the mother of two small sons, sadly lost a baby girl about four years ago. Thankfully, it was her creative instincts that led her towards a project for healing from this loss through a connection to the continuum of time – past, present, and future. For this interview, I was introduced to Janine’s earlier video project entitled Life Givers: Honouring Our Elders and Children which was completed through the First Stories: Saskatchewan program for First Stories: Volume II in 2007 with the production assistance of the National Film Board of Canada (NFB). The following is a description of the work from the NFB site: “Some say when a child dies, you lose your future, and when an elder dies, you lose your past.” Life Givers: Honouring Our Elders and Children is a poignant short film that testifies to the need to grieve and honour the memory of loved ones.
ad I known the subject matters and affect that Janine’s work has on the viewer prior to attending her premiere screening of More Questions than Ancestors, I would have been no better prepared to plumb the depths of her work and person – always engaging and a journey worth taking. z
Janine Windolph’s Media Biography and Screenings: More Questions than Ancestors (2009) [Producer/Director/Editor] 2010- MFA project screening, ShuBox Theatre, University of Regina Life Givers: Honoring Our Elders and Children (2007) [Director/Writer] 2008- Turtle Island Screenings, Albert Scott Community Center 2008- SCN - (short presentations) 2008- CBC - First Stories: Personal Journeys 2008- SCN - First Stories 2007- American Indian Film Festival, San Francisco, CA 2007- Aboriginal Film Festival, Winnipeg, MN 2007- Premiere of Life Givers: Honoring Our Elders and Children, Regina, SK 2007- Yorkton Short Film Festival, Yorkton, SK 2007- National Screen Institute, Winnipeg, MN Daddy’s Girl (2007) [Production facilitator/Camera/Co-Editor] 2007- Women’s Video Production Screening, Saskatchewan Filmpool Cooperative Creation From Within (2005) [Producer/Director/Writer/Editor] 2005- Fourth Year Screenings, University of Regina
I was in Toronto this summer
after the G20 when Toronto had become a strangely volatile place in an otherwise seemingly stable part of the world. The meeting in Toronto was the fourth meeting of G-20 leaders who met to discuss the global financial system and the world economy.
I missed the whole G20 debacle. I was there days
earlier to attend the IMAA/AAMI On.Fire Independent Media Arts Conference, June 15-19, 2010.
What is the IMAA? The Independent Media Arts Alliance was formed
by representatives of a number of film production, distribution and exhibition groups from across Canada, and was founded in Yorkton in 1980.
aims are communications, community and advocacy within the media arts community of Canada. Some of the IMAA principles include this one, which I am quoting, from the IMAA website, under History and Principles. “The Alliance believes that independent film, video and electronic media are valuable and vital forms of expression of our respective cultures, which can uncover the prevailing illusions and expose the formulas that underlie the vast majority of commercial and institutional messages.”
The Filmpool is a member of the IMAA and this
summer we were lucky enough to unite with other members just like us from all over the country. We were there along with hundreds of other independent media artists, producers and distributors gathered together in Toronto.
This was not your typical conference. Personally, 12 Splice Magazine Winter 2011
when I even hear the word conference, I wonder “how boring is this going to be?” Well, you can leave those kinds of thoughts at the door here. It would be nearly impossible for me to write about all of the events, panels, art for breakfast, screenings, installations, artist talks, exhibitions, and the amazing people I met. Sometimes it’s simply a case of - you just had to be there. This might be one of those types of situations.
do highly recommend that you check out the calendar events for the conference, still available online, as there were countless events, each uniquely engaging in their own way. For example there simply is no way to accurately articulate the strangely compelling magic of Amanda Steggell’s Emotion Organ. It is a festival of delights for your senses, part obsolete technology and a workable hybrid of musical instruments, part performance, and altogether a unique experience for both the performer and the audience. You really should check it out if you have the chance. It projects visual patterns and even emits aromas. It is funny though isn’t it? Growing up being told never to touch things, especially in an art gallery- and then to be invited, no, encouraged to touch and play with art. Interactive art: the wave of the future? Not only was the unusual accepted- it was being celebrated. From Steggell’s inception and creation of the Emotion Organ, but also what was being done with and to the art that had been created. And so I thought- yes! Embrace the unusual and encourage innovation. As an artist, you need to give yourself license to explore and to play, and now the audience was also being given that license. A new collaboration was born with each different person who played the organ, depending on their improvisation. It echoed in my mind. Art is play. I enjoyed the
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