SAY Magazine, Arts & Entertainment, Indigenous Lifestyle

CONTEMPORARY INDIGENOUS MAGAZINE

LANGUAGE REVOLUTIONARY Randy Morin

GOT LAND? Comedians on the Rise FILMS, MUSIC, PHOTOGRAPHY AND MORE

ISSUE 115 ARTS & ENTERTAINMENT DISPLAY UNTIL SEPT. 1, 2022

PM 43436539 PRINTED IN CANADA $8.99

STEFAN RICHARD From the Ring to the TV Screen

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SINCE 2002

9 CONTENTS ISSUE 115 ARTS & ENTERTAINMENT

Cover Feature: Former Professional Wrestler Stefan Richard Is Building a Successful Career in Broadcasting

Cover photograph by Roger Boyer

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SAY MAGAZINE Volume 21, Issue 3 SAY Magazine is a bi-monthly publication that publishes six issues a year—one issue every eight weeks.

SAY Magazine assumes no responsibility for statements made by advertisers or in submitted material.

SAY Magazine is published by Spirit of Youth Enterprises Inc.

Graphics, photographs, editorial content and other printed material that are created by SAY Magazine are the property of Spirit of Youth Enterprises Inc. and may not be used without written permission from the publishers.

Mailing Address: Kildonan Place, RPO Box 43084 Winnipeg, MB Canada R2C 5G7 E: info@saymag.com www.saymag.com Publishers: Dominick Blais and Kent Brown Editor-in-Chief: Danielle Vienneau editor@saymag.com Editorial Team: Sarah Ritchie sarah@saymag.com Theresa Peters theresa@saymag.com Art Director: Orli Gelfat - Orli G. Design Sales Team: Megan Henry megan@saymag.com Dominick Blais sales@saymag.com Website and Social Media Sphere Media Agency info@spheremediaagency.com

Printed in Canada ISSN: 1707-3049 GST: 856627534RT0001 This project has been made possible [in part] by the Government of Canada

SAY Magazine acknowledges that we publish in Treaty One Territory, at the crossroads of the traditional lands of the Anishinaabe, Cree, Oji-Cree, Dakota and Dene Nations, and at the heart of the Métis Nation homeland.

Role Models from NACCA’s Indigenous Women Entrepreneurship (IWE) Program Share their Business Success Stories

6 Films to Stream this Summer 18 Brandy Bloxom Photography 22 Kuper Island Podcast Series 24 Music 27 Marketplace

28 The Frog Radio’s Summer Picks 29 pîkiskwêwin Podcast 30 Indigenous Fashion 32 Literature 35 Advertiser Index

As a diverse team of both Indigenous and ally collaborators, we strive to embrace, embody and live the truth that we are all Treaty people. All our relations!

Submissions are welcome.

Articles, letters, queries, etc. should be sent by email to the editor at editor@saymag.com.

SAY Magazine assumes no responsibility for submitted material.

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The Got Land?

Indigenous Comedy Show Is Making its Way across Ontario and Quebec this Summer

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Cree Language Keeper and Indigenous Knowledge Keeper Randy Morin Has Devoted his Career to Language Revitalization

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EDITOR’S MESSAGE

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“The responsibility of the artist is to make work that's real and that's reflective of something that's true. You have to be true to your own vision of the voice you're trying to find.”

ust in time for summer, SAY Magazine’s Arts and Entertainment issue is released as National Indigenous History Month celebrations take place across Canada.

Finally, with the recent easing of restrictions, we will be able to partake in our summer ceremonies and enjoy pow wows, and celebrate Indigenous art, culture, music and heritage face-to-face as many talented and diverse Indigenous artists grace stages and other platforms across Turtle Island over the next few months.

They make us cry, they make us angry and scared, and sometimes they make us laugh uncontrollably. More beautifully, artists have the ability to instill joy, passion and hope through their chosen artforms.

Featured in this issue are many brilliant storytellers in their own right, each specializing in their craft with intention and creativity. From music to broadcasting and podcasting, comedy, film and photography, there is something for everyone in this issue.

Those who have chosen careers in the arts, media and entertainment fields have unique platforms that can transport us—the listener, the watcher—to new and exciting worlds, sometimes evoking emotions we didn’t expect.

~ Andrew Okpeaha MacLean (Iñupiaq Eskimo)

I hope you will be inspired as you flip through this publication and discover the bravery and imagination found within our rich Indigenous arts and entertainment industry, both contemporary and traditional. ~ Danielle Vienneau, Editor-in-Chief

2022-2023 Upcoming Issues Issue Name

Issue #

Theme

Space Reservation

Material Deadline

Publication Dates

Fall 2022

116

Tourism & Cuisine

Jul. 1

Jul. 8

Aug. 15

Special Edition

117

Education & Training

Sep. 1

Sep. 8

Oct. 15

Winter 2022

118

Holistic Health

Nov. 1

Nov. 8

Dec. 15

Special Edition

119

Business & Economics

Jan. 4

Jan. 8

Feb. 15

Spring 2023

120

Environment

Mar. 1

Mar. 8

Apr. 15

Summer 2023

121

Leadership

May 1

May 8

Jun. 15

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CALENDAR OF EVENTS 2022 JUN 1-30

National Indigenous History Month National Indigenous History Month honours the history, heritage and diversity of First Nations, Inuit and Métis Peoples in Canada. youtube.com/watch?v=PVNZQ-0ka48

JUN 18

APTN Indigenous Day Live Bringing Indigenous and non-Indigenous people together in celebration of National Indigenous Peoples Day and the summer solstice. Watch it live on APTN at 10PM ET, or join the celebration at The Forks in Winnipeg.

IndigenousDayLive.ca

JUN 21

National Indigenous Peoples Day The arrival of the summer solstice, and a day to celebrate and honour each member of our diverse national Indigenous family, and their unique cultures and histories.

JULY 8-17

The 2022 Great Northern Arts Festival A 10-day celebration showcasing the works of painters, sculptors, musicians and artists from across the North and all over the world.

Inuvik, Northwest Territories greatnorthernartsfestival.org

Delta Park Pow Wow in Portland, Oregon, USA - June 14, 2014

AUG 9

International Day of the World’s Indigenous Peoples August 9th pays tribute to the Indigenous communities of the world—an estimated 370 to 500 million Indigenous Peoples living in 90 countries. un.org/en/observances/indigenous-day

AUG 26-27

2022 International Indigenous Hip Hop Awards A two-day event celebrating Indigenous arts and culture, recognizing performers and small businesses through live music engagement and educational conferences.

Winnipeg, Manitoba, Canada indigenoushiphopawards.com

SEPT 9-11

Celebration of Nations Niagara’s annual Indigenous arts gathering celebrates creativity, diversity and resilience. celebrationofnations.ca

SEPT 30

National Day for Truth and Reconciliation This day of honouring and remembrance coincides with Orange Shirt Day. We honour those who survived the residential schools and remember those who did not. Every Child Matters. nctr.ca

SAY Magazine makes every effort to ensure our calendar of events is up to date; however, we encourage you to check event websites regularly for updates due to interruptions caused by the COVID-19 pandemic.

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CINEMA

Films to Stream this Summer This summer, dive into new Indigenous-made films by heading to nfb.ca to explore its Indigenous cinema collection! The National Film Board of Canada showcases films that take a stand on issues of global importance, stories about the environment, human rights, the arts and so much more. The majority of films can all be streamed free of charge, including documentaries, animations, experimental films, fiction and interactive works. Check out the gallery of 440+ Indigenous works at nfb.ca/indigenous-cinema.

Here are some exciting recent releases and background on the talented filmmakers who created them.

Mary Two-Axe Earley: I Am Indian Again Mary Two-Axe Earley: I Am Indian Again shares the powerful story of Mary TwoAxe Earley, who fought for more than two decades to challenge sex discrimination against First Nations women embedded in Canada’s Indian Act and became a key figure in Canada’s women’s rights movement. Using never-before-seen archival footage and audio recordings, Mohawk filmmaker Courtney Montour engages in a deeply personal conversation with the late Mohawk woman who challenged sexist and genocidal government policies that stripped First Nations women (and their children) of their Indian status when they married non-Indian men.

Montour speaks with Cree activist Nellie Carlson, Mary’s lifelong friend and co-founder of Indian Rights for Indian Women, and meets with three generations in Mary’s kitchen in Kahnawà:ke to honour the legacy of a woman who galvanized a national network of allies to help restore Indian status to thousands of First Nations women and children.

Among the film’s many accolades are Best Short Documentary awards won at the 2021 American Indian Film Festival in San Francisco and the imagineNATIVE Film + Media Arts Festival in Toronto.

Watch it for free (starting June 21, 2022): nfb.ca/film/mary-two-axe-earley-skonkwehon-weare (Mohawk version) and nfb.ca/film/mary-two-axe-earley (English version) 6 | ARTS & ENTERTAINMENT l JUNE 2022

Filmmaker

Courtney Montour is Kanien’kehá:ka (Mohawk) from Kahnawake. She works in the documentary film and digital media fields exploring issues of Indigenous identity. She directed, wrote and co-produced Flat Rocks (2017), a short documentary revealing how the development of Canada’s St. Lawrence Seaway forever changed the landscape and the livelihood of the Kahnawake Mohawk community. Her first documentary Sex Spirit Strength won Best of Festival and the Emerging Filmmaker award at the 2016 Yorkton Film Festival. She has directed episodes for several documentary series, including Mohawk Ironworkers (2016) and Skindigenous (2021).

Courtney co-created and coordinated McGill University’s Indigenous Field Studies course, held in Kahnawake, for eight years. Passionate about educating, the course surfaces the intergenerational effects of colonization and Canadian policies on contemporary Indigenous society.

CINEMA

The Lake Winnipeg Project The Lake Winnipeg Project is a four-part documentary series that calls attention to stories of ingenuity and resilience among the Anishinaabe, Cree and Métis communities of Matheson Island, Poplar River First Nation, Fisher River Cree Nation and Camp Morningstar, at a time when many external forces are imposing change. The series highlights their responses to various challenges and factors, such as a shifting climate, industrial encroachment, government policy and the COVID-19 pandemic, among others. Anishinaabe/Cree director Kevin Settee takes an “own-voices” approach to storytelling that gives Lake Winnipeg communities and peoples the opportunity to tell their own stories, in their own voices, and to speak to the challenges and successes experienced within their communities.The series includes four films: Matheson Island, Poplar River, Camp Morningstar and Fisher River.

Watch the series for free: nfb.ca/series/lake-winnipeg-project

Filmmaker

Kevin Settee is an Anishinaabe/Cree community facilitator with family and deep community connections across the Lake Winnipeg area. His family roots are in Fisher River Cree Nation, Matheson Island and Dauphin River. He grew up in Winnipeg’s West End and has experience in community organizing, student politics, digital media and Indigenous Rights activism. A father of two children, he cares deeply about cultural resurgence and regaining cultural knowledge and practices through ceremony. He is currently developing a docuseries on professional Indigenous hockey players in the NHL and wants to continue storytelling with Indigenous communities through photography and documentary filmmaking.

Evan’s Drum An adventurous young boy and his determined mother share a passion for Inuit drum dancing in Happy Valley-Goose Bay. Evan’s Drum is a joyful visit to a family’s loving home and an uplifting story of cultural pride. After generations of silence, the rhythm of the traditional Inuit drum has returned to Labrador, and seven-yearold Evan is part of the new generation that will keep its heartbeat strong.

Evan’s Drum is part of the Labrador Documentary Project (Lab Doc Project), an NFB initiative that supports Indigenous storytelling by working with first-time Labrador Inuit filmmakers to create and distribute Inuit stories from Inuit perspectives. The Lab Doc Project is led by Inuit through community collaboration and focuses on topics selected by the filmmakers through a process of reflection and community engagement. This initiative aims to elevate Indigenous storytelling in Newfoundland and Labrador, create film opportunities for Inuit, and proactively diversify our industry. There are four films in this project, with two launched in 2021, and the remaining films launching in 2022.

Filmmaker

Ossie Michelin is a Labrador Inuk journalist from North West River, Newfoundland. He comes from a large family and a long line of storytellers. Michelin works in a variety of mediums, including documentary filmmaking, broadcast news, podcasting, magazines and online. His work focuses on exploring the North and sharing stories of the Indigenous World. Evan’s Drum will also be featured on the channel Inuit Cinema at the NFB nfb.ca/channels/inuit-cinema-nfb.

Watch it for free: nfb.ca/film/evanniup-kilautinga (Inuktitut version) or nfb.ca/film/evans-drum (English version) JUNE 2022 l ARTS & ENTERTAINMENT | 7

CINEMA

Elle-Máijá Tailfeathers is a well-known filmmaker and actor, known for her recent roles in Blood Quantum and Night Raiders.

Her documentary Kímmapiiyipitssini: The Meaning of Empathy is an intimate portrait of survival, love and the collective work of healing in her home community, the Kainai First Nation in Southern Alberta, a Blackfoot community facing the impacts of substance use and a drug-poisoning epidemic. In the film, community members active in addiction and recovery, first responders and medical professionals implement harm reduction to save lives. This work is contextualized within the historical and contemporary impacts of settler colonialism.

Kímmapiiyipitssini: The Meaning of Empathy draws a connecting line between the effects of colonial violence on Blackfoot land and people, and the ongoing substance-use crisis.

Held in love and hope for the future, Kímmapiiyipitssini: The Meaning of Empathy asks the audience to be a part of this remarkable change with the community.

This NFB co-production with Seen Through Woman Productions received a wide range of festival rewards, including Ted Rogers Best Feature Length Documentary at the Canadian Screen Awards in 2022. As with all NFB films, Kímmapiiyipitssini: The Meaning of Empathy is available for booking at community screenings. Contact communityscreenings@nfb.ca for more info.

Watch it for free: nfb.ca/film/kimmapiiyipitssini-the-meaning-of-empathy

This Is Not a Ceremony This Is Not a Ceremony is not a “film” you can watch on a regular screen. It is a cinematic VR experience you can watch with a virtual reality (VR) headset.

In This Is Not a Ceremony, Niitsitapi writer and director Ahnahktsipiitaa (Colin Van Loon) takes us beyond the veil of traditional media and transports us directly into another realm, where past, present and future are one; where colonial rules and assumptions are forgotten; and where we can finally get to the truth of the matter. Presented in stunning cinematic VR, the narrative unfolds all around us, on a dream-like plane of existence. Panoramas flow and merge, stories come to life and dance before our eyes, and community protocols confront our notions of personal responsibility. Here, we are asked to witness some of the darker sides of living life in Canada while Indigenous.

This unforgettable experience will stay with you long after it’s over. This Is Not a Ceremony calls on all who’ve watched to take action, to share what they have seen and heard, to learn from these tragedies and never forget—so that they will never happen again.

The National Film Board of Canada is planning to present this experience in select locations across the country. For updates, visit: nfb.ca/NOTaceremony 8 | ARTS & ENTERTAINMENT l JUNE 2022

Filmmaker

Elle-Máijá Tailfeathers is a writer, director, producer and actor.

She is a member of the Kainai First Nation (Blood Tribe, Blackfoot Confederacy) as well as Sámi from Norway. She was named the 2018 Sundance Film Institute’s Merata Mita Film Fellow and is an alumnus of the Berlinale Talent Lab and the Hot Docs Accelerator Lab. Her short documentary Bihttoš was selected as one of TIFF’s Top Ten Canadian shorts and also won the Grand Jury Prize for Best Documentary Short at the Seattle International Film Festival. She acted in and co-wrote (with Kathleen Hepburn) the narrative feature The Body Remembers When the World Broke Open, which premiered at the Berlinale in 2019 and received the Toronto Film Critics Association and Vancouver Film Critics Circle awards for best Canadian film. It was also nominated for six Canadian Screen Awards, and Tailfeathers and Hepburn won the CSAs for Best Direction and Best Original Screenplay. The Body Remembers When the World Broke Open was picked up for distribution by Ava DuVernay’s company, ARRAY, and is available to stream on Netflix in the United States.

Filmmaker

Ahnahktsipiitaa (Colin Van Loon) is Blackfoot and Dutch, originally hailing from the Piikani Nation.

During his upbringing, he resided alongside his mother in Lethbridge and many other dusty Southern Alberta towns. Currently, Ahnahktsipiitaa is the operations manager for the Indigenous Matriarchs 4 AR/VR media lab (IM4-Lab). Ahnahktsipiitaa sits on the Telefilm Indigenous Working Group, among others.

Community-centred, he aims to elevate the voices and stories of Indigenous Peoples, whether creating spaces for youth works in the Talking Stick’s Festivals REEL Reservation: Indigenous Cinematic Indigenous Sovereignty Series or through his company Blackfoot Nation Films.

Film information and photography courtesy of the National Film Board of Canada.

Kímmapiiyipitssini: The Meaning of Empathy

COVER STORY

Stefan Richard His Journey from the Ring to TV Host Stefan Richard, a member of Sagkeeng First Nation, has built his career in the media and entertainment industry, first as a professional wrestler, then a seasoned podcaster and now in radio broadcasting as the current morning show host for Now Country 104.7, a local Winnipeg radio station. He has also recently started work as the host of a TV series centered on learning different Indigenous cultures and languages.

The series will air on APTN Lumi (APTN’s streaming service) later this summer.

The time is right now for us to tell our own stories, instead of having our stories told for us.

Photo credit: Roger Boyer

By Danielle Vienneau

I

’ll never forget the first time I met Stefan. He was quiet and had a somewhat intimidating demeanour about him—I wondered if he was in the right place. You see, we met at a youth leadership conference over a decade ago; he was a youth delegate and I was the youth leadership program manager. The conference brought such a diverse group of young people together from all across Canada, youth who wanted to see positive change in the world and have a hand in creating that change through youth-led initiatives. Stefan was there for the same reason. When he smiled, the intimidation melted away, and I was surprised by his lighthearted temperament and sense of humour. He brought a unique perspective to the group as a First Nations youth from Winnipeg, and I am forever grateful that I had the opportunity to get to know him.

Fast forward 13+ years and our paths cross again, both of our lives looking much different now than they did when we first met. In my recent interview with Stefan, we reminisced about our younger days and talked about his time as a prowrestler and all the places he travelled to across Canada, the United States and Japan. What I learned was that, soon after I met Stefan, he began his struggle

with addiction. A five-year struggle that nearly took his life. He’s been clean now for almost a decade, and although it was a challenging time in his life, he’s moved on. A father of two now, Stefan chooses to focus on the positives in his life and has set some lofty career goals.

So how does one go from being a prowrestler to broadcasting and then becoming a TV host? Well, it turns out Stefan was quite the showman and often played the villain role in his wrestling matches. He compared the appeal of pro-wrestling to that of watching a play or going to see a stand-up comedy show.

“It’s a form of acting and entertainment with a little something for everyone,” he said. “There are ups and downs. There are tag-team matches, matches with dudes flying off the ropes, and then some are more care-free and comedic.” And like a good movie, almost every professional wrestling match has an antagonist and protagonist, and all the anticipated drama

one could expect, especially when a championship belt is on the line.

“The one thing I was really good at with pro wrestling is the entertainment part, the talking and the interviews. Hulk Hogan, Stone Cold and The Rock are notorious for being good talkers. So I figured I could build on that in other areas of my life, because I knew I had that gift. I knew that there were certain fields that it would apply to really well—one of those being podcasting.

So I started the Ever Sick podcast and I interviewed as many people as possible, like comedians, musicians, athletes, business people and sports executives.”

Stefan interviewed everyone he could to see if he was cut out for broadcasting.

It paid off because others started to notice his work, which led to hosting the Digital Drum podcast on APTN where he had the opportunity to interview artists from all over Turtle Island.

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COVER STORY

A natural transition from podcasting turned out to be radio broadcasting.

Stefan was recruited to work at Native Communications Inc. (NCI) radio station as the afternoon radio show host, which eventually led him to his solo gig as the morning show host, for Now Country 104.7. Stefan’s path into media

Photo credit: Blair Pacheco

Over the years, Stefan has interviewed many incredible people, but the two most memorable thus far are 1975 Stanley Cup winner Reggie Leach of the Philadelphia Flyers and rapper Drezus. “We were in this little makeshift studio at like 10 a.m. on a Monday morning, and there’s a Stanley Cup winner just sitting in the same room with me and we’re just shootin’ the breeze. And I’m like, ‘What is even going on? How did this happen?'”

Stefan’s interview with Drezus was a pivotal moment in his career. “We got super personal and really connected on a different level. We talked about growing up with single moms and not being connected to our culture, and just really deep stuff that caught a lot of people’s eyes and ears.” and broadcasting was certainly not a linear one—he never imagined he would be where he is today. When asked what advice he has for young people interested in getting into broadcasting, he shared, “The thing I say, especially to Indigenous youth who ask me about getting into

media, is to do it! Because the time is right now for us to tell our own stories, instead of having our stories told for us. Our stories are often told from a damaged narrative, but they don’t have to be. Focus on the story, the people and the great things being done in community.

There is power in telling your own story.”

One of Stefan’s proudest moments in his career is co-hosting the Manitoba Country Music Awards (MCMA) with musician Don Amero last November.

“Historically, country music has not exactly been left-wing—the 2021 event was the first time there has ever been two Indigenous hosts hosting the awards together. Don wore a big Winnipeg Jets Jersey that had the number 215 on it, and my beadwork and my Every Child Matters bracelet. It was a very proud moment for me.”

Stefan (center left) with the Canadian country music band The Wilkinsons.

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So what’s next for Stefan? He plans to shoot for the stars, optimistic his experience as a radio personality, and a writer and host of the upcoming show on APTN Lumi will open more doors for him in media and television. At just 34 years old, he’s got a book deal in the pipeline and has a goal of one day being on the New York Times bestseller list.

Stefan also looks forward to hosting more award shows. “I like to say the Manitoba Country Music Awards was my warm-up for the Oscars. So I’ve put that out in the universe and I’m hoping it comes true.”

“My journey has been very nonlinear. There was wrestling and then I had to overcome addiction and get my son back.

Then I had to find something to fill the wrestling gap, and it ended up being podcasting and radio broadcasting,” said Stefan. “I’ve controlled none of it, but this is what I want to do. It’s all come naturally, like one after another, and that’s the only reason I say things like hosting the Oscars and being on the bestseller list.

It’s because I feel like things have come so far that I can say something like that now and it has the potential to come true.”

little bit heavier, a little bit older. It was a big shock to the system, but I did it for fun.” Stefan’s not sure if he will hit the ropes one more time before hanging up his wrestling boots for good, but in the mean time we can catch him on APTN’s Face to Face and on APTN Lumi later this summer as he takes a fresh and lighthearted approach to learning Indigenous languages, interviewing Elders and Language Keepers, and helping people connect to their Indigenous cultures in Canada.

After a seven-year hiatus, Stefan recently stepped in the ring for a special appearance in Fargo, North Dakota, but it wasn’t as easy as it once was.

“It was okay. I’m in a little bit different shape now—a

Danielle Vienneau, Editor-in-Chief with SAY Magazine, believes in the power of sharing stories to inspire greatness in others. To submit your story, email editor@saymag.com.

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ENTREPRENEURSHIP

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ENTREPRENEURSHIP

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COMEDY

Janelle Niles Comedian, Producer and Content Creator

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By Danielle Vienneau

t takes a special person to make others laugh, and doing it onstage takes a little extra finesse and guts! Humour is intrinsic to human interaction, and if you are brave enough to hit the stage, standup comedy provides the ultimate platform for addressing stereotypes, breaking taboos and even holding others, especially those “in power,” accountable. For Janelle Niles, a BlackMi’kmaq woman from Sipekne’katik, Nova Scotia, comedy became a coping mechanism for her as a teenager, and now she hopes her “Indigenous comedy” will open a dialogue for others to have difficult conversations.

Niles is the creator and producer of Got Land? Comedy—a stand-up comedy variety show, where First Nation, Inuk and Métis entertainers tell jokes and share individual life stories. In January 2019, she launched her comedy career in Ottawa, Ontario, exploding in the nation’s capital with Got Land?

We are no longer silent. We are going to speak our minds. And with my Indigenous comedy, hopefully, we can open a dialogue and start a conversation.

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Inspired by the frank and unreserved comedian George Carlin, her dream is to perform for Just For Laughs in Montreal and one day tour Turtle Island. In addition to her touring show Got Land?, Niles has performed with the Arctic Comedy Festival in Iqaluit, Nunavut, and you can catch her on CBC Gem’s The New Wave of Standup Season 2. With humour that is described as eccentric and captivating, Niles aims to communicate solidarity through humour and laughter.

COMEDY

SAY: How did you get into stand-up comedy, and why?

Niles: I grew up watching Just for Laughs religiously. I would come home from school and pop in a VHS tape to record the show so I could watch it over and over. Comedy kept me sane in a tumultuous home. Then, by the time I was 14, I knew I wanted to be a comedian. I would use jokes to take away the pain. Something just clicked, and I knew I had something to offer the world.

There is always a child out there laughing their pain away.

SAY: How do you come up with material?

Niles: My comedy is observational. I see something, or experience it, and I write it down immediately. I find “funny” in everyday occurrences.

SAY: Who really makes you laugh?

Niles: Bill Burr has me buckled over, and so does Anthony Jeselnik.

Photo credit: River Cree Resort & Casino

SAY: What’s the most memorable moment in your career so far?

Niles: My most memorable moment would be when I performed at the River Cree Resort and Casino, and as I walked on stage in front of 2,000 people, there

was no microphone. The host had accidentally pocketed it. He forgot he had his own and walked off stage with a microphone in each pocket. So I made it funny and ran across the stage in a funny way and made the crowd laugh.

SAY: Is being a comedian your fulltime job?

Niles: I wish comedy was my fulltime job. I am obsessed with it, but unfortunately, comedy in Canada isn’t sustainable, so most comedians move to the United States. My day job is as a job coach with a pre-employment program for Indigenous Peoples.

SAY: What’s the most difficult thing about being a comedian?

Niles: The biggest challenge being a comedian is trying to make people laugh when they have negative associations with Indigenous Peoples. It’s a wall I need to break down, and when I wear a suit, they feel they can laugh because now I am smart enough to listen to. I wish I didn’t have to play mind tricks for audiences to listen to my style of comedy, but if it works, it works.

SAY: Is there anything you won’t joke about?

Niles: I will joke about almost anything.

When it comes to tough topics, we joke about the audacity, not making light of the situations we face.

SAY: Do you crack jokes in “real life” or are you quite serious?

Niles: I have been told to “turn it off ” because I am always joking around.

People think I am serious, but I am yanking their chains. I have had to say “joking” after I say a joke off-stage just so the public can put their pitchforks away!

About Got Land? Comedy

Got Land? Comedy was created to express solidarity with humour, where all genres of comedy are welcomed and expressed. The goal of Got Land?

Comedy is to perform across Turtle Island, for all Indigenous and nonIndigenous persons alike.

Photo credit: CBC Gem New Wave of Standup Season 2

Here is more about Niles and why she chooses to bring laughter to audiences everywhere.

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COMEDY

Randy Schmucker Comedian, Artist and Performer

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By Danielle Vienneau

Launching his comedy career just prior to the pandemic proved to have its challenges for the up-and-coming comedian. Thankfully, there were people in the comedy scene who held virtual space for comics to come together to perform and practice—a “lifesaver” for Schmucker. Now, with live shows happening again, we are excited for what is to come from the young performer.

Here is a glimpse into Schmucker’s life as a comic and all that inspires his work.

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Photo credit: Erik Stolpmann

andy Schmucker (he/him) is a talented comic, artist and performer residing in the unceded and unsurrendered territory of the Algonquin Anishinabek (also known as Ottawa). Through comedy, he brings a unique point of view that plays on his experiences as a member of the 2SLGBTQ+ community, as well as his mixed background of both Anishinaabe and European ancestry. Schmucker began his comedy career in 2019 with the first-ever Got Land? comedy show and a performance at the Fresh Meat Festival.

He finds comedy is a way to bring people together, to relate to one another, and to justify his flamboyant and (sometimes very) meta sense of humour.

COMEDY SAY: How did you get into stand-up comedy, and why?

Schmucker: I’ve always been interested in stand-up. Growing up, I would watch stand-up on TV, likely missing half the jokes, but I always felt connected to the art form. Back in 2019, I put a submission in for a one-person show at an arts festival and got accepted. This meant that for three nights I would be performing 20-minute sets in front of paying audiences, and I thought, “Oh no! Now I have to practice… at least once.”

SAY: How did you get involved with Got Land?

Schmucker: A friend told me there was going to be a show called Got Land? with all Indigenous comics. I put my name forward for a spot and had my first-ever show with a community of like-minded individuals. It was great to hear comics from all backgrounds, and I immediately felt inspired to keep going, to do the festival, and now it’s been almost three years!

SAY: How do you come up with material?

Schmucker: Most of my material is rooted in references that I am most familiar with, like being a part of the 2SLGBTQ+ community or being a First Nations man living in the city, but I try to stay relevant on topics outside of my comfort zone—to expand and be relatable.

A lot of my inspiration and references come from TV shows, more specifically TV characters like Gina from Brooklyn Nine-Nine, Maria from Lady Dynamite and Titus Andromedon from Unbreakable Kimmy Schmidt. I like to think of myself as an amplified version of my own character when I’m on stage. I also benefit from an innate overactive mind. Often, during walks or when I’m trying to fall asleep, a theme or topic will come to mind, and I’ll workshop a punchline on the spot. Then it goes straight into my notebook if it’s near, or, most often (like an Instagram celebrity apology), into my phone’s Notes app.

SAY: Who, or what, really makes you laugh?

Schmucker: My comedy icons are Chelsea Peretti, Maria Bamford, John

Mulaney, Julio Torres and Jaboukie Young-White. Personally, I love the unexpected and absurd. Anything with a bit of shock value can go a long way. I also really appreciate jokes where you have to think and know references. I feel like a lot of my generation’s humour (or at least the most popular style) layers absurdity with cultural or pop culture references, and then layers it again with self-deprecation or ironic self-awareness. That’s what gets me going!

SAY: What’s the most memorable moment in your career so far?

Schmucker: It’s so cheesy, but the most memorable moment for me was my first time on stage, not knowing how it was going to go. My friends were so supportive, and hearing honest feedback from strangers really was a great experience. It was validating to hear that after such a long time of wanting to do stand-up, I might actually be good at it. Since then, I’ve performed for the YukYuks room, various arts and film festivals, rooms of six people, dive bars, family events and on Zoom calls from my phone for college students. All of it is worthwhile, and I try to keep a memory of each show.

SAY: Is being a comedian your fulltime job?

Schmucker: I appreciate that I am able to do comedy part-time. I feel like I’ve built up my stage presence and material to where it needs to be right now, and I like where I’m at. I have a lot of different pursuits, including full-time work and other creative pursuits outside of comedy. Comedy is a space where I get to use different skills and attend to my humorous side. If I were to take it to the next level, I would love to someday do TV or playwriting.

SAY: What’s the best thing about being a comedian, and what’s the most challenging?

Schmucker: Being a comic is rewarding in that I get to share my unique story and perspective. I often get approached by people who are super like-minded who resonate with my material and feel seen. I love connecting with other Queer people after shows and bonding over silly things

that happen in our lives. On the other hand, I also get approached by people who don’t see eye to eye or appreciate hearing something that is different from what they are used to. Either way, doing the show and succeeding is a great rush, and hearing feedback validates what I do.

SAY: Is there anything you won’t joke about?

Schmucker: I would say there are quite a few sensitive topics that hold a lot of charges and can be triggering. These can be healing to joke about for some, and I think there is merit in comedy as an art form to bring a sense of relief to these topics, as long as it’s done from a place of respect. Personally, I try to be very intentional about what message I’m bringing to the stage. Before I put a joke in my set, I ask myself if the joke has value outside of being about a potentially touchy subject. Am I calling people “in” to a conversation about a touchy subject?

There are definitely topics that I steer clear from because they can be seen (whether intentional or not) as harmful for the sake of being harmful. My comedy can definitely ruffle feathers, but it comes from a place of love.

SAY: Do you crack jokes in real life or are you quite serious?

Schmucker: A colleague of mine asked me whether I make jokes when I’m nervous… I do. I also make jokes when I’m sad, happy, anxious, alone, with friends, at work or anywhere! I love humour. I love having inside jokes with my friends. I love making funny references to a show or a movie that my friends and I are into. I love making people feel good about themselves, even if it may get me into trouble. I love bringing a sense of humility to the world and to myself through humour. I would say it’s one of my largest and greatest personality traits, and I wouldn’t change it for anything.

Randy Schmucker's biography courtesy of Got Land? Comedy. To submit your story, email editor@saymag.com.

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PHOTOGRAPHY

Brandy Bloxom A great photograph has the potential to communicate a powerful message—a vivid story that requires no words and no sounds, yet is able to convey a compelling narrative by freezing a moment in time. A picture, or a series of images, possesses all of the elements that make up a great story. Photographs are a universal language, leaving an impression more powerful than words. This is what photographer Brandy Bjarnason Bloxom (Two Wolves Howling Woman) believes.

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self-taught, multi-awardwinning photographer, Bloxom transcribes the stories of others through her work.

When it comes to her own story, her selfportraits provide a glimpse into her life as a First Nations artist.

Bloxom was born in Pinawa, Manitoba, and is Swampy Cree from York Factory 18 | ARTS & ENTERTAINMENT l JUNE 2022

First Nation. Her creative processes in art and photography are inspired by her family and her northern First Nations roots. Bloxom’s interest in her Indigenous history has continued to inform her work, as has her love of the outdoors. Over the last few years, Bloxom has spent a lot of time advocating for Indigenous rights and increasing awareness with impactful images, specializing in documentary photography.

Brandy Bloxom

With an eye for detail, Bloxom promotes self-acceptance, passion and celebration of our physical uniqueness with her artistic photography, always seeking opportunities that display women in

PHOTOGRAPHY

roles that break barriers. A mother of three, two of whom are young women, Bloxom hopes to leave a legacy that will leave her children with positive media influences and strong self-esteem.

Here, her work amplifies Indigenous voices through her work with Elder Jane Merasty. Bloxom is most proud of these portraits and honoured to have spent time working with and learning from Merasty. These photographs represent the passing of stories from Merasty to Bloxom (featured in the center image)— Bloxom translates those moments into images to share with others.

Jane Merasty (nee Colomb) is from Manitoba and is among the Indigenous Elders featured in Portraits of the North. Her family grew up on the

trap line. As a youngster, she attended school at Nelson House, but her love of school and learning quickly diminished when she started residential school in Sturgeon Landing at 15 years old.

She was able to return home where she learned to trap, ice fish and handle dogs, which would eventually enable her to lead her own team. With her brothers away at residential school, she and her sisters worked hard on the land, hunting and helping to provide for their family. She later married and moved to Sandy Bay, and continued to lay trap lines for nearly 30 years before moving to Flin Flon. Merasty has more than 100 grandchildren, great-grandchildren and great-greatgrandchildren. “She told me she stopped counting at 100,” said Bloxom. “‘Too many,’ she said, laughing.”

The Photographs: Behind the Scenes

“It’s difficult to tell, but we are both in an igloo in these photos,” explained Bloxom. “Can you imagine she [Merasty] crawled into it? When we came to the igloo, I noticed we had to almost bend in half to get through the opening. I asked if she was able to do it, and she said, ‘Yes, now bend over.’

I bent over and she laid on the small of my back, wrapped her arms around me and hung on as we entered the igloo just like a train and caboose. She was up for anything and she loved her photograph being taken. She was a natural! I called this series of photographs ‘the kill’ to represent our lost ways of trapping and hunting. Having Jane by my side signified her teaching me the old ways for me to pass along to future generations.”

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CULTURE

Language Revitalization Champion

Randy Morin Randy Morin empowers audiences with stories and language as a speaker with the International Indigenous Speakers Bureau (IISB). He is an educator, author, Cree language keeper and an Indigenous Knowledge Keeper. Morin works with universities, teaching Indigenous Studies, and is devoted to Indigenous language revitalization. A leader in the Indigenous culture and language revolution, Morin is dedicated to bringing Indigenous language, knowledge, and perspectives to the forefront of our times.

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orin was born and raised in Big River First Nation in Treaty 6 territory (Saskatchewan). His community taught him a great many things that have helped shape the person he is today: hard work, resilience, to have common sense, problemsolving, being handy, and asking for help when needed. Most importantly his community taught him about his language and culture, fostering a lifelong journey to educate and encourage others.

SAY Magazine was honoured to interview Morin to learn more about the vitally important work he is doing, particularly through language camps and youth empowerment.

“I took all of those values I learned from my community and I applied myself to high school.

Right after high school, I traveled all over North America. When I came back, that’s when I decided to honour my grandmother’s words: ‘Continue with your education.’”

Morin continued his studies at the First Nations University of Canada (FNUniv). “I was a broke student,” he explained. “I’d just become a father—19 years old on limited funding—I struggled to get that Bachelor of Arts degree in Indigenous Studies.” This is where his passion for language revitalization started. He became a tutor at FNUniv and “the spark was lit.”

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The language spirit was gifted to him by his ancestors.

Now it’s his responsibility to share that spirit.

CULTURE Further advancing his education, he went back to university while working as a school counselor. “I became a teacher, and I worked as one for many years. Then I got my Master’s degree at the University of Victoria. Now I work as an assistant professor at the University of Saskatchewan where I am the Cree language specialist.”

A self-described seeker of knowledge, Morin is passionate about using his gifts to teach others about the profound healing capacities that storytelling, language and his Cree heritage have to offer the world and its future generations.

“I’m very, very blessed that the language spirit was gifted to me by my ancestors, to my grandma, my mom, my dad, my community. And now I have the moral responsibility to share that spirit. It’s not my spirit. It doesn’t belong to me. It belongs to the people, whoever wants to learn it.”

At the University of Saskatchewan, Morin is currently working on the development of a pre-certificate program. “It’s a speaking certificate, so people who take the class can come out as emerging Cree speakers,” explained Morin. “I do a lot of work around the community, like with the nêhiyawak Language Experience, a grassroots non-profit organization.”

The nêhiyawak Language Experience travels across Saskatchewan teaching Cree language camps, and this year they will be at Weyakwin Lake. Eager learners will attend a week-long camp where they will learn many things in Cree with different methodologies. Each teacher specializes in different teaching methods: Belinda Daniels uses pictures; Bill Cook uses technology; Solomon Ratt uses TPR (total physical response); while Morin’s passion lies in the ceremonial and spiritual. “I teach about how to say our prayers, knowing all the different medicines and the tools that we use in our ceremonies.” During the camp, Elders are brought in, and everyone has the opportunity to go to ceremonies, dance, sing and participate in talent shows.

“We even do outdoor activities, like fishing and snaring, and we do our own cooking,” added Morin.

Through his dedication to breaking cycles, teaching Indigenous youth and restoring the Cree language, Morin hopes to inspire

more people to join this cultural and language revolution. “I think there’s a huge urgency to bring back land-based education, to bring it back to our students.

Reflecting on my own experience, it was not called land-based education, it was called a way of life. My parents and grandparents would take me out to the land and they taught me so many things, just from observation, just from talking to me about plants and animals and the environment—they taught me the values.

That’s what’s missing in our young people, especially our urban young people.

They’re not connected to the land there.

They walk on concrete. Being outside in nature connecting with your bare feet on the land… Can you imagine if our students did that every day?”

Morin is concerned about the future of our Indigenous languages and urges us all to take the steps necessary to preserve Indigenous knowledge and stories. “We all need to take the preservation of our languages far more seriously. I know people who are fluent speakers, but their children don’t speak the language. We have all the elders; we have all the human resources in the community.”

“Now is the time. There is a state of emergency on our Indigenous languages right across Canada. If you want to go on this journey, it will be a life-long journey.

It’s a beautiful journey. The right people will come into your life who will help you. Go to your people now while they exist. Offer tobacco, cistêmâw, we call it.

Always follow protocol.”

Morin reminds us that we don’t have to reinvent the wheel. Language resources are scarce, but they are being developed.

He references other language revolution leaders like the Māori, the Hawaiians and the Navajo, who are also leading the way and may be able to offer learning support.

“If you go back to who you are, to your language, you’re not only honoring your ancestors, you’re honoring your people, your community. And when you go back to the language, you’ll find acceptance, you’ll find peace, you’ll find love, respect and dignity.”

Morin’s words resonate loud and clear as he urges this world can become a better place if we all become active participants.

“Because in the language you’ll find that everything has a spirit, and we call that wahkohtowin. You’ll want to treat the world better. You’ll want to think of future generations. You’ll want to be more of a steward to the land.”

This is how Morin lives his life. Trying to live by the teachings left by the ancestors—the Creator’s laws. “On the other side, when we go to meet our ancestors, I’ll be able to go to them with dignity and say, ‘Hey, thank you.’”

Indigenous languages have embedded in them the values and teachings about how to be a good relative to the natural world.

Morin explained that this worldview does not exist in English. “In English, a rock is a rock; for us, it’s a grandfather.

And all these Indigenous languages have solutions in them, how to harvest, how to be stewards, how to protect, and how to interact with their environments.”

“Look at the state of the world,” he said.

“We have very little time left to turn the wheel. We need to turn to our Indigenous Peoples. The world’s most biodiverse lands are located on Indigenous lands.

In Canada, we only have 0.27% of the land. Reconciliation would mean giving back the lands to the Indigenous Peoples, like the national parks, while they’re still pristine, so we can protect them.”

Through his work, Morin also teaches language revitalization as a form of decolonization. “They tried to take the language from us, so this is your chance to undo the wrongs that were done to our people. Many of our people couldn’t speak. Well, now we have the freedom to do it. So you have the moral obligation to honour what our ancestors fought and died for.”

A SAY Magazine and IISB editorial collaboration.

Based on 15 years of experience running Cree language camps, Morin and his team have created a how-to guide for communities to create their own Cree language revitalization camps.

This guide is free to anyone who wants it: nehiyawak.org.

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HONOURING OUR ANCESTORS

Kuper Island:

Uncovering a Dark History “They called it a school. But what kind of school has a graveyard?”

Long after the Kuper Island Residential School was torn down, the survivors are still haunted by what happened there. In an eight-part series, investigative journalist Duncan McCue exposes buried police investigations, confronts perpetrators of abuse and witnesses a community trying to rebuild on top of the old school’s ruins and the unmarked graves of Indigenous children.

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cCue, along with a dedicated production team including Martha Troian and Jodie Martinson, diligently worked on the Kuper Island podcast series since last August, taking time to develop relationships and to get to know the people of Kuper Island and their stories.

The first episode aired on May 17, and SAY Magazine was honoured to speak with McCue on launch day. “It’s been a project that we’ve been working on for almost a year now. I feel a huge responsibility to the people of Kuper Island, and the survivors, to do justice to their story,” said McCue. All Canadians, and Indigenous Peoples, will remember last summer and the disturbing news that first started with Kamloops Residential School and the 215 unmarked graves found there.

“It just seemed like community after community was announcing that there

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were also unmarked graves at former residential school sites across this country.

When Penelakut announced there were unmarked graves in their community as well, it caught my attention,” said McCue. McCue has been a reporter in British Columbia for nearly 20 years, covering residential school stories for many years.

He had heard a lot of really horrible things about the Kuper Island school. “It was a school where, in the first 30 years of its existence, nearly 40% of the children died,” he explained. “It was a school that survivors refer to as Alcatraz. So, for me, it was something we needed to look into.”

A very candid conversation with the former Chief of Penelakut revealed that the community had been dealing with spiritual unrest ever since the school was torn down in the early ’80s. “She [the former Chief] told me how the spirits of children had been reaching out to community members, literally touching

Duncan McCue

them, peering in windows, crying, sometimes laughing, but she described it as the anguish of these children’s spirits,” said McCue. “Once she told me that story, I just thought this is something that Canadians need to know, and I think our Indigenous listeners will appreciate us exploring that spiritual side.”

The series specifically shares the stories of three children who survived the Kuper Island Residential School: Tony, James and Belvie. “It takes great courage to share their stories—to break the silence,” explained McCue. “It’s triggering and traumatizing for survivors to go back into that space and time. They spent many, many years trying to forget that experience and erase it from their minds.”

In doing this podcast series, the team recognized how difficult it would be for the survivors they were speaking with.

“We were there to do an investigation about the number of deaths that

HONOURING OUR ANCESTORS happened as well as the high rate of sexual abuse that occurred at Kuper Island School,” said McCue. “We did our best to be as transparent as possible and to make sure that the people we spoke with were cared for and had people to support them when they were sharing these stories.” The team also worked hard to make sure they took care of themselves when they heard these stories.

“Vicarious trauma is real and we’ve heard some dark stories, and listeners are going to experience some of that as well,” explained McCue. It’s no secret that these children were neglected in life, but even more troubling is that they were neglected in death as well. “That’s why the trauma has been so painful from last summer. It resurfaced that pain, certainly for survivors, but also for the families who don’t know how the children in their family died or where they’re buried. The deaths of children at residential schools are not just things of the past. It’s not just black and white archival photos from Canada’s history— these deaths have rippled through

generations and continue to impact our Indigenous families today.”

I have a great deal of respect for the survivors who’ve shared their stories with us, and I hope that listeners appreciate the courage it takes for them to come forward and share their histories and truths. ~ Duncan McCue Penelakut has been on the ground doing penetrating radar work for the past eight years. They were doing this long before it was in the headlines. “The lesson from Penelakut is that it is painful. It takes time to do this in a good way, and I hope that other communities will draw strength from Penelakut,” said McCue. “These were children with names and hopes and dreams. This is something

that needs to be made right. These are children that need to be memorialized.”

“It’s going to take a certain spiritual strength on behalf of Indigenous Peoples to carry out this work. I hope that Canadians look at their own lives, look at their children, grandchildren, nieces and nephews, and say, ‘What would I do?

How would I feel? How would I react if I didn’t know where they were buried?’ I hope that’s something our listeners will understand.”

The Kuper Island podcast series is available now on CBC and on any podcast platform, such as Spotify, Apple, Amazon or wherever podcasts are available.

Duncan McCue is Anishinaabe, a member of the Chippewas of Georgina Island First Nation in Southern Ontario, and the proud father of two children. He is a long-time CBC reporter, radio host and investigative journalist. He has won Canada’s top prizes in investigative journalism and was part of the team awarded the Hillman for CBC’s Missing and Murdered Indigenous Women series.

JUNE 2022 l ARTS & ENTERTAINMENT | 23

MUSIC

STORYTELLER & TRUE STAR

Down-to-earth and hardworking, CreeMétis singer-songwriter Don Amero does not accept mediocrity as the norm.

His steady, driving country beats and twang, intriguing and thoughtful lyrics, and flawlessly rich vocals have propelled him to the top of the charts, earning him multiple nominations each year, including the Manitoba Country Music Association (MCMA) Awards in 2021 where he not only hosted but took home three awards.

Tirelessly touring, performing and speaking across Canada for the last 10 years has been an opportunity to share his passion for music, reconciliation

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and inclusion. Beyond his considerable country music success, he has used his skills for advocacy work within many Indigenous communities. Amero has been a youth mentor for the Winnipeg Jets and has created the ‘Music Is Medicine’ workshop to help people heal both mentally and physically through the power of music. Now, as the first advisor and chair of the Canadian Country Music Association (CCMA) Equity, Diversity and Inclusion Committee, he is destined to leave change in his wake.

Amero’s latest EP Nothing is Meaningless is a joy to listen to and has sent talk show

hosts scrambling to include him on their broadcasts, precipitating appearances on various shows such as The Marilyn Denis Show, ET Canada, Etalk, Your Morning, and the CCMA Awards National Broadcast. The singles “My Poor Mama” with its country twang and exquisite storytelling, and the duet featuring Raquel Cole “Let You” are leaving their mark on Canadian country radio everywhere.

Amero is a sparkling example of wise choices along a dark and difficult path.

Choosing music and hard work has made him who he is today: an inspiration to heal, persevere and give back to the community.

MUSIC

PATRICK DENEAU A small town boy making good— that’s Patrick Deneau’s story.

Growing up in backwater Northern Michigan of the Sault Tribe of Chippewa Indians, Deneau learned to love music while on road trips with his dad. His earliest influence was the Rolling Stones, and then, during his formative years, he was drawn to the energy and rebellion of the electric guitar.

Though he was attracted to the thought of making music a career, the more reliable gig of being a firefighter/emergency medical technician seemed to be the more responsible route. It was a way he could earn a consistent paycheck and help others, as his father did.

For a time, his flood of musical creativity was replaced by drought until a string of disturbing calls at work drove him to the guitar again as a creative and emotional outlet.

His passion was reignited, and so his recording career began.

Enter City Lines: Deneau and Jack Spivey on guitars, and Brandon Benson on bass. All three provide the rock-solid vocals for lyrics that lend the Midwest working-class

honesty of life’s crossroads to the solid steady Chevy beat that gets people up and moving. The album Waiting on the Win weaves the diverse influences of each band member to create a musical palette of intricate sounds and messages.

Deneau’s songs range from up-tempo ’90s alternative rock which inspired “Many Hearts” to the intricate layers of subtle guitar, vocals and harmony heard in “For Heaven’s Sake” (exploring the concept of blood quantum count in Native American citizens). Not to be forgotten are the group’s gravelly vocals and guest artist Asa Brosius’s outstanding steel touch that brings a little honkytonk to “Fortune Sold”. The lyrics, harmonies, twang and drive of this album do not disappoint.

A singer-songwriter not to be underestimated, Deneau is on this journey of life to make a difference at home and in his community with music. The path will have crossroads, but Deneau is sure to make the winning choice; keep an eye on this star rising.

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MUSIC

Dakota South Records:

A Decade of Hits Dakota South Records is celebrating a decade of success. Their newest album, Dakota South Records: A Decade of Hits dropped on April 8, 2022, showcasing the

label’s most popular songs of the last 10 years. Featured are Brandis B. Knudsen (B. of Dakota South Records), Bud Holly, Damon Perry and juQ, including features from Hopsin, Night Shield, Chris Huisenga, C-NICE-1, Bert Malcom and Nae Nae.

Photo credit: Kris Monroe

Brandis Knudsen, known as B., is from the Yankton Sioux Tribe of South Dakota and has come a long way in the industry since his label’s first release in 2012. The self-titled debut album B. of Dakota South Records took the Native American music industry by storm, earning multiple award nominations and wins. Since then, he has released OHHH! B. featuring the hit single “Come and Get Your Love” that up-cycled an authorized sample of the hit namesake from Redbone. The combination of the classic 1974 hit and modern hip hop scored him a Single of the Year honour at the Native American Music Awards in New York, and later its music video won the award for Best Hip Hop Video at the L.A. Music Video Awards. Knudsen, however, had no intention of limiting his label and had a vision much wider than personal releases.

The label’s 7th award was earned

by Knudsen at the Indian Summer Music Awards for the early release single from his upcoming album Full Name in Lights, called “What You Left with Me” (ft. juQ). You can find this and much more on the Decade of Hits album. Knudsen will also be releasing a 10th Anniversary Remixed Edition of his debut album, B. of Dakota South Records, that will include re-recorded and new guest artists.

Keep your eye on Dakota South Records; they are going for the gold!

During the time of the release of his sophomore album, Knudsen worked extensively in collaboration with juQ and signed him to the Dakota South records label. Soon after, Bud Holly and Damon Perry were signed, and now the label is also home to C-Nice-1 and DJ Hulio to round out their sounds.

June 20 | Don Amero June 27 | The City Lines July 4 | Brandis Knudsen Visit us at IndigenousinMusic.com 26 | ARTS & ENTERTAINMENT l JUNE 2022

MARKETPLACE

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MUSIC

s ’ o i d a R g The Froer Picks Summ The sounds of summer are here, and The Frog Radio is playing music from all your favourite Indigenous artists. Founder and CEO of The Frog Radio, Denise Halfyard shares her top five music picks to listen to this summer.

Innastate - “Seeds”

The Ra11n - “IYKYK”

How can you have a top-five summer playlist without reggae?

Although this track was released in 2021, Innastate’s “Seeds” will stand the test of time when it comes to your summer tunes.

This Santa Fe band sweeps you away to lazy days in a hammock under a palm tree while sipping a colourful beverage… Sounds deadly, doesn’t it?

I’ve been a huge fan of The Ra11n’s smooth rhymes since hearing her single “Come Over,” and her latest single “IYKYK”—the first release from her much-anticipated debut album—is no exception.

Produced by DJ Shub, these two have proved that they make a great team. After all, if you know, you know!

Fara Palmer “Cry, Cry, Cry”

Street Pharmacy “Love Astronaut”

Moc tapping ska… yup… that’s what I said! From the first strum of the guitar and hit of the snare, you’re instantly chair dancing and never want the song to end.

This group, which has been together for over a decade, is staying true to their “roots,” releasing infectious grooves suitable for any summer playlist.

Power, power, power is more like it! This upbeat tune showcases the strength of Fara’s vocals that we’ve become accustomed to as she lets her partner know that they’re gonna be a mess when she leaves. Better not cross this confident Indigenous woman!

Nige B “Come Unto Me”

Okay, this song has some serious Bruno Mars/Usher vibes! As soon as this song starts, you want to stop what you’re doing and dance. It has the cool vibes of an evening with friends while enjoying a sunset BBQ or bonfire.

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Honourable Mentions:

Hailey Wallis - “Coffee Cup” Mandee Rae - “Beautiful Release” Midnight Sparrows - “Cinq A Sept” Denise Halfyard is a proud Wet’suwet’en, Tshimshian and Gitxsan woman. She is part of the Laksilyu clan (Wet’suwet’en), meaning ‘Small Frog’, which is how ‘The Frog Radio’ got its name! She is also a seasoned voice-over artist and coordinator for the Tears to Hope Society.

NEW MEDIA

pîkiskwêwin: Language Revitalization for the next Seven Generations

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Submitted by the First Nations University of Canada

his spring, the First Nations University of Canada (FNUniv), through the Indigenous Communication Arts (INCA) program, launched the pîkiskwêwin podcast project. pîkiskwêwin, which means “language” in Cree, aims to revitalize Indigenous languages and culture for the next seven generations. It is a community-led initiative, unique from other podcasts in that they are produced in Indigenous languages, engaging language teachers, language keepers and language learners as podcasters.

“There is an urgent need to actively work toward Indigenous language preservation and revitalization—before we lose more of our Knowledge Keepers, fluent speakers and teachers,” said

Dr. Jacqueline Ottmann, President of FNUniv. “With this podcast project, there’s an incredible opportunity to facilitate and support increased teaching, learning and sharing of our Indigenous languages, not just in our home territory of Treaty 4 but in all territories across Turtle Island and the world.”

The topics explored through the podcast are vast, ranging from Elders’ teachings, language loss and sovereignty to parenting, cooking and living in the bush, and everything in between, even romance. Even more, what’s so powerful about the pîkiskwêwin project is that it offers training and mentorship for all kinds of Indigenous storytellers. Those responsible for producing the podcast are learning their languages by working with

fluent speakers while developing technical skills to record and produce stories in Indigenous languages. The use of new media and the potential for podcasts to be listened to anytime, anywhere (and over again) brings us a step closer to preserving, protecting and interpreting the history, language, culture and artistic heritage of First Nations, and supporting the pîkiskwêwin project’s mission to see Indigenous languages thrive.

The First Nations University of Canada was founded in 1976 and is a First Nations-owned post-secondary institution that bridges our ceremonies, knowledge keepers, languages and traditions to deliver high-quality postsecondary education.

ABOUT THE LOGO:

The pîkiskwêwin logo is original art

by Kevin Spencer Cardinal who is a Woodland Cree and artist from Wabasca. He’s a fluent Cree speaker and acrylic painter.

All his paintings represent his perceptions, beliefs and experiences of the Creator, of life, and of his family and friends.

The animals he paints can represent people, spirits, beliefs, thoughts, emotions and life experiences.

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FASHION

T Courtesy of the Indigenous Fashion Arts

he Indigenous Fashion Arts Festival (formerly Indigenous Fashion Week Toronto) took place June 9-12, 2022, at Harbourfront Centre in Toronto, Ontario. The four-day event, themed Walking with Light, included four theatrically-produced runway shows with 25 designers, a marketplace with over 60 exhibitors, and academic-focused panels and hands-on workshops open to the public. Each day highlighted an incredible show curated by Wanda Nanibush (Anishinaabe and Indigenous Art Curator, Art Gallery of Ontario), Melanie Egan (Director, Craft & Design, Harbourfront Centre) and Sage Paul (Denesuline and Executive & Artistic Director, IFA).

Here are the details about each show and just a sample of the talented designers whose bold and innovative designs graced Toronto runways earlier this June.

Amy Malbeuf

Eternal Imaginaries

brought together a visionary group of artists and designers who share Queer Indigenous world views through fine craftsmanship, clever patternmaking and bold materials.

Métis (Rich Lake, Alberta) An award-winning Métis visual artist, Amy Malbeuf is from Rich Lake, Alberta, Treaty 6 territory, and currently lives and works on unceded Mi’kmaq territory in Terence Bay, Nova Scotia. Through the mediums of animal hair tufting, beadwork, installation, performance, wearables and tattooing, 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; Art Gallery of Nova Scotia, Halifax; and Museum of Contemporary Native Arts, Santa Fe. Malbeuf holds a Native Cultural Arts Instructor Certificate from Portage College and an MFA in Visual Art from the University of British Columbia Okanagan.

Qaulluq

Sovereign Matriarchs

featured a multigenerational group of designers celebrating the legacy and stewardship of our matriarchs’ labour and teachings through tradition, material and motif.

Inupiaq (Kotzebue, Alaska) Qaulluq (Clara McConnell) believes in the importance of living by Iñupiat Iḷitqusiat (traditional values that make us who we are) and the responsibility we each have to pass on traditional knowledge by teaching others. Qaulluq is honoured to have been taught this beautiful tradition and knowledge passed down by the matriarchs in her family going back many generations, which encourages creativity and innovation.

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FASHION

Time Weavers

showcased an exquisitely skilled Canadian and international group of artists and designers who harness and sustain generations of knowledge, featuring the practices in trapping and fur design, weaving and material culture methods.

A Letter from Home was

an enveloping memory of “home,” celebrating family and place, featuring a broad group of designers who create readyto-wear fashion and jewellery.

Their collections connect wearers to their lands and relatives through modern utilitarian Indigenous design.

Janelle Wawia

Anishinaabe (Opwaaganasiniing, Ontario) A self-taught artist from Opwaaganasiniing (Red Rock Indian Band), Janelle Wawia’s multidisciplinary work interprets her visions and dreams that surface. She sews custom fur garments and accessories with fur from the trapline, beadwork and tanned hides. Wawia also upcycles garments, knowing fashion’s impact on the environment and wanting to preserve its sustainability and design. She spends a lot of her time on the land with family on the trapline.

Wawia presented at the inaugural Indigenous Fashion Week Toronto in 2018 in the New Moon runway showcase.

Section 35 Nehiyaw (Samson Cree Nation, Alberta)

Justin Louis (Nehiyaw) is a fashion designer, graphic designer, photographer and co-founder of Vancouver-based SECTION 35.

A member of the Samson Cree Nation, Louis was born and raised in Nipisihkopahk (Samson) in Treaty 6 Territory and now calls the West Coast of British Columbia home. He co-founded SECTION 35 in late 2013 and officially launched it in 2016, intending to use art and fashion to tell stories, with streetwear being the medium. Louis has collaborated with artists from across Turtle Island, including Santiago X (Chicago), OxDX (Phoenix) and The Hundreds (Los Angeles). This year marks the fifth anniversary of SECTION 35.

Indigenous Fashion Arts sustains Indigenous practices in fashion, craft and textiles through designer-focused initiatives, public engagement and sector innovation. Their primary activity is the biennial Indigenous Fashion Arts Festival. IFA’s programming and initiatives illuminate and celebrate Indigenous people and cultures. With a commitment to Indigenous women, non-binary and trans people in leadership, IFA strives to nurture the deep connections between mainstream fashion, Indigenous art and traditional practice with amplified visibility.

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LITERATURE

Resurgence:

Engaging with Indigenous Narratives and Cultural Expressions in and beyond the Classroom

A

t last, the voices, perspectives and reflections you have waited for. This evocative volume is the perfect guide to critical engagement with Indigenous literature— ideal for personal learning, family discussion and classroom content.

Resurgence aims to bridge existing curricula with Indigenous voices by engaging tensions and emphasizing the importance of balance in our selves and ideas; connecting peoples to their places; and furthering the truth and reconciliation process.

Engage with powerful and inspiring poetry, artistic and narrative texts by celebrated Indigenous writers.

Experience the power of the awardwinning Cree author David A. Robertson. Learn from the celebrated Haida educator and scholar Sara Florence Davidson. See life through the eyes of Deninu Kue First Nation author/ artist Lisa Boivin. Encounter life through the poetry of Cree Elder and social worker Louise B. Halfe (Sky Dancer).

And discover land-based teachings woven into the stories of respect and healing by Salish and Métis Canadian children’s literature awardwinning author Nicola I. Campbell.

Resurgence pulls the threads together, allowing Indigenous authors from across Canada to create a tapestry of beauty, pain and urgency that ought to be required reading for all.

Through critical engagement with each contributor’s work, experienced educators Christine M’Lot and Katya Adamov Ferguson support readers in discovering Indigenous narratives and perspectives, using Indigenous works in their classrooms and creating more equitable and sustainable teaching practices.

Resurgence is available in bookstores and from Portage & Main Press.

Go on your own learning journey or recommend this book to your professional learning community today. Be part of the Resurgence.

About the Co-Editors Christine M’Lot (she/her/ hers) is an Anishinaabe educator and curriculum developer from Winnipeg, Manitoba. She has experience working with children and youth in multiple capacities, including child welfare, children’s disability services and Indigenous family programming. She currently teaches high school at the University of Winnipeg Collegiate. M’Lot is also the co-founder of Red Rising Education and works to create Indigenous education resources for teachers.

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Katya Adamov Ferguson (she/her/hers) is a mother, artist, researcher and teacher.

Ferguson currently works as an early years’ support teacher in several schools in Winnipeg, Manitoba, and is passionate about professional learning in the area of Indigenous education. She sees potential in the arts to create ethical spaces to mobilize complex topics with both young children and adults. Ferguson is also a Ph.D. student engaging in curriculum redesign and placebased inquiries, and is working on branching her arts-based research into public spaces.

QA

up with ways to take action and make change. Actions can be very personal, such as making a small shift or internal change of thinking or doing, or can be bigger, more involved efforts within local communities.

&

with the Editor

SAY: Could you please describe the importance of engaging with Indigenous stories as part of a larger step towards meaningful reconciliation?

Ferguson: I think stories are so integral to who we are and how we learn. Stories can invite us to learn through listening and by creating a profound sense of belonging. I think stories also push our minds and hearts to think creatively and empathetically, and to make meaning in imaginative ways.

Resurgence is a collection of stories that take many forms, such as narrative essays, poems, paintings, digital art and architectural designs. They are each so beautiful and thought-provoking. What they have in common is they are all stories or expressions of resurgence. They are the types of stories that have been omitted from educational settings for far too long. They also challenge policies and practices of the past. I think that, like the Footbridge Framework we developed within the book, these stories from a variety of nations give insights into new truths and will help readers make new connections.

This collection will inspire teachers to re-think their practices and find ways of ensuring more equitable Indigenous representation in classrooms.

SAY: What do you hope readers will learn from this book?

Ferguson: I hope people will take this work up in ways that are meaningful for them. We have designed this book so that readers will find an entry point in Resurgence no matter their expertise or comfort level with the topic. We have provided a range of questions so that there will be a starting place for everyone that honours the journey they want to take. There are so many connected concepts featured, including learning through metaphor, body sovereignty, ethnomathematics, cultural appropriation, ancestral memory, reciprocal relationships, representation in media, video games, land-based education and more. It is a very diverse collection that weaves together the voices of 17 Indigenous contributors from a variety of nations. I hope people see the tremendous diversity and learn through listening to the local pedagogies connected to a variety of places.

SAY: What did you learn from editing these writings?

Ferguson: This was a great learning experience that is helping me become a more informed teacher. I am so grateful for all the new connections and all the

LITERATURE resources we have compiled that will help me in my everyday teaching. It has been such a gift to receive these creative pieces in my inbox over the last two years! I have loved working on editing this collection and collaborating with Christine. It was a challenge to develop a framework for the book because the pieces were so varied and unique, but we were able to combine our ideas and understandings together to create something unique. I learned about learning circles and Indigenous processes from working with Christine.

This book has the potential to move beyond a book just for teachers and can support readers or book clubs in a variety of communities outside education. All of the texts in this creative compilation are very powerful teachers.

SAY: Why did you structure the book into themes around resistance, resilience, restoring and reconnecting?

Ferguson: The themes emerged naturally based on the topics from the contributions and the overall feeling conveyed by their pieces. We also framed each of the four sections by drawing upon Dr. Jo-ann Archibald’s concept of “becoming storyready,” in which she shares the principles of respect, responsibility and reverence.

We knew these principles would prepare readers for the types of stories they would encounter and help create spaces that honoured the topics and respected the storytellers. We also purposely included author biographies right before each piece to honour the relationship with the author—who they are and where they come from. This also helps guide readers to understand the responsibilities that come with reading and listening to their stories and creative expressions.

SAY: Please share how you hope this collection will be used as a springboard for engagement with Indigenous voices and creating more equitable practices in education and media.

Ferguson: I hope this collection will inspire dialogue and new forms of relationships—new relationships with people, places and important topics. I see it as a guide for conversations with ideas for personal reflection, questions for learning circles, and many ideas for teachers to expose problems and come JUNE 2022 l ARTS & ENTERTAINMENT | 33

LITERATURE

First Nations 101

S

ince the discovery of 215 children’s remains at Kamloops Indian Residential School in 2021, Indigenous relationship has been on the nation’s mind, making First Nations 101 more relevant to the populace than ever. Lynda Gray’s accessible primer on contemporary Indigenous issues includes timely conversations regarding residential schools, language restoration, decolonization and reconciliation. The

second edition includes 16 new chapters, including Traditional Governance and Economies, Loss of Traditional Parenting Skills, What is Reconciliation? and Water for Life. First Nations 101 offers the fundamentals of Indigenous community issues for all who will read it to help both Indigenous and non-Indigenous Peoples truly comprehend the history of Canada and find a path of understanding to journey together toward reconciliation.

About the author:

Courtesy of the author

Lynda Gray (she/her/hers) is a member of the Ts’msyen Nation on the Northwest Coast of British Columbia (Gisbutwada / Killerwhale Clan). Gray is an active member of the Indigenous community, and her work is grounded in a strong belief in community development, youth empowerment and culture as therapy. She has a Bachelor’s Degree in Social Work from the University of British Columbia (UBC), was the executive director of the Urban Native Youth Association for eight years, and currently serves on the National Indigenous Cultural Safety (ICS) Advisory Circle.

Version Control: The Reckoner Rises, Volume 2

P Photo credit: Amber Green

rolific and award-winning author David A. Robertson is back at it, delivering suspense, adventure and humour in his graphic novel trilogy The Reckoner Rises (from Portage & Main Press). After a two-year writing period, this new volume is a triumph and

breath of fresh wind that offers a strong, non-sexualized Indigenous female lead.

Version Control has the makings of an exciting ride: head-on confrontations, vicious battles and a worthy antagonist.

What new terrors will the villainous Mihko create?

About the author:

David A. Robertson (he/him/his) is a sought-after educator and speaker, and a member of Norway House Cree Nation. He currently lives in Winnipeg, Manitoba. Robertson is the 2021 recipient of the Writer’s Union of Canada’s Freedom to Read Award. He is the author of more than 25 books for young readers, including When We Were Alone, which won a Governor General’s Literary Award and was a finalist for the TD Canadian Children’s Literature Award. He is also the writer and host of the podcast Kíwew, which won the 2021 RTDNA Prairie Region Award for Best Podcast.

Scott B Henderson (Illustrator) (he/him/his) is the author/artist of the sci-fi/fantasy comic The Chronicles of Era and has illustrated select titles in the Tales from Big Spirit series, as well as the A Girl Called Echo, The Reckoner Rises and 7 Generations series.

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