文化365博客

恢复社区和剧院的工作场所

Natércia拿破仑文化日

2021年6月29日

Lumel Studios.

文化日

2021年8月23日

Leah Dorion.

文化日

2021年8月23日

A lot of the time, you're asked to simplify things and make your vision fit into something that settler or white audiences could understand better. And we didn't try to do that.\n\nAccording to Krista Ulujuk Zawadski, Curator of Inuit Art for the Government of Nunavut\u2019s Department of Culture and Heritage, who is one of _INUA\u2019s_ four co-curators, this show reimagines the exhibition of Inuit art in many ways. Most important, she says, \u201cWe're all Inuit, and it was all Inuit at every level of the project. Our project manager at the WAG is an Inuk, our exhibition designer is an Inuk, our catalog designer is an Inuk.\u201d\n\n![_INUA_ Curatorial Team. From L-R: Kablusiak, Krista Ulujuk Zawadski, asinnajaq, Dr. Heather Igloliorte. Photo courtesy of WAG.](assets\/National\/blog\/curating-inua\/inua-curatorial-team_dnyDh4.jpg)\n\n_INUA\u2019s_ lead curator, Dr. Heather Igloliorte, who\u2019s originally from Nunatsiavut (Labrador), is Assistant Professor and University Research Chair in Indigenous Art History and Community Engagement at Montreal\u2019s Concordia University. The other _INUA_ co-curators are Kablusiak, a Calgary-based multi-disciplinary Inuk artist who was born in Yellowknife, and asinnajaq, an urban Inuk artist and curator from Inukjuak, Nunavik, who grew up in Montr\u00e9al.\n\nTo select works for _INUA_, an acronym for Inuit Nunangat Ungammuaktut Atautikkut, meaning \u201clife force\u201d or \u201cInuit moving forward together,\u201d the curators reviewed pieces from the WAG\u2019s permanent collection and the Government of Nunavut\u2019s holdings. They worked with WAG staff to secure loans of artworks from artists and museums elsewhere. They also commissioned about 15 new works in a variety of media directly from Inuit artists.\n\n**Expanding the Perceptions of Inuit Art**\n\nWorking with an all-Inuit team empowered the curators to centre Inuit perspectives, asinnajaq says. \u201cA lot of the time, you're asked to simplify things and make your vision fit into something that settler or white audiences could understand better. And we didn't try to do that.\u201d\n\n\u201cIf you always simplify things,\u201d she continues, \u201caren't you feeding into making a stereotype?\u201d\n\nWhen people describe Inuit art, explains Zawadski, \u201cthey might say, \u2018Oh, it's prints and drawings from Cape Dorset. Or it's dancing bear carvings.\u2019 But Inuit art is much more than that.\u201d\n\n![Krista Ulujuk Zawadski. Photo courtesy of WAG](assets\/National\/blog\/curating-inua\/krista-ulujuk-zawadski_p1EUQ2.jpg){.small}\n\n\u201cWe tried to represent Inuit art in all forms,\u201d she says. \u201cThat includes LGBTQ+ artists. That includes urban Inuit artists. That includes Inuit from Alaska and Greenland and Calgary. That's something that not a lot of other shows have done.\u201d\n\nJocelyn Piirainen, the WAG\u2019s Assistant Curator of Inuit Art, who worked closely with the guest curators, says that in addition to carvings, textiles, prints, and drawings, _INUA_ features video, sound, multimedia installations, and other contemporary pieces.\n\n**Connecting to the Ancestors**\n\nEach co-curator also selected a work by a family member. These \u201cancestor pieces,\u201d Zawadski says, are \u201cour way of saying, \u2018This is who I am, where I come from.\u2019 Because that's something that we do as Inuit. People always ask you, \u2018Who are your parents, who are your grandparents?\u2019 They want to know where you're coming from, whose family do you belong to.\u201d\n\nSearching the WAG\u2019s permanent collection, Zawadski found a tusk carved by her great-grandfather Victor Sammurtok. Igloliorte\u2019s ancestor piece is a beaded, caribou-hide bag that her grandmother Suzannah Igloliorte made. asinnajaq chose a pair of fur-clad dolls crafted by her great aunt Elisapee Inukpuk, while Kablusiak\u2019s grandmother Ella Nasogaluak-Brown created _Arnaq & Angun_, dolls wearing traditional dresses from Inuvialuit in the Western Arctic. \n\n**Why Winnipeg?**\n\nThe issue of whether this major centre of Inuit art should be located outside traditional Inuit lands has been a contentious one. Yet as Zawadski says, \u201cBuilding Qaumajuq doesn't stop facilities being built in Inuit homelands.\u201d\n\n![asinnajaq. Photo courtesy of WAG](assets\/National\/blog\/curating-inua\/asinnajaq_suSmm1.jpg){.pull}{.right}\n\n\u201cIt\u2019s a very good thing to have a facility like this, and there should be more facilities,\u201d asinnajaq agrees. \u201cTo me, it\u2019s not a question of there being one and where should it be on earth. The answer is more.\u201d\n\nQaumajuq is creating new ways to connect to Inuit, too, particularly urban Inuit living in Winnipeg. \u201cIt\u2019s a big deal to have a building, a very beautiful, special building, that's dedicated to you,\u201d says asinnajaq.\n\n\n\n\n\nBut for Inuit, asinnajaq points out, \u201cIt\u2019s not just our space. It\u2019s our space being hosted in Treaty One territory by all of these nations\u201d in Winnipeg, the city with the largest Indigenous population in Canada. The Qaumajuq team is working on programming to promote engagement between the Inuit, First Nations, and M\u00e9tis communities.\n\n![Visible Vault, Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid.](assets\/National\/blog\/curating-inua\/visible-vault-qaumajuq-the-inuit-art-centre-at-the-winnipeg-art-gallery_DkQyg3.jpg)\n\nAnd beyond _INUA_, Piirainen suggests, Qaumajuq is holding this massive collection of Inuit art for safekeeping. A key Qaumajuq design feature is the three-story, glass [Visible Vault](https:\/\/www.wag.ca\/art\/visible-vault\/), displaying nearly 5,000 carvings, where Piirainen says everyone \u201ccan feel they are free to come in, walk around the vault, and really see the pieces up close.\u201d\n\n![Visible Vault, Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid.](assets\/National\/blog\/curating-inua\/visible-vault-qaumajuq-the-inuit-art-centre-at-the-winnipeg-art-gallery_jSh6rP.jpg)\n\n**Reaching Audiences Beyond Winnipeg**\n\nQaumajuq opened with a series of virtual events to show off its art to audiences across Canada and beyond. \n\n[An online version of the _INUA_ exhibit](https:\/\/www.wag.ca\/inua-online\/) on the Qaumajuq website enables visitors to walk through the exhibition remotely, and the museum is offering monthly virtual programs highlighting different components of the show. Igloliorte worked with a team of Inuit students to create [_Nagvaaqtavut | What We Found_](https:\/\/www.wag.ca\/inua-online\/#artwork), a multimedia guide that shares stories about some of the _INUA_ works. The WAG\u2019s education team has been offering virtual tours to Inuit students across the north as well.\n\nBy combining these online tools with in-person visits, Zawadski concludes, _INUA_ \u201cis going to reach far more people than any other Inuit art show ever has.\u201d\n\n_Cover image: Qaumajuq, the Inuit art Centre at the Winnipeg Art Gallery. Photo by Lindsay Reid._\n\n\n\n\n**This article is part of a [special blog series](\/\/www.statestpizza.com\/en\/blog\/re-imagine-series) featuring writers and creatives from across Canada (and beyond!) with stories that both highlight and celebrate Culture Days\u2019 2021 theme, RE:IMAGINE. Explore more stories below.**\n- [The Road Less Travelled: Three artists reimagine success and career](\/\/www.statestpizza.com\/en\/blog\/the-road-less-travelled) by Linh S. Nguy\u1ec5n\n- [Arts in Motion](\/\/www.statestpizza.com\/en\/blog\/arts-in-motion) by Aaron Rothermund\n- [Reimagining Public Spaces: The Share-It-Square in Portland, Oregon](\/\/www.statestpizza.com\/en\/blog\/reimagining-public-spaces) by Laura Puttkamer\n- [Refresh: How a Year on Instagram Redefined Artistic Communities](\/\/www.statestpizza.com\/en\/blog\/refresh-artistic-communities-on-instagram) by Eva Morrison\n- [RE:PURPOSE](\/\/www.statestpizza.com\/en\/blog\/repurpose) by Mike Green\n- [Recalibrating: A Look at Opera InReach](\/\/www.statestpizza.com\/en\/blog\/recalibrating-opera-inreach) by Anya Wassenberg\n- [Reimagine\u2014How the Disability Community Accesses the Arts](\/\/www.statestpizza.com\/en\/blog\/reimagine-how-disability-community-accesses-arts) by Rachel Marks\n- [Reimagining Community and the Workplace of Theatre](\/\/www.statestpizza.com\/en\/blog\/reimagining-theatre) by Nat\u00e9rcia Napole\u00e3o\n- [Helm Studios flips the for-profit music model to empower artists](\/\/www.statestpizza.com\/en\/blog\/reimagine-helm-studios) by Aly Laube\n- [When Less is More: What Theatre Can Learn From a Year in Slow Motion](\/\/www.statestpizza.com\/en\/blog\/when-less-is-more) by Megan Hunt\n- [RE:ORCHESTRATING Our Future: Advancing Sustainable Development Through The Arts](\/\/www.statestpizza.com\/en\/blog\/reorchestrating-our-future) by Ryan Elliot Drew\n- [RE:DEFINING Normal: A Prescription for a Canadian Cultural Landscape in Recovery](\/\/www.statestpizza.com\/en\/blog\/redefining-normal) by Valerie Sing Turner","content_fr":null,"should_publish_at":null,"published_at":"2021-07-15 09:05:57","first_published_at":"2021-07-15 09:05:57","deleted_at":null,"created_at":"2021-07-13 14:00:14","updated_at":"2021-08-24 16:13:27","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

加拿大最新的Inuit艺术展览的“Inua”

Carolyn B. Heller文化日

7月15日,2021年

Building a boat is a process of thinking, knowing, and doing\u2014of learning and creating, which are the two most important of all human activities. It is not a single big job; it is a thousand little jobs, some of them done over and over and over.\n\n![Getting the hang of things (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture2_fFcp3r.png){.overflow}\n\nDay 1 is over before you know it, and everyone goes home a little sore, but satisfied to see their boat taking shape. By Day 2, with the exterior of the rowboat complete, the builders add the interior frames, seat risers, and seats. In between the major steps there is always more planing, sanding, and tweaking to do to prepare for the big launch on Day 3.\n\nSituated on the boardwalk in the heart of the busy Halifax waterfront, the [Maritime Museum of the Atlantic (MMA)](https:\/\/maritimemuseum.novascotia.ca\/) was searching for a way to open up the doors of its boatshop and become a community anchor. They found it through the unexpected intersection of traditional craftsmanship and youth outreach. \n\n![The museum is at the heart of the Halifax waterfront (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture3_A544gz.png){.overflow}\n\nInspired by the Family Boatbuilding concept introduced in WoodenBoat Magazine in 1998, the MMA\u2019s program is simple: gather a few \u2018families\u2019\u2014whether bound by blood or simply friendship\u2014give each group a kit of pieces for a 12-foot rowboat, and help them put the pieces together in three days. Family Boatbuilding spreads wooden boatbuilding to a wider audience and keep the craft alive and vital.[^note1]\n\n![All hands on deck (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture4_iqT9b5.png){.overflow}\n\nThe [Alexandria Seaport Foundation](https:\/\/alexandriaseaport.org\/), in particular, ran with this idea. They introduced an element of social action, training and employing at-risk youth as apprentices. In the process, they also raised the profile of the movement, publishing Bevin\u2019s Skiff plans for other institutions to use for their own events.[^note2] This is where the MMA found their direct inspiration, and they are not alone. Similar programs have sprung up throughout the Eastern Seaboard and along the West Coast, independently run by an eclectic collection of museums, historical societies, boatyards, and community non-profits.[^note3]\n\nThe MMA built its first two boats in 2014. The next year, three. Then, four. Now, it runs the program multiple times a year in partnership with Mount Saint Vincent University\u2019s Child and Youth Studies program.[^note4]\n\n![In June 2018, Eamonn Doorly the master boatbuilder from the Maritime Museum of the Atlantic in Halifax, led a boat building workshop with students from Pictou Landing First Nation](https:\/\/youtu.be\/7EsIdJwNDKY)\n\nEvery time the MMA runs the program, the excitement on Day 3 feels fresh. By midday, the last quarter knee has been sanded, and each boat christened and ready to launch. Everyone gathers on the floating dock, poised to push their boats into Halifax harbour. They seem a long way from the Day 1 version of themselves. At first, they were reluctant to jump in with hammer in hand, afraid of making mistakes. They soon realized that, in itself, was a mistake. Here, mistakes are celebrated instead of frowned upon\u2014they\u2019re the best teachers. \n\n![Launch day as Theodore the Tugboat looks on (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture5_TxOoWY.png){.overflow}\n\nThe participants now know how to sand, plane, use a bevel gauge, build upside down, and drill straight. They can also translate angles, apply boatbuilding math, tell the difference between types of wood, and identify a transom or a seat riser. Above all, they\u2019ve absorbed craftsmanship as a concept\u2014what Richard Sennet called \u201cthe desire to do a job well for its own sake.\u201d[^note5] And no one is breaking drill bits anymore.\n\nThe MMA\u2019s Building Boats, Changing Lives program is building capacity in practical building skills, traditional wooden boatbuilding, and heritage craft. But they are doing much more than that.\n\nFirst, they\u2019re building up and empowering youth. Through something as subtle as hammering a nail, they\u2019re connecting youth to identity and belonging, through shared Maritime heritage. The type of boat commonly built during Family Boatbuilding, a flat-bottomed skiff, \u201ccan be found anywhere in the Atlantic provinces, not to mention anywhere in the world\u201d and has been historically indispensable for the inshore fishery.[^note6] Amateur and professional boatbuilders alike have built versions of it for centuries in North America.[^note7] These newest boatbuilders coming out of the MMA join a long line of those who have come before. They now have an elemental connection to boatbuilding heritage by literally making that heritage their own.\n\n![The latest links in a long line of wooden boatbuilding tradition (Photo: Maritime Museum of the Atlantic).](assets\/National\/blog\/building-boats-changing-lives\/picture6_BfnHfe.png){.overflow}\n\nSecond, and finally, the MMA is building a culture of craftsmanship\u2014one boat and one boatbuilder at a time. It\u2019s a culture that values patience, hard work, the impulse to preserve and honour the past, and good old-fashioned gumption in the face of mistakes.\n\nNova Scotia sailor, boatbuilder, and writer, Silver Donald Cameron once said, \u201cBuilding a boat is a process of thinking, knowing, and doing\u2014of learning and creating, which are the two most important of all human activities. It is not a single big job; it is a thousand little jobs, some of them done over and over and over.\u201d[^note8] The MMA teaches everyone who picks up a hammer or a drill during its program that boatbuilding \u2013 like life \u2013 is just a constant process of fixing our mistakes. While we do not live in an ideal world, we can continue to try and make it one.\n\n[^note1]: The WoodenBoat Show, \u201cFamily Boatbuilding,\u201d WoodenBoat Magazine, accessed May 1, 2020, https:\/\/thewoodenboatshow.com\/family-boatbuilding\/.\n[^note2]: \u201cFutures Handcrafted: About the Apprentice Program,\u201d Alexandria Seaport Foundation, accessed May 1, 2020, https:\/\/alexandriaseaport.org\/apprentice-program\/; \u201cBevin\u2019s Skiff,\u201d Alexandria Seaport Foundation, accessed May 1, 2020, https:\/\/alexandriaseaport.org\/get-engaged\/bevins-skiff\/.\n[^note3]: Some include the Antique Boat Museum in Thousand Islands, New York; the Reedville Fisherman\u2019s Museum in Reedville, Virgina; the Deltaville Maritime Museum in Deltaville, Virginia; the Lewes Historical Society in Lewes, Delaware; TSNE Mission Works in Boston, Massachusetts; the University of New Hampshire in Barrington, New Hampshire; and Eddon Boatyard in Gig Harbour, Washington.\n[^note4]: I helped out with the MMA\u2019s program in 2015 and 2016, helping to build the kits and serving as a small group leader.\n[^note5]: Richard Sennett, The Craftsman (New Haven: Yale University Press, 2008), 9.\n[^note6]: David A. Walker and Wayne Barrett, Small Wooden Boats of the Atlantic (Halifax: Nimbus Publishing, 1990), 10. \n[^note7]: Howard I. Chapelle, American Small Sailing Craft: Their Design, Development, and Construction (New York: W. W. Norton, 1951), 100.\n[^note8]: Silver Donald Cameron, \u201cThe Nine-Year Seminar on Boatbuilding and Life,\u201d in We Belong to the Sea: A Nova Scotia Anthology, ed. Mary Stanton (Halifax, N.S.: Nimbus Publishing, 2001), 88.\n\n\n\n\n\n**This article is part of a special blog series featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of Unexpected Intersections. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Poetry x (Natural) Environment: [_Listen to the River: An Ode to the Columbia River_ by Saba Dar](\/\/www.statestpizza.com\/en\/blog\/listen-to-the-river)\n- Teahouse x Activism: [_Chinatown's Living Room: The gathering place for a budding activist community_ by Anto Chan](\/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-08-05 09:57:42","first_published_at":"2020-06-15 08:59:15","deleted_at":null,"created_at":"2020-06-15 08:40:58","updated_at":"2020-09-29 15:26:05","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

在大西洋的海事博物馆,他们建立了更多的船只

Aleen Leigh Stanton为文化日

2020年8月5日

_They know this River will still be here long after we have turned to nuclear dust and blown away, saith the river..._\n>> -_Beholden: A poem as long as the river_, Rita Wong and Fred Wah\n\nRolling from one valley to another, streaming across coarse contours, sometimes surrendering to the whims of winds and pouring rain, other times cutting through the rock-ribbed plains; rivers have always made the most enchanted neighbourhoods. A river\u2019s ample bosom has cradled pioneering civilizations and nurtured childhood memories. Its panoramic views have kindled weary eyes and inspired grandiose dreams, and through centuries its gentle ripples have concocted timeless fables of love and romance. By the virtue of their romantic allure, rivers have always been a recurring theme in poetry and literature.\n\nWhile artists have always, liberally and quite blatantly, borrowed from nature; they have also been moved, time and again, to devote their craft to salvage the very landscapes that enriched their imagination. [_River Relations: A Beholder\u2019s Share of the Columbia River_](http:\/\/www.riverrelations.ca\/), an artistic investigation by a group of creatives from Emily Carr University of Art and Design (ECUAD), is one such venture that delves into the destruction inflicted upon by the \u2018damming and development\u2019 of the Columbia River, in the wake of the renegotiation of the Columbia River Treaty.\n\nRising in the clear waters of the Columbia Lake in B.C. and surging through glaciated Canadian Rocky Mountains, the Columbia River flows through the Kootenay River\u2014the river\u2019s largest tributary on the Canadian divide of the border. It enters the U.S. at the confluence of Pend d\u2019Orielle River in the Washington state, before conclusively disappearing into the Pacific Ocean near Astoria, Oregon. Columbia River is a water wonderland, flowing with ferocious abundance, making it the largest river in North America\u2019s Pacific Northwest region, and a sanctuary for the largest salmon runs in the world.\n\n![The Columbia River. Photo Courtesy of Fred Wah.](assets\/National\/blog\/listen-to-the-river\/columbia-river-fred-wah-1_avhEyr.jpeg){.overflow}\n\nModern civilization has turned rivers into economic powerhouses, plugging them with gargantuan concrete structures to harness hydroelectric power and divert water for irrigation. The Columbia River was subjected to a similar fate, transforming its free-flowing bliss into a curse. A violent flooding spell in 1948 that wrecked the Fraser Valley in B.C, Canada, and the town of Vanport in Oregon, U.S. became the impetus for securing a cooperative development between the two countries. The talks sought to regulate water flows and to capitalize on the river\u2019s enormous hydroelectric capacity, finally culminating into a formal [_Columbia River Treaty (CRT)_](https:\/\/www.canada.ca\/en\/environment-climate-change\/corporate\/international-affairs\/partnerships-countries-regions\/north-america\/canada-united-states-columbia-river.html) in 1964. Canada committed to build three water storage reservoirs in exchange for an upfront payment of $64 million in recompense for extending sixty years of flood control to U.S., in addition to receiving one-half of the estimated hydro-power generation benefits to the U.S, on continual basis. Today, CRT is upheld as a successful example of two countries \u2018sharing the benefits\u2019 through a collaborative transboundary arrangement. Yet, the ramifications the treaty had on the Indigenous peoples and the river\u2019s salmon reserve have become a despicable addendum to the treaty.\n\nThe _River Relations_\u2019 team scrutinized historical and contemporary images of the Columbia River to understand the evolution of its landscape, outrageously interrupted by dams. The most notable output of the project is the image-text poem, published in the form of a book, entitled [_\u2018Beholden: A poem as long as the river\u2019_](https:\/\/talonbooks.com\/books\/beholden), composed by [Fred Wah](https:\/\/fredwah.ca\/), a former Canadian Parliamentary Poet Laureate and [Rita Wong](https:\/\/www.poetryinvoice.com\/poems\/poets\/rita-wong), a poet and an environmental activist.\n\n![Revelstoke Dam, B.C. Artwork by Nick Conbere and Photography by John Holmgren.](assets\/National\/blog\/listen-to-the-river\/revelstokedamreservoir-1_bi2Kz3.jpeg){.overflow}\n\nWah and Wong travelled the entire river stretch, from Canal Flats in the East Kootenay all the way to Fort Astoria, Oregon as a part of their research for the book. \u2018Having lived along the Kootenay River for much of my life I had always felt that the river should be called the Kootenay; that the Columbia was really just a tributary of the Kootenay\u2019, says Wah.\n\nWah believes that the treaty insolently disregarded the \u2018spiritual value\u2019 attributed to the river\u2019s salmon by the First Nations. To them, salmon is the \u2018harbinger of good news\u2019, revered as a gift from the salmon king. They believed that the salmon were actually humans, and at the start of each salmon season, they would transform into fish form on the king\u2019s command. They also celebrated the \u2018First Salmon Ceremony\u2019 to mark the beginning of each salmon season. Even today, certain tribes celebrate \u2018Salmon ceremonies\u2019 with a communal prayer for the salmon to return and inhabit the river again.\n\nThe loss of salmon has chronicled a poignant chapter in the river\u2019s history. Wong was swamped with emotions when she watched Upstream Battle (a documentary by Ben Kempas) \u2018One moment that always stays with me from that film is footage of salmon trying to swim upstream to return to their spawning grounds - and hitting a dam, and trying over and over to get beyond that obstacle - it\u2019s a heart wrenching glimpse into the painful destruction wrought by megadams.\u2019\n\nBeholden is a reflection on the devastation brought on by the damming of the river and focuses on themes of colonization, indigenous rights and mutilation of the river\u2019s ecology. \u2018Most of the language in the poem comes from a struggle between simply describing the river, (..) and finding ways to \u201clisten\u201d to the river\u2019. It was Wah who proposed to write \u2018a poem as long as the river\u2019, in collaboration with Wong. \u2018With him writing along one side, and me along the other, the words came from our experiences along the river\u2019, Wong reminisces about the poem\u2019s origins. \u2018Each of us would write along a shore of the river, from beginning to end, occasionally having our texts cross the river at bridges or dams. Rita\u2019s and my texts were not in conversation as they were written, but, finally, feel tethered to a similar poetic impulse and imagination\u2019 explains Wah.\n\n![Book cover, _Beholden: A poem as long as the river_, illustrations by Nick Conbere and cover image by Genevieve Robertson.](assets\/National\/blog\/listen-to-the-river\/beholden-book-cover-1_bB7z2B.jpeg){.pull .right}\n\nJust like Wah, Wong also let the river \u2018speak to\u2019 her and guide her writing process. \u2018Near the headwaters of the river, I made an offering and asked the river for permission to share the words arising from my journeys along it. I listened and keep listening.\u2019\n\nNick Conbere, a visual artist and an Associate Professor at ECUAD, [skillfully transcribed Beholden on a 114 feet long map of the Columbia River](http:\/\/www.nickconbere.com\/river-relations.html), with Wah and Wong\u2019s share of poems meandering along the river, as if two tributaries spiraling the entire stretch of the river. The poem\u2019s two halves are distinctly recognizable, as Wah\u2019s half has been typeset whereas Wong\u2019s is handwritten, a decision she consciously made. \u2018I felt it was important to stay with the bodily experience of writing by hand and following the river\u2019s contours. It felt closer to the experiential aspect of being along the river (\u2026)\u2019 While the book was shortlisted for the B.C Book Prize, the poem\u2019s winding digital image has been showcased at numerous art exhibitions.\n\n![Rita Wong and Fred Wah, _Beholden: a poem as long as the river_. The Gallery Installation. Photo by Touchstones Nelson Museum.](assets\/National\/blog\/listen-to-the-river\/gallery-installation-1_H8ib2Z.jpeg){.overflow}\n\nAs the two countries renegotiate the Treaty, uncertainty abounds. Would the revision of the Treaty offer a second chance at reviving all that is lost? Only time can tell. Wong reminds us \u2018There are ways to use the land that help to regenerate or heal it \u2026 (the way) Indigenous peoples coexisted with what was here - taking care of it rather than exhausting it\u2019.\n\nToday, many artists romanticize nature as well as assume an advocate\u2019s mantle. Wong believes one way the artists can solicit support for environmental issues is by dwelling on \u2018how to heal our relations with the land and water\u2019, and by imploring the society \u2018to actually care about this\u2019.\n\nThe project has drawn to a close, and the artists have moved on to explore further avenues of nature advocacy. For as long as there is heartache for all that has been lost, I\u2019ll quote Wah;\n\n> _Let\u2019s reach for solace of water to find some deep pool of larger memory that will float us past Savage Island_.\n\n\n\n\n**This article is part of a special blog series featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of _Unexpected Intersections_. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Indigenous Storytelling x Digital Media: [_\u201cPeople are Finally Listening\u201d\u2013Indigenous Animation Rises Up_ by Chris Robinson](\/\/www.statestpizza.com\/en\/blog\/indigenous-animation-rises-up)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Teahouse x Activism: [_Chinatown\u2019s Living Room: The gathering place for a budding activist community_ by Anto Chan]( \/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Traditional Craftsmanship x Youth Outreach: [_At the Maritime Museum of the Atlantic, They Build More Than Boats_ by Aleen Leigh Stanton](\/\/www.statestpizza.com\/en\/blog\/building-boats-changing-lives)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-07-08 13:21:08","first_published_at":"2020-06-04 16:58:40","deleted_at":null,"created_at":"2020-06-04 16:19:23","updated_at":"2020-09-29 15:25:40","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

听河:哥伦比亚河的颂歌

SABA DAR供文化日

7月8日,2020年7月8日

It was so powerful to see our stories on screen for the first time. I\u2019ve great respect for the work that they put into the world and normalized it for us.\n>> \u2014 Terril Calder, influential M\u00e9tis artist and stop motion animator based in Toronto.\n\n\n\u201c_Wapos Bay_ certainly did have a large influence on our early work and our company's evolution,\u201d says Neil Christopher, one of the co-founders of the Inuit owned, Nunavut-based studio, [Taqqut Productions](https:\/\/taqqut.com\/). \u201cWe started developing a stop motion series called _Beyond the Inuksuk_ that never got picked up. This was our first big project and it was definitely inspired by _Wapos Bay_.\u201d\n\nIn 2009, again in collaboration with APTN, the NFB produced the series, _Vistas_, a collection of 13 films created by Indigenous artists\u2014including Diane Obomsawin, of Abenaki descent, who has since become a well-known and award-winning animator on the animation festival circuit\u2014from across Canada.\n\nIn 2019, the NFB\u2019s unique apprenticeship program, [Hothouse](https:\/\/www.nfb.ca\/playlist\/hothouse\/)\u2014that gives emerging animators a chance to make a short film in 12 weeks\u2014offered Indigenous creators from across the country an opportunity to create their own films. Chris Grant, a young Mi\u2019kmaq artist from the Pabineau First Nation whose mother, Phyllis, made two NFB animated shorts (_Maq and the Spirit of the Woods_, 2006; _Wasteg_, 2008) [was one of those participants](https:\/\/www.nfb.ca\/film\/xo-rad-magical\/). \n\n\u201cIt was an experience of growth for me,\u201d says Grant. \u201cI was going through personal issues because I never lived in a cool city, had money and fun work. It was extremely important for me as an artist because it boosted my credentials I guess for more work. It made me realize I am an animator and filmmaker at heart, and always have been. It was a beautiful fractal of growth for me.\u201d\n\n![Top: Amanda Strong, Glenn Gear. Bottom: Christopher Auchter, Terril Calder.](assets\/National\/blog\/indigenous-animation\/20200406-153321_M3WJ2j.jpeg){.overflow}\n\nSince about 2009 or 2010, Indigenous animation in Canada has also emerged outside the doors of the NFB, led by artists such as Terril Calder, Glenn Gear, Amanda Strong, Christopher Auchter and Taqqut Productions.\n\nTaqqut Productions was founded in 2011 by Louise Flaherty and Neil Christopher. Their animation work, sometimes co-produced with the Montreal animation studio, [e\u2192d films](https:\/\/edfilms.net\/), includes a mix of TV (_Ananna\u2019s Tent_) and short films (e.g. [_Amaqqut Nunaat: The Country of Wolves_](https:\/\/vimeo.com\/129589325), 2011; _Little Folk of the Arctic_, 2015; _Giant Bear_, 2018, _What\u2019s My Superpower_, 2019) made primarily for younger audiences. \n\n\u201cThe aim,\u201d says Flaherty, \u201cwas to tell our stories using the language of the population of Nunavut. Taqqut\u2019s part is to foremost tell stories coming from Inuit with authentic Inuit content, using the Inuit language. Inuktitut is being lost at 1% a year, and if we have animated films targeting children to retain the language, there must be more made.\u201d\n\nIn recent years, the studio has branched out beyond traditional Inuit stories. \u201cOur younger authors,\u201d adds Flaherty, \u201care now leading Taqqut with their vision to create film catering to all audiences. We have created other animations not just from oral stories, but also stories from our books. Not just with animation, but also with puppets.\u201d\n\n![Still from \"Snip\", 2016.](assets\/National\/blog\/indigenous-animation\/snip-by-terril-calder_ge0NM3.jpeg){.overflow}\n\nIn the realm of independent animation, Terril Calder has been an influential force since making her first stop motion films. Most of the work mentioned above has dealt with assorted myths\/folk tales. Calder\u2019s work is raw, unstable and haunting, tackling a number of personal and difficult issues like identity ([_Choke_](https:\/\/www.youtube.com\/watch?v=C0LE61KLdmg), 2010, co-created with Michelle Latimer; _Canned Meat_, 2009; _Vessel_, 2013), memory, isolation, and the unspeakable horrors of residential schools (_Snip_, 2016; _Keewaydah_, 2017).\n\nA Drawing major graduate of the Fine Arts program at the University of Manitoba, Calder came to animation through Winnipeg\u2019s [Video Pool Media Arts Centre](http:\/\/www.videopool.org\/). \u201cAnimation,\u201d says Calder, \u201cheld and holds so many possibilities to tell my stories and bring a different perspective to screen to make change. It really is the sum of all of my parts. Activism, Storytelling, Art, Painting, Sewing, Photography, Compositing\u2026it completely challenges me in every way.\u201d\n\nAfter completing his MFA in sculpture\/installation at Concordia, the Newfoundland born, Glenn Gear worked at a software development company in Montreal. \u201cI became increasingly curious and inspired by traditional animation techniques. I fell in love with cardboard cutout and silhouette animation, but also looked at many other stop-motion animation processes with physical puppets. I began reading, researching, talking with other animators, and most importantly experimenting with as many techniques as I could with a small camera and basic setup. Although I didn\u2019t have a formal education in animation, my background in photography and sculpture greatly helped me. The ability to create a whole world, brought to life frame-by-frame, was addictive and pure magic. I was hooked.\u201d\n\nDrawing on his Inuit and Newfoundland ancestry, Gear\u2019s films touch upon personal and collective histories (e.g. _Resettlement_, _Kablun\u00e2t_, [_Ikuma Siku_](https:\/\/vimeo.com\/68052651)), mixed with more poetic and playful stories (_Rosewood Casket_, _Ginkgo_, _Cry of the Loup-garou_) all with nature often in a central role. \n\n![Still from \"Kablun\u00e2t\", 2016.](assets\/National\/blog\/indigenous-animation\/kablunat-2_c8Gow0.jpeg){.overflow}\n\nChristopher Auchter grew up on the islands of Haida Gwaii, an archipelago off the Northern Pacific coast of Canada. He studied media at Vancouver\u2019s Emily Carr University of Art and Design and later graduated from Sheridan College\u2019s computer animation program. Auchter has worked in book illustration, animated for various TV series and video games, and has directed live action (_Now is the Time_, 2020) and animation shorts (notably the beautiful and award winning [_The Mountain of SGaana_](https:\/\/www.nfb.ca\/film\/mountain_of_sgaana\/), 2017, which told an old Haida fable).\n\nMichif artist Amanda Strong, whose animated shorts include the imaginative, haunting explorations of personal and collective ancestry, [_Four Faces of the Moon_](https:\/\/www.youtube.com\/watch?v=rWe--sysNkk), 2016 and _Biidaaban_, 2017) came to stop motion animation through Photo and Illustration studies at Sheridan College. \u201cIt gave me a basis to explore moving-image while using these tools to create worlds and make stories move. Stop motion really is a series of photos that sequenced together create a magical experience of movement that can\u2019t be replicated by software. It is beautiful to see that first shot move after years of making all the pieces and it sure is beautiful when the sonic and visual pieces unite. It\u2019s a powerful tool to tell stories.\u201d\n\n![Still from \"The Mountain of SGaana\", 2017.](assets\/National\/blog\/indigenous-animation\/the-mountain-of-sgaana-001_BYca3y.jpeg){.overflow}\n\nThere are a variety of reasons for this recent rise in Indigenous-created animation films, some of which overlap with the general rise in animation production. Advancements in technology have made animation a more accessible and affordable process for many. There was a time when animators were taking anywhere from 2 to 5 to 10 years to complete a short film. Today, there are a number of animators making films annually (sometimes more than one). \n\n\u201cThe tools and processes to create animation are more accessible and cost less,\u201d agrees Glenn Gear. \u201cThere have been great strides made in the past 10 years in terms of software, especially on alternative platforms such as smartphones. Apps like Stop Motion Studio, Animation Desk, and RoughAnimator are low cost and offer a streamlined workflow for animation. You don't necessarily need a large studio with specialized equipment.\u201d\n\nSince the late 1990s, there has been a tsunami of animation programs and departments opening up across the world. To give the reader some context: I have been the Artistic Director of the [Ottawa International Animation Festival](http:\/\/www.animationfestival.ca\/) (OIAF) since the early 1990s. When I first started with the OIAF in 1991, there were 750 films submitted to the then biannual festival. Today, the OIAF receives in the range of 2,400 films (including features, VR, TV, student etc.) annually. \n\n![Still from \"Four Faces of the Moon\", 2016.](assets\/National\/blog\/indigenous-animation\/fourfaceofmoon_PjS2Mo.jpeg){.overflow}\n\nThe Simpsons (inspired by MTV and Sesame Street indirectly) showed producers and advertisers that animation could be profitable. This triggered an explosion in all avenues of animation and created a demand for talent. With the technological tools becoming more affordable, many educational institutions jumped on board to capitalize on the explosion\u2014and to train and educate a new generation of animators.\n\nIndigenous artists and youth have also benefited\u2014alongside increasing public awareness of the unjust and sometimes horrific manner that Indigenous people have been treated in Canada\u2014from these advancements. \u201cThere is more investment into teaching Indigenous youth and providing them with the digital tools alongside traditional knowledge and ways of working,\u201d says Gear. \n\n> As more and more Indigenous folks migrate towards city centers, there are more informal and formal networks of knowledge, resource, and skill sharing. There is still much to be done in this regard, but the institutions such as universities, colleges and government institutions are slowly changing to hopefully be more accountable and transparent to Indigenous folks.\n\n\"We now have access to new tools and platforms,\u201d adds Strong, whose Vancouver-based studio, [Spotted Fawn Productions](https:\/\/www.spottedfawnproductions.com\/), creates space for Indigenous artists in animation. It excites me to see more and more Indigenous people of all ages engaging with tools and technology to animate their stories. It\u2019s important that we lift each other up, celebrate our successes and always encourage other Indigenous storytellers to create.\"\n\n\"Our voices, cultures, and diverse stories are finally being heard by a larger public,\u201d adds Gear. \u201cWhen I asked filmmaker Alanis Obomsawin about the changes she has seen in the reception of Indigenous work in the past 10 years, she said, \u2018People are finally listening.\u2019\"\n\n\n\n**This article is part of a special blog series\u2014running March-September\u2014featuring writers and creatives from across Canada with stories that both highlight and celebrate Culture Days\u2019 2020 theme of _Unexpected Intersections_. Explore more intersections below:**\n\n- Theatre x Sport: [_Until the Lights Go Out_ by Taylor Basso](\/\/www.statestpizza.com\/en\/blog\/until-the-lights-go-out)\n- Academia x Creativity: [_Building 21: Make zines, not research papers_ by Greta Rainbow](\/\/www.statestpizza.com\/en\/blog\/building-21)\n- Poetry x (Natural) Environment: [_Listen to the River: An Ode to the Columbia River_ by Saba Dar](\/\/www.statestpizza.com\/en\/blog\/listen-to-the-river)\n- Teahouse x Activism: [_Chinatown\u2019s Living Room: The gathering place for a budding activist community_ by Anto Chan]( \/\/www.statestpizza.com\/en\/blog\/tea-base)\n- Traditional Craftsmanship x Youth Outreach: [_At the Maritime Museum of the Atlantic, They Build More Than Boats_ by Aleen Leigh Stanton](\/\/www.statestpizza.com\/en\/blog\/building-boats-changing-lives)\n- Visual Arts x Science: [_What happens when you mix an artist, a scientist and a very bright light?_ by Vivian Orr](\/\/www.statestpizza.com\/en\/blog\/artist-scientist-light)\n- Book Clubs x Digital Landscapes: [_Strangers and Fiction_ by Anne Logan](\/\/www.statestpizza.com\/en\/blog\/strangers-and-fiction)","content_fr":null,"should_publish_at":null,"published_at":"2020-04-14 10:41:05","first_published_at":"2020-04-06 15:01:12","deleted_at":null,"created_at":"2020-04-06 13:07:52","updated_at":"2020-09-29 15:25:00","thumbnail_file_id":null,"featured_at":null,"is_featured":false,"is_published":true,"should_publish":false,"status":"published"}" style="scroll-snap-align: start;">

“人们终于听了” - indigenous动画升起

克里斯罗宾逊文化日

2020年4月14日

符合我们的组织者:Regina的Vrunda

文化日

2月18日,2020年

符合我们的组织者:Piikani Nation的Quinton

文化日

2月7日,2020年2月7日

回顾了公元前10年的文化日

克里斯汀劳森

2019年9月5日