Tag: indigenous

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Arts and Culture Community Culture

Art and agency: the misuse of inclusion

Indigenous fashion panel held at 4th space. Photo by Emma Bell/The Concordian

The Indigenous Futures Resource Centre has created an online space to nuance the conversation on cultural appropriation.

In recent discussions surrounding reconciliation, inclusion itself has emerged as a contentious notion. The term inherently implies an imbalance of power between those at the centre who hold the authority to make decisions and those on the periphery who are left at their mercy. Inclusion can easily be mishandled—even organizations with the best of intentions can end up unwittingly tokenizing and exploiting their Indigenous employees. True reconciliation is the democratisation of decision-making, where inclusion efforts are no longer necessary, because everyone is already seated at the table. 

In her article “Indigenous Fashion Week Toronto,” Indigenous artist and fashion designer Sage Paul discusses the urgency of addressing cultural appropriation in the fashion industry in all of its subtleties. It is increasingly important to have a discerning eye. As overt, public incidents become less common, the problem continues to fester behind the scenes. For example, Indigenous artists are being included in projects only to find that their presence is nothing more than the company’s effort to reach a diversity quota. Their names become stamps of authenticity on designs in which they were granted little, if any, creative control over. 

Paul’s article can be found among a growing collection of Indigenous scholarship surrounding this issue on the Promoting and Protecting Indigenous Arts (PPIA) website, which was recently launched as an expansion of the original 2021 print publication. To celebrate the launch on Sept. 26, Concordia’s 4th Space held a panel discussion moderated by Dr. Heather Igloliorte, along with Paul, visual artist Nico Williams and fashion designer Julie Grenier as guests to discuss the impacts of cultural appropriation on Indigenous fashion. The panel noted the long history of Indigenous communities’ participation in the global fashion world as fur traders, and the importance of remembering this history. They also tackled some of the unseen issues facing Indigenous artists and designers, such as crossing the country borders without having their materials confiscated or their customers’ fear of openly wearing their designs. The panellists recalled instances where their non-indigenous customers would admit to only wearing their jewellery or clothing in private, worried that wearing the designs in public would attract negative attention. 

Indigenous fashion panel held at 4th space. Photo by Emma Bell/The Concordian

The PPIA website is a living resource. It provides a space for new scholarship to be placed in dialogue with existing conversations to build a cohesive body of knowledge that is readily accessible to all. “This project unites the wisdom and experiences of Indigenous artists, scholars, cultural stakeholders and knowledge keepers who demonstrate a profound commitment to educating the public,” said Igloliorte. Visit the website at https://ppia-ppaa.ca/ to learn more.
The full panel discussion and Q&A session is also available to watch online on the 4th Space’s YouTube channel here.

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Arts and Culture Community

Concordia’s second annual Pow Wow: a photo essay

Montréal still has a long way to go to improve its relationship with Indigenous peoples, but cultural events like these bring Montréalers one step closer to reconciliation. Photo by Camila Lewandowski.

Building a safe space that recognizes Indigenous culture

Hundreds of students, faculty members and staff gathered at Concordia’s Loyola campus to celebrate the second edition of the university’s Pow Wow celebrations on Friday, Sept. 15th.

Dancer Barbara Kaneratonni Diabo performing the Crow Hop. Photo By Camila Lewandowski
Visitors had the chance to see multiple dances by different North American Indigenous and Inuit communities. Photo By Camila Lewandowski
Multidisciplinary artist Jennifer Léveillé Mcfarlane reconnected to her Indigenous heritage through acrylic painting. She uses elements from nature, such as tree leaves, to adorn her pieces. Photo By Camila Lewandowski
Jolene Robichaud’s grandmother had promised to teach her how to bead. However, life had other plans, and Robichaud learned how to bead by herself in honour of her late grandmother.
Photo By Camila Lewandowski
Ken and Lenore have been selling their regalia together for the past 35 years. Although their traveling years are behind them (they once travelled from Halifax all the way down to California), the two friends now participate in the local Pow Wows. Photo by Camila Lewandowski
Friends Virginie Ribiero, Laura Cardoso and Megan Blais share their passion for handcrafting by joining weekly beading meetings. Photo By Camila Lewandowski
This two-spirited dancer performed a hoop dance that was originally a dance exclusively performed by men. Two-spirit is an Indigenous term for LGBTQ+ community members. Photos By Camila Lewandowski
These four men performed a traditional men’s dance, right before the inter-tribal dance. Photos by Camila Lewandowski.
Spectators were invited to participate in the inter-tribal dance. Everyone was welcomed to let loose by dancing together in a circle. Photos By Camila Lewandowski
Kaylah Mentour works for the Kahnawake Tourism Welcome Center, which promotes Indigenous culture amongst tourists and locals. Photo by Camila Lewandowski
JC Bear disseminates Indigenous humour through her graphic design and bead work. Photo by Camila Lewandowski.
The Indigenous Futures Research Centre empowers and promotes Indigenous culture through various workshops and conferences. From right to left: Margaret Lapp, Caeleaigh Lightning, Hamss Lujam, and Joëlle Dubé. Photo by Camila Lewandowski.
A dancer performs Métis jigging, a characteristic dance from the Red River. The jig combines First Nations dancing with Scottish and French-Canadian step-dancing. Photos by Camila Lewandowski.
Diabo greets students from a Kahnawake grade school after her first performance. Photos by Camila Lewandowski.
Categories
Arts Theatre

Manikanetish: What it means to belong

Manikanetish theatre perfomance at Duceppe Theatre - Courtesy photo by Danny Taillon

See the play at Jean-Duceppe Theatre from March 8 to April 8

Manikanetish is based on Naomi Fontaine’s novel by the same name. An author and teacher, Fontaine has published four books and translated various others. Manikanetish is her second novel, published in 2017, and her most recent work Shuni was published in 2019. 

This play is set in Uashat, a small Inuit community in Northern Quebec close to Sept-Îles. 

Most scenes are set in a high school classroom as the protagonist, Yammie, recalls her beginnings as a teacher to her son. 

Manikanetish theatre perfomance at Duceppe Theatre – Courtesy photo by Danny Taillon

Manikanetish discusses the author’s life as a teacher, while centering the voices of the children she teaches. Themes of death, resilience and belonging dominate. 

The resilience of these children is notably highlighted by the death of several of their relatives throughout the story. 

Fontaine plays a central role in the play, though her character is taken on by another actress. She acts as a parallel to herself, an omniscient character, of what she wished she had said. 

Manikanetish theatre perfomance at Duceppe Theatre – Courtesy photo by Danny Taillon

Though originally from Uashat, coming home to her community, Yammie finds that she is not accepted. She only speaks a bit of Innu, and admits not wanting to speak it because of her accent. She struggles with having left the community to study, and upon returning notices that the community has changed: she does not know anyone and is not trusted. 

This is notable in a scene where one student is disgusted that the teacher does not know why one of the students is struggling because their parent is dying. The community is so small and close that everyone knows everything about everyone, and Yammie at first does not fit into that space. 

Manikanetish theatre perfomance at Duceppe Theatre – Courtesy photo by Danny Taillon

Along the play, the director parallels the past and the present: what Yammie’s life could have been and what it is not. She voices spending her nights alone drinking wine, with a partner back in Quebec City, not making any time for herself. 

The first part of the play is conducted by her sadness and not understanding why her dream of being a teacher in Uashat is not what she thought. The second part focuses on the students’ strength facing the various hardships thrown at them. 

Manikanetish theatre perfomance at Duceppe Theatre – Courtesy photo by Danny Taillon

As the play goes on, she slowly constructs a relationship with her class as they start to understand her intentions. 

For instance, when Yammie shouts at a student for sleeping in class, Fontaine’s character mirrors her and talks to the student in an understanding tone, offering a more sympathetic response. This serves as representation of what she wished she had said in those difficult moments. 

Manikanetish theatre perfomance at Duceppe Theatre – Courtesy photo by Danny Taillon

The audience gets to know six characters, their perils and their passions, their difficult upbringing in a remote town far from access to healthcare, and surrounded by discrimination. For instance, one student with a child brings up the injustice of their lack of access to proper medical care, while another speaks about the few future prospects they have because of the racism they suffer in school. 

The play concludes with united voices saying “our voices are heard,” both defying the public to question their existence and showing the strength of their resilience.  

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Podcasts

The Update // New database for MMIWG2S, half a billion dollars for engineers, and Ukraine, a year later

The Update is a bit-sized news podcast show where you can get a full update on what is going on at Concordia, and around Montreal. Simply tune-in during your morning commute to be informed!

Welcome to The Update. A bi-weekly news podcast researched, produced and created by The Concordian team.

In this episode, a vigil commemorating Missing and Murdered Indigenous Women and Girls in Montreal sees first ever official database made for cases in Quebec.

The Montreal community took to the streets to condemn the unjust treatment and death of Nicous D’André Spring while he was illegally detained in Bordeaux Prison.

The Government of Canada invest $497 million into a team of Concordia engineers to create cheap and sustainable CO2 capturing and recycling technology.

News editor Marieke Glorieux-Stryckman dives into the Montreal Ukrainian community’s well-being one year after the war began.

Général Roméo Dallaire, who served the United-Nation during the Rwanda genocide, visited Concordia’s Journalism Department to discuss the role of media in conflicts.

Reporter Tristan McKenna reports on toll the Turkey/Syria earthquake has on Concordia students.

Produced by Cedric Gallant

Music by Saro Hartounian

Graphic by Carleen Loney

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theconcordian.substack.com

Categories
Podcasts

The Update // Stranded students, CSU divided and future Indigenous engineers

The Update is a bit-sized news podcast show where you can get a full update on what is going on at Concordia, and around Montreal. Simply tune-in during your morning commute to be informed!

Welcome to The Update. A bi-weekly news podcast researched, produced and created by The Concordian team.

Students stranded in Winter storms, the CSU is divided over their boycott, a first-of-its-kind Indigenous bridging program, and the Muslim community yet united even more.

In this episode, Podcast Producer Cedric Gallant goes through all the most recent news stories covered by our news editors, Marieke Glorieux-Stryckman and Lucas Marsh.

Music by Saro Hartounian

Graphic by Carleen Loney

This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theconcordian.substack.com

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Podcasts

Northern Perspectives: The Agreement that Changed It All

Podcast Producer Cedric Gallant dives into the deep history behind the James Bay Northern Quebec Agreement (JBNQA), where the Crees and Inuit went head-to-head against the Government of Quebec.

Categories
News

Concordia set to launch new Kaié:ri Nikawerà:ke Indigenous Bridging Program

Graphic by Sarah Alouani // @okaruno

This program, the first of its kind in Quebec, will launch in Fall 2023

Next fall, Concordia will launch its new Kaié:ri Nikawerà:ke Indigenous Bridging Program, which will help Indigenous students get into engineering programs. 

The program will be three semesters long and will offer prerequisite courses to Indigenous students who are missing these courses going into their bachelor’s degree. Once they complete the program, students enrolled will be automatically transferred into the engineering program of their choice. 

“Particularly, we started in the STEM [Science, technology, engineering, and mathematics] field because there are a lot of educational barriers that some Indigenous communities face when it comes to STEM education,” said the program coordinator Saba Din.

The Kaié:ri Nikawerà:ke Indigenous Bridging Program was part of the recommendations made in the Indigenous Direction Action Plan in 2021. This plan has the goal of decolonizing and indigenizing Concordia University. 

“Kaié:ri Nikawerà:ke” is a Kanien’kéha word meaning “the Four Winds” or “the Four Directions.” According to Din, these winds represent growth, renewal, and change.

A core tenet of the Indigenous Bridging Program is to provide a sense of community through a support network for students enlisted in the program. Students will be in the same group for three semesters and will have access to resources to help them transition into university life.

The program will also offer a special student-focused seminar class. This class will cover themes including self-advocating, adapting to life in the city, and rental advice. Guest speakers will include tutors, engineers, or elders, with a priority on Indigenous guests. 

“I think that community feeling is really beneficial for long-term success,” said Din. “Especially to ease that transition from wherever they’re coming from, whatever barriers they face.”

Mariah St. Germain, the coordinator of Indigenous Student Success at Concordia’s Otsenhákta Student Centre, is hopeful that the program will help Indigenous students adapt to the post-secondary environment. 

“I know how meaningful these programs are for students to bridge the gap and gain access,” said St. Germain. “We want any prospective Indigenous students, and our current Indigenous students, and our alumni, to know that they have a place in the community here and that they’re seen and heard, and that they can thrive in that space.”

While the Indigenous Bridging Program is currently tailored to engineering degrees, Din said they plan to expand the program gradually in the upcoming academic years. The next majors on the list are business and psychology, followed by science and computer science, and finally expanding to arts and science. 

“We hope that students feel that they have options,” Din said. “This is just another option for them. Hopefully it opens the door to post-secondary education.”

Categories
Podcasts

Northern Perspectives : The Northernmost Canadian Tire

Welcome to The Podcast. Cedric Gallant will produce and host this podcast alongside our Section Editors every week. The shows will rotate weekly to cover topics from each section of our newspaper!

This week’s show, Northern Perspectives, was produced by Cedric Gallant. Tune in for future episodes of Northern Perspectives, where Cedric shares exclusive interviews with members of Nunavik’s remote but thriving indigenous community.

In this episode:

For our Northern Perspectives segment this week, Cedric Gallant followed Chris York, Nick York and David Pearson on their adventure salvaging a van engine from Kuujjuaq’s dump, nicknamed the Canadian Tire.

In this story, listeners get a look into Nunavik’s mechanic world, and its unique circumstances. In addition to the podcast is a series of pictures depicting that day, found below.

Thanks for listening, and make sure to tune in next week!

Categories
Arts

For Love: A film of Indigenous resilience

A scene from FOR LOVE - Image courtesy of Touchwood PR

Mary Teegee’s film explores a breaking of the imposed colonial linearity

Mary Teegee’s breathtaking documentary For Love delves into the issues that Indigenous folks across Canada/Turtle Island deal with, through the constant erasure of their culture, language, and ways of knowing. 

The documentary was released on Netflix on Sept. 21. 

The film’s introduction announces a harrowing tale. Somber music sustains the presenters’ voices while installing a sentiment of discomfort among viewers. 

The only people who have a voice in the introductory scenes are white politicians, while the Indigenous children filmed in later scenes are voiceless.

The clips are soon replaced by numbers and statistics, hoping to give a factual understanding of different issues within Indigenous communities.

Though this film’s purpose is to expose truths about Indigenous healing and resurgence, the opening scenes support a colonial mindset. 

They discuss themes such as child overrepresentation in the health system, deep poverty, and rates of suicide, rather than concentrating on representing Indigenous ways of knowing. 

While English dominates the first 20 minutes, it is refreshing to finally hear some Micmac.

The trailer to this film paints a picture of different cultural practices, such as throat singing or language revitalization programs, yet the beginning of the documentary frames a colonial perspective in the imagery that then follows.

Images of throat singing, for instance, would have been more powerful as stand-alone pictures, not as objects of what could have been if the colonial agenda had not produced such high erasure. 

“The numbers speak for themselves,” says narrator Shania Twain. These words only serve to further silence the broader political settler context regarding high mortality rates, poverty, and suicide within Indigenous communities across Canada/Turtle Island.

Twain offers a historical context to the colonial project on “the Indian problem.” A series of interviews are intertwined with stunning imagery of Kahnawake, Whitefish Lake, Attawapiskat, Nisichawayasihk, and Puyallup, which demonstrate the beauty of nature and our need to conserve it. 

The images would often need trigger warnings, as academic parallels and uncontextualized sufferings are spoken about as if they were facts. Maps are shown with colonial names, such as Alberta or Quebec. Even on reserves, only the British names appear. 

Twain discusses an idiom that has entered the English language: 60 scoop, meaning “the practice of taking of Indigenous children from their families,” emphasizing the deeply-ingrained colonial roots present in the settlers’ language. 

The first 20 minutes of the film are misleading; they paint just another colonial picture, yet when the voices of the interviewees become centered and when the screen only leaves space for breathtaking imagery and Indigenous voices, the film starts to become unique and truly representative. 

It is only after this dehumanizing introduction that the documentary paints a vivid picture of Indigenous peoples. The sounds of canoes on water, wood chopping, and resistance music by Mathieu Carratier announce a documentary distancing itself from colonial understandings.

Themes of solidarity, cultural appreciation, healing, and medical knowledge are reflected in interviews, while clips of politicians offer a humorous twist. Though given attention at the beginning of the film, during the rest of it these clips serve to satirize white voices describing an “issue” settlers have produced themselves. 

There is a focus on sounds, which brings the film away from its grim context. Paddles on water, children’s laughter, and plates clinking at meals metaphorically demonstrate the resilience of Indigenous peoples. 

A mundane scene at the supermarket shines a light on the humanity of different Indigenous peoples. It strives to universalize experiences on the ground of basic needs, such as food. 

The film ends on a resistant note and shows the importance of conserving languages, and culture and centering the voices of the children in the process of resurgence. 

Categories
Podcasts

Northern Perspectives: Self-help in Nunavik

Welcome to The Podcast. Cedric Gallant will produce and host this podcast alongside our Section Editors every week. The shows will rotate weekly to cover topics from each section of our newspaper!

This week’s show, Northern Perspectives, was produced by Cedric Gallant. Tune in for future episodes of Northern Perspectives, where Cedric shares exclusive interviews with members of Nunavik’s remote but thriving indigenous community.

In this episode:

For our Northern Perspectives segment this week, Cedric talks with Anthony Kauki, an Inuk student who attends Dawson College in Montreal and works in his home community of Kuujjuaq during the summer.

Thanks for listening and make sure to tune in next week!

Categories
Community Student Life

Fridays For Future at Concordia University

Concordia students are making a difference in the fight against climate change.

September 23 marked the latest protest for climate justice organized by Fridays For Future in Montreal. This month, Concordia University marched for climate justice, along with many other schools. 

Fridays For Future is a movement that was started by climate activist Greta Thunberg. Thunberg was 15 at the time when she helped initiate the movement back in August 2018. She, along with other activists, sat in front of the Swedish parliament for three straight weeks to protest the lact of action for our climate crisis.

Students at Concordia University actively took part in a strike on Friday, Sept. 23 to protest against climate change.

The Concordian was present at the climate march to document the protest and speak with students about their involvement with climate justice.

THOMAS VAILLANCOURT/The Concordian

On the morning of the march, students assembled on the Reggies bar terrace behind the Hall Building at Concordia. 

Speeches were given by  students who work at the Hive about the purpose of the day’s march, demanding two things: 

  • Ban fossil fuels by 2030, in terms of production, processing, exports and imports. 
  • Impose a massive tax on the wealthy while  reinvesting into public services and social programs to ensure decent living conditions for all.

As the speeches concluded on the Reggies terrace, The Concordian met up with Concordia student Octavie Doherty-Haigh. Haigh gave her thoughts about why she was participating in the march.

“I came here to the climate march today, because I know that change needs to happen. I know that during the pandemic, there’s been so much of a shutdown and that’s why it’s important to be here in person,” Haigh explained.“I know that consuming meat is one of the biggest contributing factors to CO2 levels rising, so I’ve taken meat out of my diet. I also plant trees during the summertime.”

THOMAS VAILLANCOURT/The Concordian

Students from Dawson College soon joined Concordia students to begin the climate march.

Concordia, Dawson, and McGill students marched together to the George-Étienne Cartier Monument situated on Mont-Royal. 

At the monument, all the participating schools and organizations assembled. 

The Concordian spoke to three other students about their involvement in combating climate change.

Anna Abbott explained how individual change can make a difference in the community. 

“I do believe in individual change, I take the public transport when I can. I’ve been vegan for six years now. Bigger movements like this are so important to engage the community,” Abbott explained. 

Many of the students at the climate march are actively switching to a plant-based or completely vegan diet in order to combat climate change. Others at the climate march simply just turned up, like Concordia student Gabriel Casola.

“I am not doing much to combat climate change in my own life. I am here at this event and I am more than happy to be involved,” Casola said.

At the monument, a speech was given by the President of the National Committee for the Rights of First Nations Normand Pilot. 

Pilot spoke about how as a community, we have to take care of Mother Earth and how future generations won’t have a chance if we don’t.

Everyone at the protest wanted to have their voices heard. Over 130,000 students were in attendance.

THOMAS VAILLANCOURT/The Concordian

Fellow Concordia student and theatre major Julia Pye summarized protesters’ thoughts on the event succinctly:

“I think the most important fight in climate change is the vote. I think that the government holds all the power and if we don’t get young people out there to vote, it’s going to be a horrible thing. Even talking to people around here so many people don’t know about the Quebec elections. I think educating the youth on that is the most important and knowing who you are voting for can literally save the planet.”

See More Photos From The March:

See More Photos
Categories
Sports

Caricatured and erased: Indigenous voices on racial slurs in sports team names

Indigenous students explain how these racially charged names have impacted them

Disclaimer: The opinions expressed by the people in this article are their own. They do not speak for their community.

On Sept. 6, Simon Fraser University (SFU) announced their new varsity team name, formerly using both Clansemen and Clan,  after a two-year consultation process, replacing the former names that carried racist connotations. They are just the latest in a long line of sports teams who are distancing themselves from their history.

“The university engaged in a renaming process to find a team name that reflects SFU’s values, inspires unity, and is a source of pride,” a media release by SFU stated, revealing the chosen name to be the “Red Leafs.” The university also “sought feedback on the name from nine Indigenous host nations” and consulted many of its student groups representing visible minorities.

Similarly in April 2019, McGill’s administration formed a Renaming Committee and changed the men’s teams’ name from the Redmen to the “Redbirds,” a symbol famously seen on their coat of arms.

The University’s goal was “to choose a name that could unite the entire University, and that was inclusive, respectful and representative not of one single group, but of everyone within the McGill community,” McGill said in a statement to The Concordian.

While SFU, McGill, and other professional teams like the Cleveland Guardians and the Washington Commanders have changed their names to exclude offensive language, other teams still using racially charged names continue to have immense negative effects on Indigenous communities.

During a First Peoples Studies class at Concordia on contemporary social issues taught by Professor Emily Coon, a few Indigenous students shared their thoughts on sports team names that contain racial slurs.

“It contributes to the erasure and makes people feel like Indigenous peoples aren’t current anymore,” said Iohserì:io Polson, an Anishinaabe and Kanien’keha:ka student.

“It fictionalizes Indigenous peoples and makes it seem like we’re not here, that we’re not real nor civilized people.”

Coon, who is herself Kanien’keha:ka, added “If you think of Indigenous youth, the only representation they see of themselves [in sports] is a savage and cartoony caricature. That’s not an accurate representation.”

Concerns over the normalization of slurs towards Indigenous peoples were also palpable in the room.

“Growing up, I’ve had a lot of these terms used on me. Like the RedSkins, I’ve been called that. It just normalizes the terms as an okay thing to say. It makes people used to hearing these terms and saying these terms,” said Polson.

“It’s like with the Kansas City Chiefs and the ‘tomahawk chop,’” added Coon. “Then, all these fans engage in this super racist gesture. You’re normalizing these things that they shouldn’t be doing.” 

Considering the fact that sports have always played an instrumental role in the history of Indigenous cultures, some Indigenous people feel ostracized from something that is intimately theirs.

“Sports have been something for our communities that’s helped us cope physically, to stay strong,” said Emilio Wawatie, an Anishinaabe student, referring to the historic exclusion of Indigenous peoples from sports they created, such as Lacrosse.

Wawatie continued talking about his personal experience playing hockey, and the racism he endured which eventually made him quit the game he loved. He recalls being taunted and called slurs on and off the ice. He said his long hair also became a target for racist comments.

“It’s almost as if Indigenous peoples are divorced from sports, as if those weren’t built into our creation stories and into our everyday livelihoods,” said Coon. “We’ve always had sports but now it’s being appropriated and racialized.”

Changing a team name is the first step. However, it should be accompanied by concrete actions, like increased accessibility to sports for Indigenous youth. Furthermore, acknowledging the systemic racism that creates obstacles for Indigenous peoples when participating in sports is what Indigenous peoples want to see, on top of these much-needed name changes.

“This is where solidarity has to come in,” Coon added “This is not an Indigenous issue, this has been created through a settler-colonial system.”

Speaking of pathways for solutions, she concluded with the following: “We can point you in the right direction, we can speak up and make space for our voices to be heard, but that labour has to be picked up by white settler allies.”

Graphic by Carleen Loney

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