January 16th, 2024 Indigenous Arts & Culture Presentation PDF

JANUARY 16th, 2024 Stephen Robert Penner: Bachelor of Arts, Mount Allison University; Master’s in Development Practice: Indigenous Development, University of Winnipeg; PhD Rural Studies, University of Guelph Maang ninidizhinkaaz Maingan Maakade dodem Annoucements Pot...

JANUARY 16th, 2024 Stephen Robert Penner: Bachelor of Arts, Mount Allison University; Master’s in Development Practice: Indigenous Development, University of Winnipeg; PhD Rural Studies, University of Guelph Maang ninidizhinkaaz Maingan Maakade dodem Annoucements Pot luck - yay! RLA  Germination and Growth The stalks don't emerge above the water until July and if there's been no water contamination and the seed beds have been left undisturbed Binding the Rice Community members acknowledged particular binding techniques and property was generally respected. In this way, the fall wild rice harvest was somewhat like the spring maple syrup harvest as each family had a share of the rice field and a share of the grove of maple trees. Tools for Harvesting Manomin The fork was able to grip the soft muddy bottom without disturbing the tender root bed. Knocking the Rice When Europeans began harvesting rice they introduced mechanical  Drying the Manomin Wild rice continues to ripen after harvest but it must have air, sun and sometimes even the heat of a fire to get rid of moisture before parching.1111 Parching or Scorching the Manomin Hulling the Rice From watching the process as a girl I know that a strong man can hull a batch of rice in about fifteen minutes. It's exhausting work because the process is continuous as newly roasted rice keeps arriving. It was an exceptional man who could last more than two hours. Boring, too. But the old women would coerce some of the young bucks to take turns and then make sure that a few young women were on hand to egg them on. Gullible, or what! Storing the Rice As much as one-third of the rice harvest was packed in birchbark containers and buried in a pit dug below the frost line.  ” When the rice was the perfect color, she showed it to me and said, “that’s the color you want right there.” I haven’t forgotten. To me, that continuum from my great uncle to my mom to me represents how Anishinaabeg carry forward our knowledge. It’s powerful and it’s relational and it’s radical, really. https://canadiandimension.com/articles/view/decolonizing-cottage-cou ntry-anishinaabe-art-intervenes-in-canadas-wild-rice There are teachings within manoominike (the harvesting of manoomin) that are central philosophical and spiritual tenets of the Anishinaabeg; teachings about respect, reciprocity, working for others, humility, gentleness, responsibility, balance, about relationships, and giving more than you take. Anishinaabeg rarely tell each other how they should be—we have too much respect for freedom and self- determination to do that—instead we are shown how we should be through our land-based practices including manoominike. So in this way, wild rice is our teacher. Artistic sovereignty and identity: - Scared and/or secular - Ceremonial and/or commercial - Personal and/or political - Example the use of Mask’s in the potlach: - Is a sacred example of the history of place and the sacredness of Connection and - Can be observed, unimbued with spiritual sacredness sitting in a gallery  THROUGH THE BANNING OF POTLATCH, A CEREMONY BUILT AROUND GIFTING AND FOOD, “WEALTH (WAS) DIMINISHED FROM THE INABILITY TO NOURISH AND RECIPROCATE” (KELLY D., 2017, P. 291). THE POTLACH (A CEREMONY CENTRAL TO MANY WEST COAST NATIONS) WAS BANNED (THROUGH AN AMENDMENT IN THE INDIAN ACT) FROM 1884 UNTIL 1951. Central tenets in Indigenous Arts: - Arts are formed from the ecosophy of the space that the art emerges from MEANS: - Art is an expression of renewal and a construction of time MEANS: - Art is the practice of survivance and is alive MEANS Vizenor ” more then survival, more then endurance or mere response; these stories are An active presence” INDIGENOUS ARTS AND CULTURE HAVE EXISTED SINCE TIME IMMEMORIAL IN ORDER TO BUILD AN UNDERSTANDING OF INDIGENOUS ART IT IS IMPORTANT TO UNDERSTAND- THAT IT IS VIEWED UNBOUND BY TIME AND THROUGH CONNECTION STORY OF INDIGENOUS ART IS TO BE TOLD BY THE NATIONS AND PEOPLE IT EMERGES FROM SOME LANGUAGES DO NOT HAVE A WORD FOR ART. BUILDING A COLONIAL FREE NARRATIVE|| ORIENTATION Anishinaabe Map of -------- Annishinaabe Map of -------- OUR CANNON OF WORK IS MISSING MUCH: DISAPPEARED REPRESENTED OR MISREPRESENTED DESTROYED UNKNOWN UNSHARED The James Redsky scroll showed an otter breaking through a sandbar, depicting the start of the migration. There is a spiritual meaning to the journey, which is told to us in the creation of the N'swi-ish-ko-day-kawn Anishinabeg O'dish-ko-day-kawn and the seven stopping places: mo- ning-wun-a-kawn-ning gemaa zha-ga-wa-mi-kahg mooniyaang (a turtle-shaped island), wa- yaa-nag ga-kaa-ki-kaa (great falls/ Niagara Falls), bkejwanong (Where the Waters Divide; Detroit River), manidoo minising (Manitoulin Island), ba-wi-ti-gong (Where the Fish Were Good and Lived Well; Sault Ste Marie), (Spirit Island; Duluth) and moningwunaekauning (Place of the Golden-Breasted Woodpecker; Madeline Island). (Migration story and spelling of PACE OF CONTACT: Proclamation Act 1763 COLLETCTING FROM A COLONIZED PERSPECTIVE AND THE EFFECTS ON INDIGENOUS ARTS COLONIAL INDIGENOUS RECORD OF CONQUEST SEIZURE OF PRIZED POSSESSIONS PRIZE A POTENTIAL GIFT FOR A VISITOR “OLD SCHOOL” ANTHROPOLOGY- SPECIMEN WAY OF LIFE, KNOWING, CELEBRATION, SERVICE, HONOUR SATISFACTION OF CURIOSITY ? RECORD OF AN LOST CIVILIATION ? POSSESION OF THE EXOTIC AND “UNKNOWN”  PUEBLO VASE (1969) Allan Houser Apache 1965 Blance of Power 2007 Raven Transformatio n 2005 Preston Singletary Tlingit