The deadline for the Ontario Arts Council Aboriginal arts grants is fast approaching!The deadline is February 15th.
If you have an interesting artistic (fine arts, dance, literary arts) project that you need monetary support for, then you should apply.
Here's the link.
Good luck to everyone!
Métis Ramblings: A blog about Native arts, Aboriginal issues and life in general
Monday, January 30, 2012
Wednesday, January 18, 2012
Become an Artist in the Park on beautiful Georgian Bay
Apply to be an artist in the Georgian Bay Islands National Park of Canada for this summer. Application information is here.
(Image courtesy of the Parks Canada website).
Monday, January 16, 2012
8th fire, Indigenous multicultural project
Listen to Tara Beagan on the importance of storytelling for indigenous communities here on CBC and the project 8th fire, a multicultural documentary project.
Wednesday, January 11, 2012
Support Racing the Rez documentary!
Are you passionate about running and supporting team efforts? Please check out this sporty trailer for Racing the Rez, a documentary film that chronicles the struggles, challenges, and adventures of Hopi and Navajo teen cross country runners that will be competing for state championships. Please support this project! You can check it out via youtube or kickstart.My friend on Anishnaabekwe posted this originally on her blog.
Thursday, January 5, 2012
Tangible heritage, dialogue, IPinCh link
Doing a search for "tangible heritage theory" i came across IPINCH - Intellectual Property Issues In Cultural Heritage, a research project made up of scholars and activists from across the globe.
Here's the link to visual culture scholar Solen Roth's thought-provoking blog post about how to talk about Canada's history of colonization and the term "genocide."
Here's an excerpt
"This reflection began at the IPinCH student dinner, with Marina asking us to share our thoughts about the appropriateness of using the word “genocide” in one of her conference paper abstracts. Without going into the details of our exchange, the discussion focused on whether her use of the term in reference to the results of colonial processes in Canada would further or hinder her goals as an anti-colonial scholar and activist. Near the end of the conversation, I shared my unease with the fact that I could use “genocide” to describe the actions perpetrated by ‘imperial Canada’ (to borrow an expression from Edgar Heap of Birds – see below) without it provoking in me any significant emotional response, as if I were immune to its true meaning and its empirical (pun intended) implications. Is there a danger to fear from my acclimatization to the use of such words, to hearing lived horror stories, and to telling the tragic narrative of Canadian nation-building? I remember that I did not feel this way when I first moved back to Canada after ten years of living abroad, and was for the first time in my adult life being confronted with Canadian colonial history. What has happened in the span of five years that has made me be able to simultaneously become more aware of this colonial history and slowly feel less viscerally scandalized when it is being told to me and when I am telling it? It is as if my academic work as a graduate student (all the readings, all the papers!) and my experience as a resident of Vancouver (all the art, all the talks!) have gradually made my emotions (those that lead to action and not paralysis) retreat behind intellectualization, to the point that what initially felt like a spectacular and shocking “reveal” no longer sends shivers down my spine, urging me to stand up from my seat to do something, now. How can I combat this normalization, so that words like “genocide” do not roll off my tongue as if I were using it as a synonym of “disagreement”?"
Roth's questions are thought-provoking for any scholar in the Native arts and museum field. How exactly can we talk about the history of tangible heritage of Aboriginal art and artifacts without discussing the impact of colonization and the legacy of residential schools - to not do so would seem one-sided, superficial and foolhardy. Roth's questions also lead to a critique - do scholars immersed in post-colonial dialogue inadvertently refute their own aims by becoming immune to their own emotional (personal and psychological) investment in their work?
These are questions which need continual thinking through.
Here's the link to visual culture scholar Solen Roth's thought-provoking blog post about how to talk about Canada's history of colonization and the term "genocide."
Here's an excerpt
"This reflection began at the IPinCH student dinner, with Marina asking us to share our thoughts about the appropriateness of using the word “genocide” in one of her conference paper abstracts. Without going into the details of our exchange, the discussion focused on whether her use of the term in reference to the results of colonial processes in Canada would further or hinder her goals as an anti-colonial scholar and activist. Near the end of the conversation, I shared my unease with the fact that I could use “genocide” to describe the actions perpetrated by ‘imperial Canada’ (to borrow an expression from Edgar Heap of Birds – see below) without it provoking in me any significant emotional response, as if I were immune to its true meaning and its empirical (pun intended) implications. Is there a danger to fear from my acclimatization to the use of such words, to hearing lived horror stories, and to telling the tragic narrative of Canadian nation-building? I remember that I did not feel this way when I first moved back to Canada after ten years of living abroad, and was for the first time in my adult life being confronted with Canadian colonial history. What has happened in the span of five years that has made me be able to simultaneously become more aware of this colonial history and slowly feel less viscerally scandalized when it is being told to me and when I am telling it? It is as if my academic work as a graduate student (all the readings, all the papers!) and my experience as a resident of Vancouver (all the art, all the talks!) have gradually made my emotions (those that lead to action and not paralysis) retreat behind intellectualization, to the point that what initially felt like a spectacular and shocking “reveal” no longer sends shivers down my spine, urging me to stand up from my seat to do something, now. How can I combat this normalization, so that words like “genocide” do not roll off my tongue as if I were using it as a synonym of “disagreement”?"
Roth's questions are thought-provoking for any scholar in the Native arts and museum field. How exactly can we talk about the history of tangible heritage of Aboriginal art and artifacts without discussing the impact of colonization and the legacy of residential schools - to not do so would seem one-sided, superficial and foolhardy. Roth's questions also lead to a critique - do scholars immersed in post-colonial dialogue inadvertently refute their own aims by becoming immune to their own emotional (personal and psychological) investment in their work?
These are questions which need continual thinking through.
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