for their enthusiasm and support.
    [Show full text]
  • Understanding Aboriginal Arts in Canada Today ______
    Understanding Aboriginal Arts in Canada Today ___________________________________________________________________________________________________ A Knowledge and Literature Review Prepared for the Research and Evaluaon Sec@on Canada Council for the Arts _____________________________________________________________________________________________________________ FRANCE TRÉPANIER & CHRIS CREIGHTON-KELLY December 2011 _____________________________________________________________________________________________________________ For more information, please contact: Research and Evaluation Section Strategic Initiatives 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566‐4414 / (800) 263‐5588 ext. 4261 [email protected] Fax (613) 566‐4430 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Cette publication est aussi offerte en français Cover image: Hanna Claus, Skystrip(detail), 2006. Photographer: David Barbour Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review ISBN 978‐0‐88837‐201‐7 TABLE OF CONTENTS ACKNOWLEDGEMENTS! 3 RESEARCH METHODOLOGY! 4 Why a Literature Review?! 4 Steps Taken! 8 Two Comments on Terminology! 9 Parlez-vous français?! 10 The Limits of this Document! 11 INTRODUCTION! 13 Describing Aboriginal Arts! 15 Aboriginal Art Practices are Unique in Canada! 16 Aboriginal Arts Process! 17 Aboriginal Art Making As a Survival Strategy! 18 Experiencing Aboriginal Arts! 19 ABORIGINAL WORLDVIEW! 20 What is Aboriginal Worldview?! 20 The Land! 22 Connectedness!
    [Show full text]
  • Canadian Women Artists History Initiative
    IMAGINING HISTORY: THE SECOND CONFERENCE OF THE CANADIAN WOMEN ARTISTS HISTORY INITIATIVE MAY 3-5, 2012 Concordia University, Montreal Conference Program 2012 Thursday 3 May 16h00 - 16h30 Registration (outside MB S2.210) 16h30 - 18h15 Welcoming Remarks (MB S2.210) Catherine MacKenzie (Department of Art History, Concordia University) Kristina Huneault (Department of Art History, Concordia University) Keynote address Individual Lives, Collective Histories: Representing Women Artists in the Twenty- First Century Mary Sheriff, W.R. Kenan, Jr. Distinguished Professor University of North Carolina at Chapel Hill 18h15 - 19h30 Reception (EV 3.741) Friday 4 May 08h30 - 16h00 Registration (EV 3.725 Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art) 09h00 - 10h30: BLOCK A STRAND ONE: METHOD Retelling Feminism I: Theory and Narrative (EV 1.605) Moderator: Susan Cahill (Nipissing University) Ordinary Affects: Folk Art, Maud Lewis and the Social Aesthetics of the Everyday, Erin Morton (University of New Brunswick) Are We There Yet? Critical Thoughts on Feminist Art History in Canada, Kristy A. Holmes (Lakehead University) Gendering the Artistic Field: The Case of Emily Carr, Andrew Nurse (Mount Allison University) STRAND TWO: HISTORY By Album, Print and Brush: Early Canadiana (EV 3.760) Moderator: Anna Hudson (York University) Louise Amélie Panet (1789-1862), Caricature and Visual Satire in Lower Canada, Dominic Hardy (L’Université du Québec à Montréal) Decoding a Victorian Woman’s Album: A Case Study in the Reading of Autobiography,
    [Show full text]
  • Presented to the Faculty of Graduate Studies University of Manitoba In
    DEVELOPMENT OF AN ACTIVITY AND APPRECTATION ART CURRTCULUM FOh NATIVE STUDENTS IN JUNTOR HIGH SCHOOLS A Thesis Presented to the Faculty of Graduate Studies University of Manitoba In Partial Fulfillment of the Requirements for the Degree Master of Education by Dennis Gordon Siemens April t.974 ABSTRACT 1/ca¡ni¿s Problem This study was meant to provide the opportunity for Native children to gaJ-n knowledge and skills in the traditional Native craft of beading and also to provide an opportunity for them to become cognizant of the work and lives of some contemporary Canadlan Indian artists. Thís was done through the development and testing of two units of art and craft curriculum material: an activity unit which dealt with the history and skil1 of beading; an appreciation unit which dealt with critical evaluation and appreciation of paintings by eight Canadian Indian Painters. It was hypothesized that, based on the nul1 hypo- thesis, there would be no significant difference in the pre and post tests to both the activity and appreciation unjts. In addition, questions were raised concerningr certain affective aspects of the instruction. Procedure Two classes of grade seven students from the Joseph Burr Tyrell School in Fort Smith, Northwest Terri- tories constituted the sample for the study. All the students received instruction in both units of the curriculum. An audiovisual approach was used in both units and the acl,ivil-y uniL also j-ncl-ucled a work periocl during which exploration and manj-pulation of materials was encouraged. The scores of the pre and post tests when applied to a trt' test indicated a level of significance well i beyond that required by the hypotheses, alloviing their rejection.
    [Show full text]
  • A Celebration of Indigenous Culture at Seneca
    A CELEBRATION OF INDIGENOUS CULTURE AT SENECA Looking Forward Through The Past 50 Years Niigaa Ninaabying Kenmaag Gaabishizhewbaak Ehko Naanmidnazaa Boongaadong A CELEBRATION OF INDIGENOUS CULTURE AT SENECA Looking Forward Through The Past 50 Years Niigaa Ninaabying Kenmaag Gaabishizhewbaak Ehko Naanmidnazaa Boongaadong 1 Copyright © 2017 by Seneca Press CONTENTS All rights reserved. No part of this work may be reproduced or used in any form or by any means, electronic or mechanical, including photocopy- 4 INTRODUCTION ing, recording, or any retrieval system, without the prior written permission of the publisher. 10 CHAPTER 1: INDIGENOUS STAFF AND STUDENTS Book jacket and page design by Lily Nguyen. 20 CHAPTER 2: INDIGENOUS ALUMNI 32 CHAPTER 3: INDIGENOUS FASHION 42 CHAPTER 4: TRADITIONAL DANCE 52 CHAPTER 5: INDIGENOUS ARTWORK 72 CHAPTER 6: THE LAND 86 CHAPTER 7: THE FUTURE 90 ACKNOWLEDGEMENTS senecacollege.ca/createPRESS SENECASeneca@York Campus 70 The Pond Road Toronto, ON M3J 3M6 SENECAPRESS 2 3 INTRODUCTION Hand Drum (Anishinaabe), 2005, pictured throughout Rawhide over a wooden rim, with seven grandfather teachings painted in acrylic On October 15, 2015 a traditional welcoming ceremony was held at the Newnham campus to celebrate the installation of a traditional Indigenous tipi. In attendance was Hon. David Zimmer, Ontario Minister of Indigenous Relations and Reconciliation, who joined Seneca President David Agnew in signing the provincial Protocol Agreement. 4 5 FOREWORD BY LAUREL SCHOLLEN 2017-18 marks the 50th anniversary of Although the First Peoples office is a service, it Seneca and the Ontario college system. During really is a family for many of the students who the year, we will celebrate Seneca, our students, come from communities at great distances graduates and employees and reflect on our from the college.
    [Show full text]
  • ON the SHORES of ODOONABII-ZIIBI:Anishinaabe Art
    ON THE SHORES OF ODOONABII-ZIIBI: Anishinaabe Art from the Trent University Art Collection Curated by Jon Lockyer ogojiwanong (“the place at the end of has, through the dedicated work of considerable gaps in the collection’s representation of While Morrisseau the rapids”), known by its colonial name – Indigenous community members, Anishinaabe art practices. Most notably the collection, came to popularize NPeterborough – is the traditional home of the become a renowned centre for and by extension this exhibition, does not include work the Woodlands Anishinaabe people.1 The Anishinaabe as a collective Indigenous intellectual thought by Anishinaabe women. This is a glaring omission given style, the Kakegamic people are composed of the Algonquin, Mississauga, and cultural production across the the importance of Daphne Odjig, Rebecca Belmore, brothers (Goyce, Nipissing, Ojibwe (Chippewa), Odawa (Ottawa), country. Bonnie Devine, and Maria Hupfield, among others, to not Josh, and Roy), and Potawatomi and Saulteaux nations. Sites such as only the development of Anishinaabe art practices, but their founding of the This extends beyond the Petroglyphs Provincial Park and Serpent Mounds contemporary art in Canada more broadly. Their work Triple K Co-operative Kakegamic Roy classroom setting. In the 50 Park are evidence of the continuous occupation of has been invaluable to their respective communities, as Inc. allowed for Anishinaabe artists to produce high years since Trent University’s the land by Indigenous peoples, and hold cultural well as the raising of a consciousness around the work of quality prints of their work, allowing them greater founding, the institution has significance to contemporary Anishinaabe peoples Anisihinaabe artists.
    [Show full text]
  • LAND & INDIGENOUS WORLDVIEWS Through the Art of NORVAL
    TEACHER RESOURCE GUIDE FOR GRADES 9–12 LEARN ABOUT LAND & INDIGENOUS WORLDVIEWS through the art of NORVAL MORRISSEAU Click the right corner to LAND AND INDIGENOUS WORLDVIEWS NORVAL MORRISSEAU through the art of return to table of contents TABLE OF CONTENTS PAGE 1 PAGE 2 PAGE 3 RESOURCE WHO WAS NORVAL TIMELINE OF OVERVIEW MORRISSEAU? HISTORICAL EVENTS AND ARTIST’S LIFE PAGE 4 PAGE 8 PAGE 11 LEARNING CULMINATING HOW NORVAL ACTIVITIES TASK MORRISSEAU MADE ART: STYLE & TECHNIQUE PAGE 12 READ ONLINE DOWNLOAD ADDITIONAL NORVAL MORRISSEAU: NORVAL MORRISSEAU RESOURCES LIFE & WORK IMAGE FILE BY CARMEN ROBERTSON EDUCATIONAL RESOURCE LAND AND INDIGENOUS WORLDVIEWS through the art of NORVAL MORRISSEAU RESOURCE OVERVIEW This teacher resource guide has been designed to complement the Art Canada Institute online art book Norval Morrisseau: Life & Work by Carmen Robertson. The artworks within this guide and images required for the learning activities and culminating task can be found in the Norval Morrisseau Image File provided. Anishinaabe artist Norval Morrisseau (1931–2007) is considered by many to be the Mishomis, or grandfather, of contemporary Indigenous art in Canada. He is known for creating a distinctive style of painting that came to be known as the Woodland School, and for addressing a wide range of themes in his work, from spiritual beliefs to colonial history. Throughout his career, he explored ways of thinking about the land, and many of his most famous paintings emphasize the idea of land as a relation; Morrisseau believed that people live in relationship with animals, plants, the earth, and the spiritual world, a conviction shared by many Indigenous communities.
    [Show full text]
  • Mcmichael Magazine ISSN 2368-1144 from the Mcmichael Canadian Art Collection of Contemporary Northwest Coast Art Transforming Spirit: the Cameron/Bredt Collection
    ISSUE THREE | SUMMER & FALL 2015 2015 ISSUE THREE | SUMMER & FALL McMichael Magazine ISSN 2368-1144 ISSN From the McMichael Canadian Art Collection CAN $4.95 of Contemporary Northwest Coast Art Coast Northwest Contemporary of Collection Spirit: The Cameron/Bredt Transforming 7: Professional Native Indian Artists Inc. Frank (Franz) Johnston Thom Sokoloski McMichael Magazine / I Board of Trustees From the Permanent Collection On the Cover Upkar Arora, Chair Joan Bush Don Yeomans (b. 1958), Bear Peter Carayiannis Mask (detail), 2009, red cedar, Tony Carella paint, 99.4 x 61.5 x 31.8 cm, Gift Andrew Dunn Diana Hamilton of Christopher Bredt and Jamie Anita Lapidus Cameron, McMichael Canadian Linda Rodeck Art Collection, 2014.6.49 John Silverthorn Tina Tehranchian Michael Weinberg Diane Wilson Rosemary Zigrossi Ex-officio Victoria Dickenson Executive Director and CEO Guests Meegan Guest, Director-in-Training Jane Knop, Director-in-Training Christopher Henley, Foundation Chair Maurice Cullen (1866–1934), Chutes aux Caron, c. 1928, Geoff Simpson, Volunteer Committee President oil on canvas, 102.3 x 153 cm, Gift of Mrs. Janet Heywood, McMichael Canadian Art Collection, 2003.1 McMichael Canadian Art Foundation Board of Directors Christopher Henley, Chair Victoria Dickenson, President David Melo, Treasurer Upkar Arora Jordan Beallor Isabella Bertani Mark Bursey Doris Chan Susan Hodkinson Iain MacInnes Doug McDonald McMichael Honorary Council The McMichael Vision Harry Angus John Bankes H. Michael Burns To be recognized as an extraordinary Jamie Cameron Robert C. Dowsett Jan Dymond place to visit and explore Canadian culture Dr. Esther Farlinger, O.Ont George Fierheller, C.M. and identity, and the connections between Hon.
    [Show full text]