Alberta Native News - Digital Edition - May, 2018

Volume 35 Number 05 May, 2018

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Cover art: by Ron Disbrowe. See article on page 2.

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Alberta Native News

Our cover artist: Ron Disbrowe

by John Copley As a young Métis man Ron Disbrowe wanted to pursue an artistic career but peer pressure and the need to make an immediate living forced him to give up his childhood dream. However, just after turning 31 years of age he consulted with this wife and then made a life-changing decision - he was going to pursue the future he always dreamed about. From that very moment on, Ron’s penchant for creating art would no longer be stifled; he immediately began to put paint to canvas.

“Of course, I did get a lot of encouragement from my brother, who is also an artist,” explained Disbrowe, a 48year-old Edmonton resident who grew up in rural Alberta.

“I worked at other jobs but always took the time to check out the artwork that others were creating. When I began painting and realized that other people enjoyed my work I knew I’d finally found what I truly wanted to do in life. I love working with my hands; it’s very important to me.”

Disbrowe also enjoys carving and participating in other building projects, especially when practicality depends on it. But he is a stickler for detail.

“I’ve built chairs, porches and tables and even the first home we (he and wife Christine) lived in when we got married 25 years ago,” he explained. “I enjoy carving but my first love is painting. I love detail and you get a lot of that in a good carving but it’s difficult to work with. You need an environment that accepts dust better than a basement or garage; not only that but the medium is quite expensive and there’s quite a bit more waste involved. I find that I can capture the detail I am looking for with acrylic on canvas, whether it’s a bird in the air, a deer on the run or the thick fur on a moose’s neck as he stands in the cool winter air.”

Disbrowe grew up fishing and trapping and hunting for food and as a result has a great love for the outdoors and the creatures who call the wilderness home. Nature scenes are natural to him.

“I do like to show my audience the true nature of the wilderness,” he noted. “Art is special in that it allows you to use colours to express the mood or feeling of the moment you are about to capture. Soft colours can soothe

you, intense colours can provoke you; you can get a lot of feeling from colour and it can easily reflect the mood you are trying to create on canvas. Paintings tell stories and are able to capture every season from spring to winter and every emotion from sadness to heighten joy. Paintings allow every person who views them an opportunity to learn, to discover and to grow. Every person who views a piece of art with an open mind will see something different, learn something new, maybe even something about themselves.”

As he began to establish himself in the world of art, Ron Disbrowe, who then lived in Thompson, Manitoba, went to work (2003-2011) for Marcia Carroll, owner of Precambrian Art Centre, which has since closed its doors. In 2010 the Precambrian collected more than $630,000 in a sealed bid art auction with the proceeds going to Port in the Storm or as it is also called, A House of Hope - a project that builds affordable accommodations for rural Manitobans forced to remain in Winnipeg for medical care.

“Marcia is an absolutely wonderful person who taught me just about everything I know when it comes to art and artists and creating pieces that matter,” Disbrowe assured. “From framing to cutting glass to buying and selling art - even business ethics and professionalism; she is very passionate about art and the gifted artisans she works with. The art business isn’t an easy undertaking; in fact it’s a specialized field that can only be conquered by honest, strong-willed, intelligent and caring owners.”

Disbrowe said that since the day he decided to pursue art full time, he hasn’t been disappointed. He works hard to attract his clientele but also counts on social media and word-of-mouth to get the word out. He takes on commission contracts and has worked with both agencies and individual organizations to create meaningful art for special occasions, gift-giving and awards of appreciation.

“If you want to make it in life - no matter what you choose to do for a living, you have to work for it. You have

May, 2018

to put your nose to the grindstone and make it happen. Nothing just comes to you; even if do have you something fall into your lap it’s not because y o u were

Artist Ron Disbrowe

watching TV - it’s because you were in the right place at the right time. I don’t participate in as many trade fairs, art shows and seasonal sales exhibits as I once did when first establishing my name, but I do pursue business every day and have completed many projects within Alberta’s First Nations and Métis communities.”

Disbrowe continues to create logos and other items for Indigenous groups, organizations and businesses and recently finished one for the Alberta Métis Friendship Centre in Lac La Biche.

Continued on page 3

May, 2018

Alberta Native News

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Li Salay explores the shifting boundaries of Métis art

by John Copley Art lovers in Edmonton are in for a real treat because the Art Gallery of Alberta (AGA) will be showcasing a new exhibition – Li Salay - that focuses on work created by Métis artists from across the country.

The exhibit opens with a fascinating symposium on May 25 and 26. There is no charge for the symposium but space is limited so tickets must be reserved through the website youraga.ca/lisalay.

The symposium begins on May 25 from 5 -7 p.m with a discussion about the depth and breadth of Métis art practices represented in the exhibit, followed by an opening reception on the ground floor of the AGA at 7:30 p.m. The symposium continues the next day from 11:30 a.m. until 1:30 p.m. Moderator Dr. Erin Sutherland and guest panelists Cathy Mattes, MJ Belcourt Moses, Dr. Sherry Farrell Racette and Marilyn Dumont will speak about Métis artists and their contributions to the Canadian art community. Discussion among the panelists will focus on the representation and lack of representation of Métis art and they will present critical dialogues that will continue beyond the context of Li Salay.

The Sun exhibition, or as it is known in the Michif language Li Salay, was inspired by an extensive and intensive cross-country research expedition carried out in 2016 and 2017 by co-curators, Amy Malbeuf and Jessie Ray Short. During their two-year mission the two met with more than 40 Métis artists. Their research revealed the emergence of common and often intersecting themes in the artists’ work, including kinship, labour, the body and land.

In a summary, they noted: “An eclipse or a cloudy day may present an incomplete or partial vision of the sun.

Similarly, Métis people are largely partially visible and partially understood within the cultural fabric of

Ron Disbrowe

cont. from p 2

His work can be found in private collections and on the walls of business and professional corporations.

His art is available for purchase through his Facebook page - it can be found by entering: Beautiful Wildlife Art and Crafts. You’ll find a selection of his art as well as a beautiful painting by their daughter Nadine and a stunning bear carving by their eldest son, Melbourne.

Some of Disbrowe’s paintings are also available at the Bearclaw Gallery in Edmonton.

"Ron Disbrowe came to the gallery several years ago,” noted Jackie Bugera, owner of Bearclaw Gallery. “I was immediately struck by the articulate brush strokes and moody quality of his work. Not only do the animal figures appear almost three dimensional, but sometime I almost hear them telling their story."

Disbrowe strongly believes in both God and karma,

Canada. Li Salay acknowledges Métis people as always present and always whole, although they are often perceived as being partial. Métis art is often invisible due to being subsumed under broader notions of Indigenous art, leaving no space to be defined within its own context. Li Salay will examine the shifting boundaries of contemporary Métis artistic practice in an exhibition curated by and comprised of Métis artists.”

“The Li Salay exhibition, which opens with a special two-day Symposium,” explained AGA Marketing Coordinator, Lexi Pendzich, “will feature new work by 13 Métis Canadian artists. The exhibition will include art by Lori Blondeau, Katherine Boyer, Dayna Danger, Rosalie Favell, Gabrielle L’Hirondelle Hill, Casey Koyczan, Tim Moore, Audie Murray, Sheri Nault, Sherry Farrell Racette, Les Ramsay, Jewel Shaw and Amanda Strong.”

Li Salay is described by the AGA as “the first survey exhibition of Métis art presented at a large public art museum, and a 2-day Symposium that explores the importance of making space for dialogues exploring Métis art.”

If you are interested in art and Métis culture you’ll want to participate on May 25-26 by joining the Métis artists, curators, writers and academics who are participating in critical conversations on the current state of Métis art, understandings around material culture and themes surrounding their individual practices in a context of Métis art as well as their motivations and inspirations in participating in this unique exhibition of work. In conjunction with the symposium, an unprecedented exhibition of Métis art presented at a major institution, invites Métis artists to contextualize their work.

Both of the women curating his unique exhibition are experienced and educated professionals who bring a great

deal of knowledge to every artistic venue they participate in. Amy Malbeuf is a Métis visual artist from Rich Lake, Alberta. Through utilizing mediums such as caribou hair tufting, beadwork, installation, performance, and video, Malbeuf explores notions of identity, place, language, and ecology. She has exhibited her work nationally and internationally in over forty shows at such venues as Art Mûr, Montréal, Winnipeg Art Gallery; Museum of Contemporary Native Arts, Santa Fe; and Pataka Art & Museum, Porirua, New Zealand.

Jessie Ray Short is an artist, filmmaker and independent curator whose cross disciplinary practice involves memory, visual culture and Métis history. In the past 10 years she has exhibited work nationally and internationally at venues including The Banff Centre for the Arts, M:ST Performative Arts Festival, Calgary AB, and at the Wairoa Māori Film Festival in New Zealand.

The Art Gallery of Alberta, located at 2 Winston Churchill Square in downtown Edmonton, is a centre of excellence for the visual arts in Western Canada, connecting people, art and ideas. Li Salay is on exhibit from May 26 - Sept. 9, 2018. For details see youraga.ca/lisalay or call 780-425-5379.

noting that his life took a dramatic turn for the better after he let his honest nature get the better of him.

“I had just completed a project for a local First Nation Chief,” he chuckled, “and when we walked into the main office he nodded to the accountant and told him to ‘cut a cheque for six.’ I was quite taken back when I left the office and opened the envelope to find a cheque made out to me for $6,000. It felt so good - wow! that’s a lot of money. But I quickly realized that I wasn’t actually getting a fifty-four-hundred-dollar tip added to the $600 we’d agreed upon. I turned around and went back in. The accountant gave me a great big hug of thanks. Since that day, good luck has fallen across my path and though it

took quite a few years to accomplish, I eventually did earn a cheque for $6,000 and yes, it certainly did feel very, very good.

“There are a lot of people I know who are not doing what they love; unfortunately, it’s usually because of a lack of money,” Disbrowe mused, noting that “since I first decided to trust in my art as a full-time thing, our lives have never been happier. We took a chance and we might still be poor but we believe in the future and we are doing what we love to do. More importantly, we haven’t failed.

We don’t want to go to the grave doing something we never liked in the first place.”

Visit Facebook / Beautiful Wildlife Arts & Crafts.

Our Lady of Laughter by Sherry Farrell Racette is part of Li Salay at AGA: May 26-Sept 9.

Free AGA admission Tuesdays & Wednesdays 5-8 pm

Featuring new work by 13 Métis artists from across Canada Li Salay examines the shifting boundaries of contemporary Métis artistic practice.

Including works by Lori Blondeau, Katherine Boyer, Dayna Danger, Rosalie Favell, Gabrielle L’Hirondelle Hill, Casey Koyczan, Tim Moore, Audie Murray, Sheri Nault, Sherry Farrell Racette, Les Ramsay, Jewel Shaw, Amanda Strong.

Curated by Amy Malbeuf and Jessie Ray Short. Organized by the Art Gallery of Alberta.

Exhibition opens May 26 | Symposium May 25 & 26 youraga.ca/LiSalay Dayna Danger, Bebeschwendaam (video still), 2017. Video. Courtesy of the artist and PDA Projects.

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Alberta Native News

May, 2018

New agreement protects Indigenous trapping The province has signed a Memorandum of Understanding establishing the Alberta Treaty 8 Trappers Association as the authority for administering, managing and preserving traplines within the traditional territory of Treaty 8.

The Alberta government is supporting the association with $275,000 in funding for administration, buying fur and a youth trapper training program, as well as a membership drive and promotion.

“Our government recognizes the traditional, historical and cultural significance of trapping to First Nations in Alberta,” stated Alberta Premier Rachel Notley. “This new framework supports Indigenous self-determination and will ultimately ensure that Indigenous trappers in Treaty 8 territory can preserve their traplines.”

The Memorandum of Understanding embodies principles outlined in the United Nations Declaration on the Rights of Indigenous Peoples (UNDRIP), including Indigenous self-determination, promotion and protection of cultural traditions and values.

“I am very happy to see our efforts over the years come to fruition,” remarked Elder Mike Beaver, president of the Alberta Treaty 8 Trappers Association. “The Memorandum of Understanding creates an opportunity to establish a body that understands and respects the integral role of hunting and trapping that defines our identities as Indigenous people, and this is very significant.”

The memorandum that the ensures association has first right of refusal should an member’s association trapline become vacant.

Additionally, Alberta will notify the association when non-member traplines become vacant within the territory of Treaty 8.

“We are excited to see this MOU signed off between Alberta and the L-R: Elder Mike Beaver, Minister Feehan, Elder Harry Lawrence, Elder Gordon 8 Trappers Treaty Courtoreille, Premier Notley and Grand Chief Isaac Laboucan-Avirom announce a Association,” added MOU to protect Indigenous traplines in Treaty 8 (AB) Territory.

Treaty 8 First Nations of Alberta Grand Chief Isaac Laboucan-Avirom, “as this issue was mainly led by our working relationships between Indigenous trappers across Elders and land users within Treaty 8 territory. Their main northern Alberta First Nations communities and the concern was the loss of their historical traplines and the Government of Alberta.

Membership in the association costs $35 annually and is impacts that industry has on traditional territories to some open to any Albertan. The Alberta Treaty 8 Trappers of their Treaty rights, especially trapping, hunting and is led by a 10-member board that has been Association gathering. The Treaty 8 Chiefs have supported these appointed to take the lead on behalf of Treaty 8 trappers to efforts for many years.” develop the association and work on this MOU. The MOU also provides options for collaborative

Video explores firearms licencing from an Indigenous Perspective (Edmonton) – For Indigenous people, hunting is an integral part of family and community life and identity.

BearPaw Media Productions, a department of the Provincial Indigenous agency, Native Counselling Services of Alberta, is proud to present a new video

entitled Laws of the Land: Firearms Licencing.

This video explores the traditional right of Indigenous peoples to hunt and firearms licencing requirements in Canada.

Today, Canadian law requires that anyone in possession

of a non-restricted firearm needs to have a Possession and Acquisition Licence (PAL). Laws of the Land: Firearms Licencing provides information about the process of obtaining a firearm licence for adults and minors, and shows how Indigenous Rights and Canadian Law can walk side-by-side in the name of safety.

Featuring quotes from the late Harold Cardinal, teachings from Cree Ceremonialist Fred Campiou and information from the RCMP-firearms program, this 16 min video is an excellent training and teaching tool for individual, school curriculum or community use.

To view the video visit bearbpaweducation.ca/videos.

May, 2018

Alberta Native News

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Ancestors and Elders explores shared history and traditions

by John Copley The world premiere dance performance of Ancestors and Elders, concluded in Edmonton’s Jubilee Auditorium on April 28. This spectacular performance highlighted the coming together of Ukrainian and Indigenous cultures in a memorable evening that featured the Ukrainian Shumka Dancers and the Running Thunder Dancers, led by the well known performer, Adrian LaChance.

“The weight of Truth and Reconciliation is difficult for most of us,” remarked Darka Tarnawsky, the Executive Director of Edmonton-based Ukrainian Shumka Dancers & Shumka School of Dance in her welcoming address.

“What can we do? How can we possibly help? Telling this story of mutual respect and support that acknowledges the truth and celebrates our cultures collectively and collaboratively, is but one step in the healing process.

Ancestors and Elders will have a long life beyond these performances. Its message must continue to be told. We

are all human. We all have the same needs and wants. We wish to be loved and supported. We want to create and celebrate. We can do this together.”

Ancestors and Elders is a compilation of two years of work, an effort that began with a vision and grew into a meaningful and exciting Co-directors Barry Bilinsky and Joseph Hoffman way in which two cultures came together to help further the Canadian in this case, mostly from the Cree Nation.” public’s quest for reconciliation.

The project, he noted, “started out as a look at Ukrainian “It’s been an exciting journey,” noted Co-Director Barry in Canada, what it entails and how did it play a settlement Bilinsky, speaking to media hours before the first role in the interaction with Indigenous peoples. It opened performance took place. “As a philosophy, Ancestors and up a whole dialogue and a study to find out what our roles Elders is about two magnificent traditions coming in relation to one another and why these two dance were together - Ukrainian dance tradition, Shumka and all of the history that comes with powwow and Indigenous heritage, Continued on page 7

Celebrate Indigenous Day Live Indigenous Day Live, formerly Aboriginal Day Live, has been delighting audiences since 2007. It is the largest national celebration in recognition of National Indigenous Peoples Day. This event features some of the biggest names in Indigenous music and television, including JUNO Award winners and on-the-rise artists. It showcases talent from all genres, regions and nations, ensuring the recognition and inclusion of all First Nations, Inuit and Métis Peoples.

The first show debuted in a park outside the network’s headquarters in downtown Winnipeg and then moved to the historical Forks site in Winnipeg, MB. The celebration evolved to include twin stage performances from different locations across the county, including Yellowknife, Whitehorse, Ottawa, Regina, Iqaluit, Halifax, Edmonton, Montréal and Vancouver.

Indigenous Day Live has grown year to year and continues to expand its grassroots reach to Indigenous communities across the country. Join the 2018 gathering and celebrate Indigenous cultures with APTN’s

Indigenous Day Live in three cities – Winnipeg, Toronto and Ottawa. Visit IndigenousDayLive.ca.

There are a wide range of daytime celebrations and activities for the whole family in each of he host cities followed by an evening concert (7:30 p.m. to 10:30 p.m.).

For those who can't make the event, the concert will also air on APTN 7 p.m. – 12 a.m. ET. There will be numerous National Indigenous Peoples Day celebrations in small and large communities across the country. Check with your nearest Friendship Centre or government tourism office to find the closest one to you and then be sure to participate.

Meanwhile, all Canadians are invited to join the APTN Indigenous Day Live celebration via a live 5-hour TV broadcast, participating radio stations and online.

National Indigenous Peoples Day was formerly known as National Aboriginal Day. Last year on National Aboriginal Day Prime Minister Justin Trudeau issued a statement that out of respect for the Indigenous Peoples of Canada the day would be renamed National Indigenous Peoples Day. The 2018 summer solstice celebration will mark this change as a move forward and together in the spirit of reconciliation.

National Indigenous Peoples Day is a day for all Canadians to recognize and celebrate the unique heritage, diverse cultures, and outstanding achievements and contributions of First Nations, Inuit and Métis Peoples.

The original National Aboriginal Day was first celebrated on June 21, 1996, after being recognized through a proclamation by then Governor General Roméo LeBlanc.

Each year more and more Canadians celebrate the day, which also reflects an increased understanding, awareness and appreciation of the important role that Indigenous People have on the fabric of life in Canada.

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Alberta Native News

May, 2018

Bigstone Cree Nation seeks repatriation of artifacts “No Government Grants” Publication Mail Agreement No. 40050628 Return Undeliverable Canadian Addresses to: Circulation Department: Suite A, 10632 124 Street NW Edmonton, Alberta T5N 1S3 E-mail: nativenews@telus.net Tel: (780) 421-7966 Fax: (780) 424-3951

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by John Copley The Bigstone Cree Nation and the Bigstone Cree Empowerment Society (BCES) have been working hard this year to have culturally relevant artifacts returned to the community from their current resting place in the Edmonton-based Royal Alberta Museum (RAM). To enhance the success of that effort they have just completed a refurbishing and renovation project Travis Gladue-Beauregard with former Bigstone Chief Romeo Cardinal that has turned a former band office and Wabasca Elder Mike Beaver into a new museum. Most (2/3) of the funding for the near-$100,000 renovation project came via the Bigstone Cree Nation’s ourselves, but for every Indigenous community and nation trust fund; the balance came from the Municipal District in Alberta,” he stressed. “Repatriation definitively falls in line with reconciliation and we are confident that by of Opportunity.

President of the Wabasca and Area Museum Society, working together with government and the Royal Alberta Elder Mike Beaver and members of his team met with Museum we will soon have our artifacts returned home.”

Support in the community and within other Indigenous RAM last month; the mission was to secure a deal that has been strong; area politicians including communities would see a number of artifacts returned to the community Fort McMurray/Cold Lake MP David Yurdiga have on a long-term loan basis. A permanent transfer down the endorsed the work being done by the BCES. road would be possible if the building that houses the In May, 2016 Alberta introduced Bill 22, An Act to artifacts is equipped with the necessary housings or Provide for the Repatriation of Indigenous Peoples’ casings required for permanent protection against the Ceremonial Objects.

Sacred elements.

This was called “the first step in helping to ensure that “It is important to have these items returned to the all Indigenous communities will be able to reclaim sacred community,” assured Elder Beaver. “It will be good for ceremonial objects in provincial collections.” the people and important to the community; there is a lot Bill 22, the RAM and Calgary’s Glenbow Under of history behind those items.”

Museum have returned numerous artifacts to the “There’s a long history on a wide range of the objects Blackfoot, Siksika and Blood Nations in southern Alberta. we are seeking to have returned by the museum,” noted Gladue-Beauregard said items don’t have to be BCES President Travis Gladue-Beauregard, in a recent considered sacred or ceremonial to be intricate and interview. “For example, some of the artifacts in question important objects with significant cultural and traditional were acquired from Bigstone members that were former value.

He wants to ensure that repatriation of artifacts isn’t patients at the Charles Camsell hospital. The background relegated to specific items only, especially when there are and history of these objects is quite diversified. We are so many important and meaningful artifacts that don’t fall currently working with the provincial government under the ceremonial or sacred banner. because the responsibility for the RAM falls under its “This isn’t about picking fights or laying blame,” he jurisdiction. At this time there is no repatriation legislation said.

“It’s about reconciliation and repatriation, it’s about in place and the rules that govern these issues are outdated compromise and working together - if we can’t do that and no longer valid. What I hope to see is for the Notley then we’ve really got more growing up to do. I don’t have government to introduce a Repatriation Act; at the any issues with RAM, in fact I am grateful to them. They moment we have to go through a loan process. A go through the loan process and like us, they follow the repatriation act would enable the Métis, Inuit and First rules they are governed by.

I am grateful to the RAM for Nations in Alberta to have returned to them what is meeting with us but at the same time I do think we need rightfully theirs. It doesn’t really matter how an artifact more provincial and federal involvement as far as was acquired - where it was taken, bought or traded, there implementing a National Repatriation Act goes. still needs to be the formation of a repatriation act because “We need an Act that will apply fairly and evenly to all these artifacts are culturally and spiritually important to First Nations, Métis and Inuit; an artifact considered our people, to our communities. These artifacts can sacred by the Blackfoot might not have any relevance to highlight a community; they encourage cultural the Cree and that concept applies across all Indigenous awareness, enhance community pride and restore personal nations.” values.”

Gladue-Beauregard said he’d like to see legislation that Gladue-Beauregard said he hopes that the repatriation is clean and clear, transparent and applicable to every efforts by the Bigstone Cree Nation will help enable other Indigenous community that has a list of artifacts and nations to do the same. culturally relevant material they want to see returned to “We have embarked on this journey not just for their communities.

May, 2018

Alberta Native News

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Indian Horse returns to YEG at Metro Cinema: June 1 & 2 (ANNews) - Following a highly successful performance at Film Festivals across the country, Indian Horse based on the award-winning novel by Richard Wagamese and directed by Stephen Campanelli, will return to Edmonton for a limited engagement at Metro Cinema at the Garneau Theatre on June 1 and 2.

After a world premiere at the Toronto International Film Festival, Indian Horse debuted at festivals across Canada, where it received standing ovations and garnered multiple audience awards including: Vancouver International Film Festival – Super Channel People’s Choice Award, Calgary International Film Festival – Audience Favourite, Narrative Feature, Edmonton International Film Festival – Audience Award for Best Dramatic Feature and Cinéfest Sudbury – Runner up, Audience Choice Award – Best Feature Film.

“We have been overwhelmed by the audience's powerful reaction to the film at festivals to date. We are deeply humbled and honoured and know that Richard Wagamese would have been so proud,” commented producers Christine Haebler, Trish Dolman and Paula Devonshire.

Recounting the story of Saul Indian Horse and his remarkable journey from a northern Ojibway child torn from his family and placed in one of Canada’s notorious Catholic residential schools, to a man who ultimately finds his place in the world, Richard Wagamese’s best-selling novel rose to critical acclaim when first published in 2012.

"It means so much to us as filmmakers and makes all the hard work so much more gratifying, that audiences are connecting to the movie; recognizing what an important powerful story it is," said Director Stephen Campanelli.

"Making Indian Horse changed my life, and hopefully will change many others."

Shot on location in Sudbury and Peterborough, Ontario, Indian Horse stars Canadian newcomers Sladen Peltier and Ajuawak Kapashesit who, along with Forrest Goodluck (The Revenant), portray title character, Saul

Ancestors

cont. from p 5

traditions are so proud and powerful.”

Bilinsky, who is a mix of both Ukrainian and Indigenous (Métis) cultures only began to understand his Ukrainian culture as he grew older.

“I was raised primarily by my mother’s side of the family, the Métis side,” he explained. “I was born in Edmonton but eventually moved to the Bonnyville area.

My grandmother is Cree, a Cardinal from Frog Lake and my grandfather on my mother’s side is Métis, a Daniels from Fishing Lake; my dad is Ukrainian from Ontario so I’m learning the best of both worlds.”

Bilinsky didn’t know much about the residential school system and the history that comes with it until he enrolled in university; it was a subject that no one in the family really cared to talk about. “I’m still learning Indigenous culture,” he noted, adding that he’s been “travelling around the province and reaching out to my family and people in the community and participating in arts projects - because of them we are studying these stories and talking to Elders and this has given me an opportunity to learn more. I’ve been going out and doing some ceremony and learning; I’m approaching it as a learning experience and have come to realize just how grounded Indigenous culture is to this part of the country.”

Bilinsky spoke briefly about the major differences and similarities between the two dance cultures and noted that they do differ especially when it comes to the regimented discipline and practice schedules of the Shumka in comparison to the spontaneity of the powwow.

“It’s been very interesting and rewarding just trying to navigate the differences within two cultures that are actually very similar to one another in their own unique ways.”

Ancestors and Elders delves into the lives of two matriarchal trios - grandmother, mother and daughter as they travel to a cultural festival where displays of both Ukrainian and Indigenous cultures are prominent.

“As we do this,” noted Bilinsky, “we shift back to the past and we start to see what the two dance cultures are rooted in and how they developed the way they did. We get a hint of Ukrainian settlement and we get a hint of the IIndigenous story of this territory, including parts of the Indian Residential Schools and how we are working to overcome this as we continue to dance.”

The producer and directors of this beautiful and engaging performance want the audience to understand

Indian Horse “in bold and heartbreaking performances” at the three stages of his life. Together they create a character torn apart by the betrayals that have shaped him but determined to never give up.

The film also stars Michiel Huisman (Game of Thrones and The Age of Adaline) and Michael Murphy Edna Manitowabi, middle, in a still from the film 'Indian Horse.' (Elevation (Fall, Away from Her and X-Men) Pictures) and features a compelling performance by newcomer Edna Manitowabi. A a script by Dennis Foon. Based on the eponymous, residential school survivor herself, Manitowabi brings a award-winning novel by Richard Wagamese (Winner of the Canada Reads People's Choice award, the First soulful presence as Saul’s indomitable grandmother.

In late 1950s Ontario, seven-year-old Saul Indian Horse Nations Communities Reads program, short-listed for the is torn from his Ojibway family and committed to one of International Impac Dublin Literary Award and a Globe Canada’s notorious Catholic residential schools. In this and Mail top 100 book of 2012).

In reviewing Indian Horse, The Globe and Mail called oppressive environment, Saul is denied the freedom to speak his language or embrace his Indigenous heritage and Wagamese "a master of empathy." Sadly, the author and he witnesses all kinds of abuse at the hands of the very journalist died on March 10, 2017, as this film adaptation was in production. As a camera operator, Campanelli has people who were entrusted with his care.

Despite this, Saul finds salvation in the unlikeliest of contributed legendary Steadicam shots to Clint places and favourite Canadian pastimes — hockey. Eastwood's films, from The Bridges of Madison Fascinated by the game, he secretly teaches himself how County right up through Sully. He also worked on the to not only play but develops a unique and rare skill. It’s as 2018 Academy Award winning film Three Billboards if he has eyes in the back of his head and can see the game Outside Ebbing, Missouri.

In this, his second feature as a director, he brings those in a way no other player can.

His talent leads him away from the misery of the school skills to tell this very important story. As Wagamese once to a Northern Ontario native league and eventually the said: "We change the world, one story at a time."

Indian Horse is produced by Christine Haebler, Trish pros. But the ghosts of Saul’s past will always haunt him.

Forced to confront painful memories and revelations, Saul Dolman and Paula Devonshire. Roger Frappier and Clint draws on the spirit of his ancestors and the understanding Eastwood serve as executive producers.

The highly acclaimed film Indian Horse will be of his friends to gain the compassion he so sorely needs in screening at Metro Cinema at Garneau Theatre (8712 order to begin healing.

Indian Horse is a survivor’s tale that foregrounds the 109 Street) in Edmonton on June 1 at 7 pm and June 2 at invincible spirit of Canada’s Indigenous peoples in the 3:30 pm. For ticket information visit metrocinema.org or call 780-425-9212. face of aggressive assimilation policies and racism.

Indian Horse is directed by Stephen S. Campanelli from that each of us can participate in reconciliation just by our actions, our words and our understanding of each other.

“Every step forward,” assured Bilinsky, “is a good step in the right direction. It may take a little while - just as this project did - but in the end the payoff is great because through understanding (and civility) we all get to move forward.”

The program booklet highlights the fact that survival for both the Indigenous peoples of Turtle Island and Ukrainian immigrants who settled here often meant

June 1 @ at 7 pm June 2 @ 3:30 pm Metro Cinema at the Garneau Theatre 8712 109 Street, Edmonton, AB metrocinema.org (780) 425 9212

staying silent, but in that silence much was lost.

“In that silence,” notes the introduction to Ancestors and Elders, “we have missed connections; in that silence there are also many lost stories of the linkages between our communities that have helped us both survive tremendous loss and struggle. In Ancestors and Elders we use dance to begin to break that silence - to explore the power of tradition and truth.

8

Alberta Native News

May, 2018

AGA exhibit features three prominent Indigenous artists

by John Copley Landmark: A New Chapter Acquisition Project (April 28 - Nov. 11) is the latest in an exciting series of Art Gallery of Alberta (AGA) exhibitions taking place now through 2019. This new Landmark presentation is the second in a series of exhibitions supported by a Canada Council for the Arts “New Chapter” grant, an initiative that enables new acquisitions to the AGA’s permanent collection of work by Indigenous, Métis and Inuit artists to be showcased and presented to the public.

The Canada Council for the Arts' New Chapter program utilizes its $35 million investment by supporting the creation and sharing of the arts in communities across Canada; Landmark is one of the 200 important projects funded through the initiative. This latest exhibition features new work by three well-known Indigenous artists from Alberta - Tanya Harnett, Terrance Houle and Brenda Draney.

Executive Director and Chief Curator of the Art Gallery of Alberta, Catherine Crowston, told Alberta Native News that “the AGA is thrilled to be presenting the second in a series of exhibitions that feature the work of contemporary Indigenous artists. The three artists in this exhibition are all from Alberta, and each has made significant contributions to the cultural landscape of the province. It is even more important that these works have been added to the AGA’s collection, making them a legacy for generations to come.”

“I am so very delighted to have had my work chosen for this unique Landmark exhibition,” smiled artist Tanya Harnett, who said she was pleased that Albertans and visitors to the province would now have even more opportunity to see her work and absorb the messages she’s left in her wake.

Harnett’s contribution to the current AGA Landmark exhibit is her six-piece photo series entitled Scarred/ Sacred Waters, a unique and important piece of work produced in 2011. The collection has travelled the world and has been lauded by audiences across the globe for delivering an important message for all nations to heed.

The work has been showcased in numerous countries and locations including Canada, Great Britain, Japan and Hungary. One of the first to exhibit the work was the Pitt Rivers Museum in Oxford University and later, Aberdeen University in Scotland.

“There’s always been a lot interest in the Scarred/Sacred Waters series,” noted the artist. “It doesn’t matter what part of the world you live in and it doesn’t matter what culture you come from or how much money you make, everyone is concerned about polluted waters,

decimated landscapes and human health.”

The Scarred and Sacred Waters series was created during Harnett’s travels across the actual landscape, particularly to land occupied and utilized by Indigenous peoples.

“Environment is a real issue and it needs to be talked about; it needs to be protected. Industry needs to work smarter and safer.

Artist Tanya Harnett reflects on the message in her art.

The environment is a subject that needs to be talked about and trying to stifle the conversation by acts such as protesting is attached to a single four foot by two foot board. The the University of Alberta for wanting to honour a person mirrors reflect light signals that emit from a video camera in the ceiling to an adjacent wall where the colours form such as David Suzuki is counterproductive to progress.”

Water, assured Harnett, is mankind’s most precious an unusual but attractive piece of art. The second part of commodity and the one thing that needs to be protected the exhibit is the interior gallery wall that presents disfigured reflections from the mirrored light in an unusual against every possible malady.

“We need to use energy smarter; we are an energy and ever-changing pattern of colours and images.

Houle lives and works in Calgary, and travels to producing province and yes we need the oil - but we can reservations and Indigenous communities throughout work more efficiently, be more effective and more North America to participate in powwow dancing and environmentally conscious. We especially need to do He is a graduate of the Alberta College of Art ceremonies. more to protect our water because barrel-to-barrel, water is and Design and has exhibited in Canada, the United worth twice as much. We cannot survive without it. As a States, Australia, the UK and Europe. In 2004 he received province we need to diversify; we shouldn’t have to award for Best Experimental Film at the Toronto the depend on one product to produce the revenues needed to ImagineNATIVE Film Festival and in 2006 he received sustain a population.” the Enbridge Emerging Artist Award.

The second of the three artists whose new work is being The third of the three artists represented in the showcased in the Landmark: A New Chapter Acquisition Landmark series, Brenda Draney, is a member of the Project is interdisciplinary media artist, Terrance Houle, a Alberta’s Sawridge First Nation.

A recipient of the Eldon resident of Calgary and a member of southern Alberta’s and Anne Foote Visual Arts Prize in 2014, Draney, who Kainai Blood Nation. was educated at both Vancouver’s Emily Carr University Unable to contact Houle I defer to the explanation of his (MA in Painting) and Edmonton’s University of Alberta work by AGA Gallery Attendant Paul Blinov.

(BA Education; BA Painting) lives and works in Alberta’s “Ghost Days: Indian Graves is the first of two Terrance capital.

Houle pieces on exhibit here today,” explained Blinov. “To Draney’s unnamed exhibit comprises a series of capture this three-piece photo series the artist visited paintings that at first glance appear to be unfinished and several burial sites; he didn’t photograph the actual burial mounted to the gallery wall in error, but that illusion is site but instead took it from the site - looking up as if trying quickly diminishes when one looks beyond the paint and to capture the scene looking from the ground to the sky, into the canvas itself.

It appears to be empty when in fact perhaps toward the spirits and the Creator.” it is just devoid of paint.

Ghost Days is a unique four-photo light-jet series “It’s for you, the viewer, to decide what each painting enhanced with an array of multi-toned special effects. means,” chuckled Draney upon being asked if the engine Terrance Houle’s second exhibit, Your Dreams Are of the single-car locomotive in her art represented a close Killing My Culture, is another unique piece of art. The first call she’d had at one time or another with a train. “What of the two pieces presents a series of what appears to be do you think it means?” used mirrors from the interior of automobiles. Each mirror The white space that dominates Draney’s seemingly unfinished canvases is not empty at all; it is for the viewer to fill in by mixing what the eyes see with a bit of imagination and a personal experience that has significant meaning. In one painting a man, clothed in something familiar yet foreign (conquistador clothing?) is tied to a tree; a tent stands behind him to the right - little other colour fills the canvas but it does appear like wintertime with the wind about to sweep in.

“Brenda’s work is unique, seems to be unfinished, even dream-like in that we see little pieces but maybe not the whole story,” Blinov noted as we discussed her work. “For example, as a child she would play a game where the children would run around and tie each other up to trees; this is sort of based on that memory but the person in this picture looks more like an adult so maybe there is something else going on that we don’t know about.”

Continued on page 9

Untitled art by Brenda Drenay

May, 2018

Alberta Native News

9

Cree poet is shortlisted for prestigious award Cree poet Billy-Ray Belcourt is acclaimed as one of Canada’s top poets. His first collection of poetry This Wound is a World has been shortlisted for the prestigious Griffin Poetry Prize, an international literary prize that is based in Canada, and is one of the world’s most esteemed and generous literary awards.

The winner of the prize, which will be announced June 7, will take home $65,000. Belcourt’s is one of three Canadian books that have been shortlisted.

This Wound is a World was also selected by CBC as one of the 10 best Canadian poetry books of 2017 and as a finalist for an award from the League of Canadian Poets.

Belcourt, a Ph. D. student at the University of Alberta is proving that the road to fame is not linear; in fact he never envisioned himself to be a writer growing up. “It’s something I just stumbled into,” he told media.

He was raised by his grandmother on the Driftpile Cree Nation reserve in northwestern Alberta, and started writing poetry at around age 19. Belcourt received support from his band to study comparative literature at the University of Alberta in Edmonton, where he became an advocate for LGBTQ and Indigenous communities and served as president of the Aboriginal Student Council.

In 2015 he became the first-ever First Nations student from the U of A to win a Rhodes Scholarship. After completing his studies at Oxford University and with options for a doctoral at Oxford, U of T, U of A and the University of California – Berkley, Belcourt chose to return to U of A because he felt most supported in Edmonton, close to family and friends.

There he completed his first book of poetry This Wound is a World which included poems written over the course of three years. The collection touches on aspects of Belcourt's identity, as well as the topics of “race, gender, sexuality and also the micro-aggressions” he faced while

Landmark

cont. from p 8

In another painting a man leans forward over the bumper of a dark grey truck; he’s in a standing-shooting position aiming down the road at an unseen target with an imaginary rifle clasped in his grip. It’s a bright summer day, the sky is blue and there’s white-fronted structure standing in the background. Could it be a chicken coop just robbed by a local fox or coyote with a would-be shooter wishing he had a real gun? Is it hunting season with a deer walking down the brush-line and a hunter caught unaware and unarmed?

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at Oxford studying University in the U.K. The judges of the Griffin Prize describe Belcourt’s book as follows: “Blending the resources of love song and elegy, prayer and manifesto, Billy-Ray Belcourt’s This Wound is a World shows us poetry at its most intimate and necessary. politically Mindful of tangled lineages and the lingering Alberta poet Billy-Ray Belcourt and his highly acclaimed book. of settler erasures colonialism, Belcourt for poetry focuses on the annual Griffin Poetry Prize, crafts poems in which “history lays itself bare” – but only which awards two literary prizes of $65,000 each and an as bare as their speaker’s shapeshifting heart. additional $10,000 to each shortlisted poet who reads at “Belcourt pursues original forms with which to chart the the annual Griffin Poetry Prize Shortlist Readings in constellations of queerness and indigeneity, rebellion and Toronto. A Canadian prize is given to a living poet resident survival, desire and embodiedness these poems so in Canada; an international prize is given to a living poet fearlessly explore. Between its bold treatment of sexuality from any country in the world. Both prizes may include and wary anatomy of despair, This Wound is a World peels works in translation. Judges are selected annually by the back the layers of feeling and experience to offer, finally, trustees and the prizes are awarded in the spring of each the glimmerings of hope – which only sometimes looks year. like escape: “follow me out the backdoor of the world”.

As This Wound is a World continues to win national and This electrifying book reminds us that a poem may live international accolades, Belcourt is pleased with the scope twin lives as incantation and inscription, singing from the of the book. He recently told media that his poetry “does untamed margins: “grieve is the name i give to myself / i something different” than his other styles of writing would carve it into the bed frame. / i am make-believe. / this is an do. “It reaches a larger, younger audience - an audience of archive. / it hurts to be a story.” primarily Indigenous youth," he said, adding “the book The Griffin Trust was founded in April 2000 by resonates with queer, transgender and other forms of Chairman Scott Griffin, along with Trustees Margaret minority identities, especially within the Indigenous Atwood, Robert Hass, Michael Ondaatje, Robin perspective.”

Robertson and David Young. The Griffin Trust’s support of this work will do,” assured Draney when I related what I’d glimpsed in her various offerings. “That is the whole idea behind this art: you decided it was a conquistador; you decided it was winter; you decided it was a chicken coop. You generously brought your own history, stories and ideas and informed all of these art pieces with your own stories, ideas and history. We had ourselves a little dialogue, a little conversation and that’s at the generosity of your’s, the viewer, and I really appreciate that.”

Draney noted that when growing up as a child “stories were so important, so fun and so informative. It’s how I learned about my family, my community, my culture.

Kitchen tables, fire pits and everywhere people sat or

gathered - they were all important. Stories are neat and they aren’t always remembered the same way. For example, I’ve discussed memories from a past Christmas with my sister and discovered that we didn’t remember it the same way. We all have our own interpretations of things and that’s why when you walk by this artwork it’ll tell you thousands of stories - and that’s the fun part because what we, as individuals see in the work, is what is meant to be seen.”

The AGA’s exciting Landmark Series: A New Chapter Acquisition Project runs until November 11. Be sure to visit this unique collection of work. For more information visit youraga.ca.

10

Alberta Native News

May, 2018

Voice for the Voiceless speaker panel at Citadel Theatre: May 22

by John Copley The Edmonton Public Library (EPL) and the University of Alberta are co-hosting a series of initiatives that are addressing the recommendations to reconciliation as outlined in the Truth and Reconciliation Commission’s 94 Calls to Action.

Voice for the Voiceless: A Moderated Speaker Panel on Missing and Murdered Indigenous Women and Girls, will take place in Edmonton at the Citadel Theatre’s Zeidler Hall (9828-101 Avenue) from 7 to 8:30 pm on May 22.

Tickets are free but limited and registration is required.

EPL Director of Branch Services & Community Engagement, Linda Garvin said the upcoming program is part of the EPL’s Exploring Reconciliation series and the fourth event to take place this year. The initiative, which got underway in 2016, doesn’t have a set amount of programs planned.

“We are quite flexible, even nimble in our approach,” Garvin explained. “The programs are based on consultation with Indigenous community members. We are also involved with the University of Alberta’s Faculty of Native Studies and are working collaboratively with them whenever we have the opportunity.”

Garvin said that she is very pleased to note that the first three programs held this year all attracted large nonIndigenous audiences, something she said was first noticed when the president of the Sixties Scoop Indigenous Society of Alberta, Adam North Peigan, brought it up when he spoke at the EPL’s Birth of a Family screening earlier this year.

“Adam was quite pleased and noted how important it is to see a large representation of non-Indigenous people taking up the call for reconciliation, wanting to know more and to learn more. The feedback we’ve been getting indicates that more and more Canadians want to become involved in reconciliation. So many people are just beginning to learn about the plight of Indigenous people

and they want to help make a difference.”

The Voice for the Voiceless speaker panel will be moderated by Tanya Kappo, a Senior Policy Advisor for Treaty 8 First Nations.

A well known women’s advocate Tanya is actively involved and engaged in issues and efforts for and by Indigenous people, particularly on issues that include women, land rights, sovereignty, and language retention.

A member of the Sturgeon Lake Cree Nation Kappo is a mother and grandmother and a graduate of the Faculty of Law at the University of Manitoba; she was called to the Alberta Bar in 2014.

The Voice for the Voiceless initiative will hear from three well-known speakers, each of whom will encourage the audience to get involved by asking questions and offering comments about their own experiences.

Speaker Melanie Omeniho has a long history of advocating for Métis women. She’s been working on issues affecting Métis women in Alberta and Canada since the early 1980s and has raised awareness about the priorities of Indigenous women today. She’s also been an outspoken advocate on issues such as violence against women, Métis women in the justice system, child welfare, Métis families and Métis women's health.

Omeniho is a recipient of the Queen's Jubilee Medal and has been recognized for her work in education, Métis youth and advocating for families involved with Children Services. First elected as National President of Les Femmes Michif Otipemisiwak – Women of the Métis Continued on page 11

May, 2018

Alberta Native News

11

NSD celebrates Esquao recipients

by Curtis Walty Northland School Division No.61 (NSD) congratulates Career Pathways School Principal Angela James and Elizabeth School Teacher Laurie Collins on receiving Esquao Awards. James and Collins were honoured at the Esquao Awards Gala in Edmonton on April 27, 2018. The award, which recognizes the achievements of Indigenous women in Canada, is unique because when a community nominates an Indigenous woman and provides three letters of support, she will be honoured.

“It is an honour to receive this award on the behalf of Bigstone Cree Nation, youth and Northland School Division,” said James. “It is with great pleasure and honour to graduate from Mistassiniy School; then get accepted into the University of Alberta and graduate with a Bachelor of Education Degree. I’m nearly done my Master of Education Degree. With hard work, dedication and perseverance, I want to show our students they too can achieve whatever goal they have no matter who they are or where they come from. I thank the Creator every day for my blessings – my husband, my children, my students, my family, my staff and my community.”

Laurie was nominated for lifetime achievement in the field of education. She has been working at Elizabeth School since 1984 in different capacities. First as an educational assistant, playschool teacher, early childhood teacher, and then a certified teacher for almost 18 years.

“I am truly honoured to be nominated and accepted for such an exclusive award,” said Collins. “One given to individuals who have accomplished and achieved lifetime

Voiceless

cont. from p 10

Nation - in October 2010, Ms. Omeniho was re-elected to a third term in May 2015.

Speaker Sara Howdle, a PhD Candidate is a settler historian and the coordinator of Dr. Tracy Bear's Indigenous Women and Youth Resilience Project at the UA's Faculty of Native Studies. The project centres on community engagement to explore practices of resilience within Indigenous women, two-spirit, and trans communities.

The final speaker, Danielle Boudreau is a well known activist who has been speaking out on behalf of missing and murdered women for more than 15 years. She comes from an experiential background where she has endured a life of addiction, abuse and exploitation. In 2006, after two of her “high risk” friends were murdered, Danielle started a walk to memorialize women who were missing or murdered. Two weeks after completing the first walk, Boudreau’s younger sister was murdered in her own home. This prompted Danielle to heal from her past, accept her present and work towards a future, raising awareness on the issue of MMIW by using her personal

status. My intention for getting into the education field was not to receive an award but to be a role model for children and to be a good teacher. I did not expect an award for something I have truly enjoyed these past years.

I am very grateful and blessed to have been given this honour."

Angela will graduate with a Master of Education Degree from the University of Saskatchewan in December. She credits a lot of people for her success in education.

“I want to acknowledge my parents, grandparents and my community, for blessing me with the Cree language and culture,” said James. “I want to thank my first-grade teacher, the late Marianne Szabo, who was a consistent and supportive pillar. I’d like to acknowledge the late Jody Davison, who was a junior high teacher and continued to support me throughout my university. Thank you Barb Laderoute for being a shining example of educational leadership in her home community of the Gift Lake Metis Settlement. I’d like to acknowledge my Knowledge Keepers and Elders who continue to guide me and support me. I’d like to acknowledge Tahirih Wiebe and Shem Taylor for their continued support and for Darrell Anderson who I see as a role model for paving the way for a lot of us in education at Bigstone Cree Nation; as an author, educator and former Member of Council for Bigstone.”

While pursuing a Bachelor of Education Degree, Laurie says she would not have been able to achieve her goal of becoming a certified teacher without support from family. story "Healing from Exploitation.”

“All of the speakers participating in Voice for the Voiceless are experienced and capable individuals who have been actively involved in MMIW cases and other important issues for many years,” noted Danielle Powder, EPL’s Indigenous Relations Advisor.

Powder, who works closely with Indigenous peoples, communities and agencies, is part of a team that explores reconciliation issues and then organizes the programs that receive approval.

She is the EPL’s first Indigenous Relations Advisor, a position she’s held since September 2016. “Most of the work I do focuses on external relations with Indigenous organizations and groups, including a lot of committee work,” she explained in an interview. “I try to ensure that the EPL is involved with the community and in Indigenous-related initiatives. I also connect with Indigenous partners to put on programs in our library branches. We have a great relationship with the Canadian Native

l to r: Rubi Sakeskanip, Ward 9 Trustee, Angela James, Career Pathways School, Laurie Collins, Elizabeth School, Karen Telford, Ward 11 Trustee

“I would like to acknowledge my husband and children,” said Collins. “My husband inspired me to become a teacher. He was the one person who believed in me and was there for me through it all. He was there when I was diagnosed with cancer in my last year of university.

He drove me and picked me up after each class or my treatments. He cooked and cleaned for our children when I was too sick to do anything. I would also like to acknowledge my parents. They instilled in me many positive traits that one needs to succeed in life.”

“On behalf of the Board of Trustees, we congratulate Angela and Laurie on being nominated for an Esquao Award,” said Maddy Daniels, Board Chair. “We are so fortunate to have two individuals who have dedicated so much to the field of education. They are excellent roles models for all NSD students.

Friendship Centre and other community active organizations and together we put on programs at various library branches throughout the city.”

Powder also works closely with the EPL’s eight-person Indigenous Services team to host public events and to help in the preparation and implementation of the Exploring Reconciliation speaking series.

“As a team we meet monthly and brainstorm different topics and ideas and talk about such things as history, culture and current issues that we can bring into the library so our customers/clients can have meaningful conversations when they engage in these important topics.”

For more information on the Exploring Reconciliation Series or the Voice for the Voiceless event, visit epl.ca or call Danielle Powder at 587-588-9034.

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Alberta Native News

May, 2018