Expressions: National Gathering on Aboriginal Artistic Expression Final Report

Table of Contents

MINISTER'S FOREWORD

I am pleased to present you with the report of the National Gathering on Aboriginal Artistic Expression which took place from June 17-19, 2002. The body of this report summarizes the panel and workshop discussions and, most importantly, identifies key recommendations, which I look forward to exploring alongside the Aboriginal artistic community.

The National Gathering on Aboriginal Artistic Expression proved to be an event where candid and important discussions could take place. It provided both me personally and the other federal participants with an invaluable opportunity to listen and hear the many diverse issues facing the Aboriginal artistic community.

May I express a special thank you to all of the speakers and performers who participated in this initiative. The obvious dedication and thought put into the speakers' texts triggered thoughtful discussions. The performers seen in both performance events inspired everyone, reminding us all of the incredible talent alive in the Aboriginal community.

It was both an honour and a pleasure to have this event opened by Elder William Commanda, who welcomed us all with a blessing on the traditional territory of the Algonquin Nation. His words of wisdom speaking to our need to listen to each other with our minds and hearts will remain with me as we move towards finding solutions.

Let us now commit ourselves to exploring strategies to address the suggestions for action identified by you, the Aboriginal artistic community, in this report.

Sincerely,

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The Honourable Sheila Copps
Minister of Canadian Heritage

BACKGROUND & OBJECTIVES

The National Gathering on Aboriginal Artistic Expression (NGAAE) was part of the Department of Canadian Heritage's (PCH) continued desire to strengthen its relationship with the Aboriginal artistic community, and to produce practical suggestions on how the Department and the Aboriginal artistic community can better work together to improve the situation of Aboriginal artists in Canada. The NGAAE has been the most recent event in a series of PCH initiatives designed to create opportunities for PCH to better integrate its work on Aboriginal issues across the entire Department and the Heritage Portfolio.

In May 2001, during Parks Canada's Roundtable on Aboriginal Tourism, the Honourable Sheila Copps announced her intention to further the Department's ability to understand and address issues facing the Aboriginal artistic community by holding a national conference on Aboriginal arts and culture in the period around National Aboriginal Day. In order to implement this project and to better understand the full dimension of the artistic expression of the various Aboriginal communities, Minister Sheila Copps set up an Aboriginal Advisory Committee. This committee met regularly for a six month period prior to the Gathering and advised the Department on the organization of the Gathering, including the development of conference content, selection of participants and speakers, and development of various communications products related to the Gathering.

The National Gathering on Aboriginal Artistic Expression aimed to give the federal government and private sector an opportunity to learn more, not only about the opportunities that Aboriginal artists offer, but also about the challenges they face. It strove to provide Aboriginal artists with an opportunity to learn more about the support available to them, and to network with federal officials, the private sector, and other Aboriginal artists. The Department of Canadian Heritage sought to increase its own ability, and that of the Aboriginal artistic community, to develop strategies to promote Aboriginal artistic expression. Overall, the Gathering sought to build a stronger understanding between the Department of Canadian Heritage and the Aboriginal artistic community.

In recognition of the complexity of the many issues facing Aboriginal communities in the areas of arts and culture, the Department of Canadian Heritage is organizing a series of three Gatherings, leading up to a celebration of the end of the Decade of Indigenous Peoples. The National Gathering on Aboriginal Artistic Expression was the first in this series; the next two Gatherings are currently planning to explore issues around Aboriginal tourism and traditional knowledge.


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FORMAT OF THE GATHERING

The National Gathering on Aboriginal Artistic Expression took place from June 17 to 19, 2002, in the National Capital Region. The Gathering was chaired by Minister Sheila Copps, and brought together 250 delegates representing the main stakeholders from Canada's Aboriginal and non Aboriginal artistic and cultural communities and government officials from Canadian Heritage and its Portfolio.

Participation at the Gathering was by invitation only. Delegates were chosen by the Department of Canadian Heritage, in close consultation with members of the Aboriginal Advisory Group, in order to ensure optimal representation of Canada's Aboriginal artistic community (artists, producers, directors, broadcasters, publishers, distributors, representatives of artistic associations, cultural industries, Aboriginal training institutions, local communities, national Aboriginal associations, academics, businesspeople, etc.). In order to give the discussions the widest possible audience, the Gathering was also Webcast.

The delegates were provided with discussion papers and a statistical document surveying the current state of Aboriginal artistic activity. The discussion papers were written by Aboriginal artists and cultural stakeholders from different perspectives in order to demonstrate the diversity of approaches that characterize Aboriginal art. These papers describe the current state of and future possibilities for Aboriginal artistic expression both within their communities and on the national and international scenes. These personal testimonies served as a point of departure for the discussions. They touch various aspects of Aboriginal artistic expression, such as training, creation, production, dissemination and developing audiences and circulation.

The Gathering provided a mixture of panel workshops and panel discussions. There were five workshop topics that focussed on various themes of Aboriginal artistic expression: youth and the arts, traditional forms of expression, support for the artists, new media and distribution of Aboriginal arts. The delegates were invited to discuss these themes in order to develop plans which will influence stakeholders' roles and responsibilities.

EXECUTIVE SUMMARY

The Department of Canadian Heritage has a strong desire to work in partnership with the Aboriginal artistic community to strengthen its capacity to build an inclusive and dynamic country, one which is both respectful and cognizant of the contribution of Aboriginal artists to the Canadian cultural landscape. This Gathering has greatly contributed towards this goal. The act of opening up discussions between policy makers, private sector representatives and a diverse group of prominent Aboriginal painters, dancers, producers, broadcasters, curators, publishers, authors, academics and business people greatly increased our knowledge of how to support a strong and vibrant Aboriginal artistic community.

The Gathering also provided a venue to showcase Aboriginal talent through the two performance events at the National Arts Centre and at the Museum of Nature. The Gathering was also intended to allow for opportunities for the Aboriginal artistic community to network, not only with the federal and private sectors, but amongst themselves. The announcement made at the Gathering of the formation of a National Aboriginal Music Association was an indication of the progress that can be accomplished just by bringing people together in dialogue.

Throughout this Gathering, there was an ongoing dialogue in which participants, through workshop and table discussions, were asked to identify the challenges they face, their successes, and opportunities to better support Aboriginal artistic expression. During these discussions, participants clearly indicated their desire to see actions result from the Gathering. Canadian Heritage, under clear direction from our Minister, looks forward to exploring strategies relating to the key recommendations developed by all participants, and suggested in the Declaration presented to the Minister, summarized below.

Summary of Key Recommendations

Action Plan/Policy Development

Create an Action Plan with a goal of creating a new comprehensive department-wide policy framework on Aboriginal artistic expression. This framework could explore: (1) ensuring we are supporting the full range of Aboriginal artistic practices from the contemporary to the traditional; (2) ensuring that Aboriginal youth are included; (3) supporting Aboriginal artistic practices that will not stereotype Inuit, Métis and Aboriginal artistic expression and; (4) strategizing around specific concerns for supporting and developing artistic expression in Northern and remote communities.

Program Development

Explore opportunities to develop programs that focus on cultural and artistic revitalization. The Action Plan could explore strategies for supporting Aboriginal cultural infrastructure, training and healing initiatives. Program development could also explore means to increase the number of opportunities for stable multi-year funding for arts organizations which increase the potential for sustaining relevant programming with concrete results.

Aboriginal Steering Committee

The creation of a Steering Committee, made up of Aboriginal artists from all disciplines, would increase the Department and the Portfolio's capacity to produce socially relevant and credible initiatives.

Training Development

Increasing opportunities for, and availability of, training opportunities for Aboriginal professional artistic development, especially in Northern and isolated communities. A possible avenue to explore is supporting access to new technologies to enable training and professional development via the Internet.

Aboriginal Elders and Youth

All initiatives with regards to development and support of Aboriginal artistic practices should be inclusive of Aboriginal youth and Elder considerations. Initiatives could include linking youth with their Elders to mentor and provide advice on artistic career development, cultural practices and building self-esteem.

Marketing

Explore strategies to put into place methods to authenticate Aboriginal artworks and combat cultural appropriation.

OPENING REMARKS BY MINISTER COPPS

The Gathering opened with Aboriginal and Inuit songs, drumming and Métis fiddle music. Rick Laliberté, Member of Parliament, introduced Elder William Commanda, of the Algonquin Nation, and invited him to give the opening prayer.

Minister Copps began her remarks by thanking William Commanda for his opening prayer, his wisdom, and for the advice he provided in the preparation of the Gathering. She then acknowledged each of the members from the Aboriginal Advisory Group: Chief Roberta Jamieson, Don Ross, Winston McKay, Maxine Noel, Mary Jamieson, Jonah Kelly, Guylaine Gill, Phil Fontaine, Lynda Sorensen and Rick Laliberté and the Portfolio Agencies in attendance. The Minister expressed her pleasure at the committee's decision to host the Gathering at such an inspiring location as the Canadian Museum of Civilization, and expressed her particular thanks to its designer, architect Douglas Cardinal. Minister Copps spoke of the importance of the partnership between the Department of Canadian Heritage and its Portfolio and the Advisory Group by stating: "I promised this Gathering would be driven, not by the Ministry, but by the people, something that is in evidence here today."

Much of Minister Copps' presentation revolved around her vision of developing an inclusive and dynamic country, one which is both knowledgeable and respectful of Aboriginal Peoples and the contribution they make to Canada's cultural identity. To fulfill this vision, Minister Copps outlined the fundamental shifts she believes need to continue:

  • Contribute to finding new ways to support the artistic expressions of all of the cultures of Canada, and in doing so, expanding our views of 'culture';
  • Playing a role in revitalizing the Aboriginal languages, given that languages are key to artistic expression, and they are currently at a risk of disappearing;
  • Increasing the level of awareness and knowledge in order to create an artistic heritage that is inclusive of everyone, particularly Aboriginal Peoples.

Minister Copps expressed her belief that the National Gathering on Aboriginal Artistic Expression is the continuation of a very important process of building our relationship with the Aboriginal artistic community. The Minister closed by thanking Deputy Minister Judith A. LaRocque for her outstanding contribution, and emphasized the importance of everyone working together in order to "create new ways of looking at our heritage."


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PLENARY SESSIONS

Setting the Stage

"The Aboriginal contemporary artist is unconventional, non-traditional, and sometimes a controversial figure." -- Gerald McMaster

The purpose of this first session was to develop a common understanding of Aboriginal involvement in the arts, the role of art in the communities and its contribution to Canada. Delegates were invited to share their analysis of the current situation of Aboriginal art in Canada.

Remarks by Gerald McMaster (Plains Cree), Deputy Assistant Director for Cultural Resources for the Smithsonian Institution's National Museum of the American Indian

Gerald McMaster, through a historical perspective from the 1950s to the present, outlined the evolution of the continued struggle to get Aboriginal art from the backbenches of Canadian cultural institutions to the forefront. In addition, Mr. McMaster described the long resistance on the part of cultural institutions to recognize and acknowledge that there is no mainstream Aboriginal art, that in fact diversity and identity are essential features of Aboriginal artistic expression. In the 1950s, a dichotomy emerged whereby the majority of Aboriginal artists were struggling to secure both funding and access to cultural institutions, while artists such as Bill Reid, Douglas Cranmer and Tony Hunt's careers were being supported and propelled by museums of anthropology. According to Mr. McMaster, this dichotomy continues to exist on many levels, creating a situation where certain types of Aboriginal arts are accepted and funded while others struggle for recognition. Despite this, he spoke to his belief that these years have been witness to the emergence of new, strong and enthusiastic Aboriginal artistic voices that have been making themselves heard through the past decade: "Today, contemporary Aboriginal artists create for the present, not in some mythical past. Their major challenge is to embrace today's reality, which includes new technologies, while preserving Aboriginal traditions, values and philosophies."

Remarks by Lucie Idlout (Inuit), Author, Composer, Performer

Lucie Idlout spoke of some of the difficulties facing Inuit artists: limited audiences, isolation, high costs of transportation, lack of role models and problems associated with being stereotyped by mainstream public. She stressed that she does not identify with the stereotype of the Inuit artist and did not wish for her words and opinions to be considered as representative of all Inuit artists, because all artists are unique. She did, however, want to draw attention to the issue of funding and the need to inform small Northern communities about the existence of funding programs. Many artists from these communities cannot access the funding programs because they are not familiar with the language used to explain the funding criteria.

Remarks by Alanis Obomsawin (Abenaki), Documentary filmmaker, Singer, Storyteller, Poet

Alanis Obomsawin highlighted her conviction in the power of believing in yourself as Aboriginal artists and as human beings. Ms. Obomsawin described her childhood and school experiences as being filled with racism and despair. Despite this she never stopped believing that she, as an Aboriginal woman, would be able to fulfill her aspirations. It was due, in part, to these childhood experiences that she became motivated to start telling her stories in schools, daycare centres, universities and prisons, and to record these stories on film. Her career with the National Film Board has been rewarding on many levels and has enabled her to support several young Aboriginal filmmakers over the course of their careers. Alanis Obomsawin concluded by reiterating her belief that if you trust in the truth and in yourself, anything is possible.

Remarks by Alex Janvier (Dene), Painter

Alex Janvier, through his personal and professional testimonies, outlined his life-long struggle as an Aboriginal and as an artist in an era when there was no support or direction. A residential school survivor, he recounted some of the everlasting negative impacts of this experience: "I grieve," he expressed, "for the bloodied spirit of my people". The impact of residential schools, loss of language and culture, and loss of land claim negotiations have led Aboriginal people astray, according to Mr. Janvier. In his opinion, the money government spends on treaty negotiations would be better spent equipping Aboriginal people with tools for change. A lifelong advocate for Aboriginal people's rights, from 1966 to 1977 Mr. Janvier signed his works with his Treaty Number, 287, as a commentary on the federal Government's imposed policy on labelling who was a "status" Indian. He feels that this policy is dehumanizing, but has never stopped believing in the strength of his people, the Aboriginal peoples of Canada. He was pleased to see Minister Copps and Elder William Commanda sitting side by side and noted that we must continue to learn from our Elders and their wisdom. He concluded by expressing hope that, through this Gathering, perhaps the time has come to build a Canada that belongs to its Aboriginal people.

Alex Janvier's speech received a standing ovation


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Arts and Artists in the Aboriginal Communities

"There is a sense of urgency when First Nations people gather these days. Our communities are losing their cultural leaders: the Elders, the speakers, the faithkeepers. With them, a bit of knowledge seems to just slip away. This situation cries out for attention from every one of us, Native and non-Native alike." -- Tom Hill

This session focussed on the role of art in community-building, healing, cultural appropriation and youth support, and raising awareness about the special role art plays in Canada's Aboriginal communities and how it contributes to social development.

Remarks by Florent Vollant (Innu), Author, Composer, Performer

Speaking as an Innu from Maliotenam, Florent Vollant expressed how distance and isolation were important features of this nation, and how the Innu are now facing a lack of funding from their Band Councils. He questioned the administrative procedures for government assistance and, by extension, the allocation of public funds. He feels that most of this money goes to the major urban centres where decisions are made about artistic merit and what is Indian or not, and that artists in remote areas do not receive information about the programs. Noting the lack of prospects offered to established artists, Mr. Vollant expressed his serious concern over what lies ahead for young people, most of them self-taught, who he views as "experts in survival." He explained that for the Innu, art was something practical and concrete and that music was a very important aspect of his people's life. He expressed his desire to share his experience with other artists, especially those just beginning their careers. This is why he created the Makushan Music Studio, which produces primarily albums in the Innu language.

Remarks by Tom Hill (Seneca), Museum Director, Woodland Cultural Centre

Tom Hill spoke of the various obstacles facing Aboriginal cultural institutions, such as the support of the public, the maintenance of infrastructure, professional development and the high costs of acquisition and exhibitions. He spoke of the special relationship that unites an Aboriginal community and its cultural institutions. He said that museums have come a long way over the past ten years in identifying the research and exhibition needs of Aboriginal communities, these communities rely more on their own institutions to connect with their identity and their history. As the director of an Aboriginal museum, Tom Hill recognizes the important role the community must play in the development of programming and activities at the Woodland Cultural Centre. Mr. Hill emphasized that there is a sense of urgency at all Aboriginal gatherings these days. Every day communities are losing their Elders, who are their bearers of knowledge. He believes that this situation merits everyone's attention, Native and non-Native, that museums are the last protectors of knowledge, and that Aboriginal communities must regain control of their cultural institutions. "We have a duty," he said, "to our children, our communities, all of North America, and the world."

Remarks by Carol Geddes (Tlingit), Scriptwriter, Producer

Carol Geddes began by speaking about the struggles that Aboriginal artists face, such as difficulty accessing cultural institutions, a lack of Aboriginal involvement in the development and delivery of funding programs, the loss of traditional practices, the historical gap in funding and support. She expressed her view that there is a lack of knowledge about the role of art in the lives of Aboriginal people. Pointing to a badge on her lapel that says "ART SAVES LIVES," she talked about the power of art in the search for identity and the healing process. While she recognized the value of the Gathering, Carol Geddes said that there have been enough conferences and discussions about Aboriginal art and that it is time for more in-depth studies and concrete action, such as simplifying administrative processes in cultural institutions and putting in place initiatives targeting urban at-risk youth.

Discovering, Developing and Sustaining Artistic Talent

"Our creativity is in our survival, our resistance." -- Marrie Mumford

The objective of this session was to stimulate a dialogue on developing support mechanisms for training Aboriginal artists and creators, and to share best practices and success stories.

Remarks by Lorre Jensen, Director of Education,
National Aboriginal Achievement Foundation

Lorre Jensen spoke about the success of the National Aboriginal Achievement Foundation in granting awards for Aboriginal students, raising the national profile of Aboriginal artists, accessing corporate sponsorships, and celebrating prominent Aboriginal artists through the annual National Aboriginal Achievement Awards. Ms. Jensen recognized that accessing funding is an area of primary concern for many Aboriginal artists, and noted that the Aboriginal Achievement Foundation reserves approximately $200,000 annually for artistic scholarships. Ms. Jensen outlined the process for accessing funding, encouraging applicants to submit their applications on time, and explained how applications are evaluated by a jury of Aboriginal artists. Ms. Jensen encouraged all Aboriginal artists to apply for the scholarships available through the National Aboriginal Achievement Foundation.

Remarks by Marrie Mumford, Artistic Director, Aboriginal Arts Program, Banff Centre for the Arts

Marrie Mumford spoke of her passionate belief in the need to support Aboriginal artistic culture, outlining the varied positive outcomes of supporting the Aboriginal artistic community. She spoke of how culture gives Aboriginal people back self-esteem, how visible Aboriginal artistic role models, such as Tom Jackson and Graham Greene, give hope to Aboriginal youth, and how the arts can be a source of economic development. She expressed how art is the manifestation of a culture, and that without it, Aboriginal communities lose their sense of identity. Ms. Mumford spoke of the importance for Elders to pass on the wisdom and creativity of their cultures to the next generations, and expressed her concern that project-to-project funding makes it difficult for Aboriginal artistic programs to have any long-term positive impacts. She highlighted the importance of this National Gathering, as traditionally Aboriginal people have always gathered to share ideas and to find solutions. Ms. Mumford encouraged the federal players and the Aboriginal community to continue working together to address Aboriginal artistic issues and to bring about change.

Remarks by Suzanne Rochon Burnett (Métis), Broadcaster, Businessperson

Suzanne Rochon Burnett's key message was about the importance of building partnerships between the Aboriginal artistic community and decision makers in the federal government. Ms. Burnett believes that the Aboriginal Advisory Committee set up by the Canada Council is a positive example of what can be accomplished when the Aboriginal artistic community and federal partners work together to find solutions for improving the situation of Aboriginal artists in Canada. Although it took a long time, the Canada Council was one of the first federal agencies to visibly support Aboriginal artists by including them in decision-making processes. This has resulted in the hiring of six Aboriginal Canada Council officers in the six mainstream arts disciplines: writing & publishing, theatre, music, media arts, visual arts and dance. According to Ms. Burnett, Aboriginal representatives must be actively included at the decision-making level, as it is up to Aboriginal Peoples to articulate which support mechanisms and strategies should be applied for Aboriginal artists. Ms. Burnett concluded by quoting Louis Riel who stated: "My people will sleep for one hundred years, but when they awake, it will be the artists who will fuel their spirits."


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PANEL DISCUSSIONS

Youth and the Arts

"Among young Aboriginals, the artistic life is very strong. We must feed the fire, but notwith just any fuel. (...) Musicians bring people together, and are role models for the 12- and 13-year-olds who listen to their music, which tells stories of their clans andgenerates community spirit. If we do nothing, the fire will die." -- Florent Vollant, Singer-songwriter

Panellists

Minda Forcier (Atikamekw/Abenaki), Opera Singer

Jennifer Podemski (Saulteaux), Actor, Founder, Big Soul Productions

Jaret Sinclair-Gibson (Métis), President and Manager, Aboriginal Sun and Moon Galleries, Edmonton

Objectives

This session aimed to explore connections between youth and the arts to healing, access to and availability of Aboriginal artistic development programs, strategies to encourage and support Aboriginal youth in the arts, and ways to increase the visibility of Aboriginal youth productions and artists.

Summary

Speakers on this panel highlighted the lack of sustainable funding for on-reserve performance artist initiatives, and the difficulties presented by funding agencies defining what constitutes Aboriginal art. Speakers raised the importance of combatting the appropriation of Aboriginal artistic expression, and the need for grass-roots on-reserve arts initiatives. Speakers talked about the necessity of creating one's own opportunities, and of working together and supporting each other.

Suggestions for action included:

  • Ensuring that students have education in art and culture beginning at an early age and continuing through high school;
  • Funding a program to bring Aboriginal role models and mentors to communities;
  • Increasing access to mainstream media to provide positive images of Aboriginal youth.

Supporting the Artists

"I therefore plead for massive support for artists so that, for the first time in history, there is no step backward, no falling into the trap of ignorance, and no preserving the status quo of a ghetto rooted in folklore and dismissal as cultural childishness that drives the new generation to despair and suicide." -- Yves Sioui Durand, Playwright and Director

"Some of the major obstacles we share are misconceptions about Aboriginal cultures and art, funding sources, a viable art market for contemporary art, and a lack of employment for artists and curators." -- Catherine Mattes, Writer, Curator

Panellists

Yves Sioui Durand (Huron-Wendat), Artistic Director, Ondinnok Theatre Company

Sandra LaRonde (Anishinabe), Actress and Writer, Founder of Native Women in the Arts

Carol Geddes (Tlingit), Scriptwriter, Producer

Objectives

In this session, participants discussed access to federal programs and professional development, issues relating to support for Aboriginal artists, and strategies for supporting traditional and contemporary forms of artistic expression.

Summary

Speakers on this panel highlighted the power and importance of the arts and artists to society, as well as the social responsibility of artists. They spoke of the cultural alienation of many Aboriginal youth, and the urgent need to address this issue. The panel criticized the narrow perception of Aboriginal artistic expression, and stressed the importance of projecting positive images to the public. Panellists emphasized the importance of displaying Aboriginal art in Canadian cultural institutions, not merely in Aboriginal cultural centres, and the need for audience development with regard to marketing strategies. They spoke of the growing importance of archiving, and the need to stop the exodus of artists from the North to the South. Finally, panellists expressed a desire to see greater diversity with regards to the human resources of agencies and departments, in order to create an environment more sensitive to Aboriginal realities.

Suggestions for action included:

  • Establishing a special five-year fund to support the cultural and artistic resurgence of Canada's Aboriginal population;
  • Implementing an action plan to focus on consolidating arts organizations, supporting artists, creating links and exchanges between the North and the South, supporting special large-scale projects and cultural infrastructure, and funding for training and healing; and
  • Creating a program for Aboriginal artists, based on the model of the former Canada Council Explorations program.

Traditional Forms of Expression

"The voices of the grandmothers and grandfathers compel us as Aboriginal artists to speak of the worth of our people and the beauty all around us and to banish the profaning of ourselves and to ease the pain. We carry the language of the voice of the land and the valiance of the people and we shall not be silenced." -- Jeannette C. Armstrong, En'owkin Centre

Panellists

Freda Diesing (Haida), Carver and Teacher

Amos Key (Mohawk), Director of Aboriginal Languages Programs, Woodland Cultural Centre

Martha Campiou (Cree), Beadwork Artist

Objectives

This session aimed to explore various forms of traditional artistic disciplines; opportunities for the Department of Canadian Heritage programs to include traditional forms of expression; and connections between traditional forms of expression and nation-building.

Summary

Speakers on this panel highlighted the need for funding instruments to recognize the diversity of traditional Aboriginal arts. According to the panellists, there is a tendency for those artists involved in mainstream arts fields (film, television, publishing, theatre, etc.) to access more funding than do Aboriginal artists working as carvers, basket weavers, in pow wows, etc. Preservation of Aboriginal languages and exposure to Elders and their stories were seen to be at the heart of traditional forms of expression, being their connection to their heritage, history and culture.

Suggestions for action included:

  • Finding markets for authentic Native arts disciplines;
  • Identifying and supporting an organization that would monitor the authenticity of traditional arts works; and
  • Developing a strategy to support the traditional arts, including spiritual arts and ceremonies, including identifying mechanisms to produce a database to document languages and traditional practices.

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The Distribution of Aboriginal Art

"We have finally come to a point in our history as First Nations of sharing our art as a contemporary expression, derived from our cultural memory -- our hidden history: a composite knowledge of icon, symbol and concept; of interpretation and visioning; of experimentation and experience; of movement, and of new creation - ever aware that we take responsibility for our creations, to guard them and to use them well." -- Joane Cardinal-Schubert, Artist, Writer, Curator

"Apart from the key role it plays in the Northern economy, Inuit art is also one of the few expressive outlets available to Inuit. We are only now hearing from them about the many levels of meaning they find in the making of art. Not only does it enable them to provide for their families and to communicate with an outside world (most art is made for export), but it is also an important cultural identifier for generations to come. This is especially important for Inuit who have an oral rather than a written history." -- Marybelle Mitchell, Inuit Art Foundation

Panellists

Audreen Hourie (Métis), Managing Editor, Pemmican Publications Inc.

Dorothy Grant (Kaigani-Haida), Artist/Owner of Feastwear & Dorothy Grant clothing lines

Jim Compton (Ojibwa), Director of Programming, Aboriginal Peoples Television Network

Objectives

The objective of this workshop was to explore the challenges and opportunities for Aboriginal artistic expression to reach Aboriginal communities, the wider Canadian population, and international audiences; issues around the protection of intellectual property in the local, national and international artistic markets, and issues of access to new media content in remote areas.

Summary

Panellists in the workshop spoke about the importance of transmitting traditional artistic practices respectfully, and of putting Aboriginal stories into writing, even though they come from an oral tradition. Articulating the major challenges to the distribution and diffusion of Aboriginal art, the speakers highlighted the misappropriation of Aboriginal culture, the lack of resources available to new artists, the lack of recognition of certain forms of art, the need for audience and market development, as well as infrastructure.

Panellists expressed how few artists succeed at making a living through their art, while noting that those who do worry about what would happen if the art they practice were to become too commercialized. The speakers re-enforced the importance of carefully controlling the distribution and diffusion of Aboriginal art. Finally, the speakers voiced their concerns over the lack of measures in place to protect artistic entrepreneurs outside the borders of Canada.

Suggestions for Action:

  • Creating a professional trade show for Aboriginal artists in Canada;
  • Establishing a trade program to distribute Aboriginal art; and
  • Providing the Aboriginal Peoples Television Network (APTN) with a budget for co-productions.

New Media

"Art, as a component of the Internet is still in its infancy. True, there are many sites featuring art and artists, but we are still conceptualizing cyberspace as a site for creative production and dissemination. The future of this technology lies in the development of "conceptual networks", places for artists to experiment, interact and to disseminate. This could be said to be even truer for Aboriginal artists given their diverse geographical divisions and their history of interaction with the mainstream art community." -- Steven Loft, Writer, New Media Artist, Aboriginal Curator in Residence at the Art Gallery of Hamilton

Panellists

Wayne Clark, Founder/Principal, Unlimited Digital Communications, Inc

Cynthia Lickers (Mohawk), Artistic Director, Centre for Aboriginal Media, Director of Programming, imagineNATIVE Media Arts Festival

Mike MacDonald (Mi'kmaq), New Media Artist, recipient of the Aboriginal Achievement Award in New Media

Objectives

This session aimed to explore opportunities offered by new media as a tool for creativity (e.g. musical composition, broadcast, graphic design, animation, film, game design); the potential of new media as a tool to distribute and promote Aboriginal culture at the local, national and international levels; and strategies around issues of access in remote areas.

Summary

Speakers on this panel highlighted numerous resources available to Aboriginal artists working in new media, and spoke of existing challenges to supporting new media. Speakers talked about the difficulty of getting their voices heard in mainstream media, and the issues around using new technology without losing their traditional culture (the tension between oral tradition and technology). Intellectual property and ownership issues, as well as the high costs of using new technology, were raised as challenges to new media artists.

Suggestions for Action:

  • Developing a New Media Advisory Committee;
  • Setting up a web portal to host new media artists, to provide a professional web presence, and marketing the site internationally;
  • Developing more spaces to provide access to new media equipment and tools (such as the Banff Centre for the Arts).

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PATHWAY TO THE FUTURE

"And once we wake up my people, our people, just watch us grow." -- Alex Janvier

The speakers who made opening remarks at the National Gathering on Aboriginal Artistic Expression were invited to share their observations at the closing session.

Remarks by Alex Janvier

Alex Janvier invited participants to be courageous, to dream, to believe in themselves, to look deep within themselves for the magic that lived in their ancestors, and to transmit it to the young people. He spoke of the constant struggle of Aboriginal artists, and the lack of recognition and support, which prevents them from expressing themselves as freely as others. He expressed how his vision of Canada includes Aboriginal peoples, and that this inclusion should be on their own terms. He encouraged participants to spread this message in their communities, emphasizing that Aboriginal people are stronger than they think, a message he expresses in his painting.

Remarks by Alanis Obomsawin

Alanis Obomsawin emphasized the need for Aboriginal peoples to unite, commenting that the Gathering was the first occasion where she had seen so many Aboriginal people together at one time. She spoke of the importance of Canadian cultural institutions, and the progress they have made over the past few years. She pointed out that there is still work to be done to improve race relations within these institutions and at all levels of government, but noted that a great deal can be done by Aboriginal people themselves to improve the situation. Ms. Obomsawin highlighted the importance of not becoming discouraged, urged the Aboriginal artistic community to be proud of its accomplishments and for artists to continue supporting each other.

Remarks by Gerald McMaster

Gerald McMaster expressed his appreciation for the opportunity to share his point of view at the Gathering, and to engage in discussions on Aboriginal cultural sovereignty. He spoke of the effects of contact with Europeans on Aboriginal peoples, and highlighted the need to ensure that traditional values and philosophies are transmitted to future generations. He said he was very moved by the Dreamweavers performance, which he felt was a fascinating mixture of traditional and contemporary art. He explained that modern performances and artistic expression do not contradict or interfere with traditions that are practised in communities, they simply co-exist. Aboriginal people realise that the world around them has changed and will continue to change, and know that they will have to adapt with it, while at the same time maintaining their culture and traditions. Mr. McMaster expressed his opinion that cultural institutions have misunderstood Aboriginal culture and traditions in the past, but that important strides have been made over the past few years. He affirmed that things are changing, and that the artists have played an important role in this change.

Remarks by Lucie Idlout

Lucie Idlout expressed how the Gathering was an excellent opportunity to reconnect with colleagues, form new relationships, see and give performances. She noted that she would have liked more opportunities to hear what the other participants had to say, and would have liked to have seen a showcase for visual, literary and media art. Ms. Idlout spoke positively about the Gathering, but highlighted the need for political will to bring about the changes to policies and programs she feels are necessary to reflect the reality of Aboriginal artistic expression.

At the end of her remarks, Lucy Idlout presented Minister Copps with a declaration signed by approximately 120 artists. The text of the declaration follows:

DECLARATION

National Gathering on Aboriginal Artistic Expression
Ottawa, Ontario
June, 2002

WHEREAS, some of Canada's leading Aboriginal artists have gathered in Ottawa for a conference on Aboriginal Artistic Expression at the request of the Honourable Sheila Copps, Minister of Canadian Heritage;

WHEREAS, Aboriginal artists make an immense contribution to the arts both within Canada and internationally, and should be valued and supported in their endeavours;

WHEREAS, we acknowledge and sincerely appreciate the positive steps being taken by Canadian Heritage in support of Aboriginal Arts and Artists;

That the Government of Canada take note of the repeated statements made by the artists at this conference and conferences before it concerning the need of direct financial support in all genres to individual artists, Aboriginal arts organizations and Aboriginal institutions of both arts promotion and education;

Therefore be it resolved that an action plan be developed by Canadian Heritage and Aboriginal artists taking into account the conclusions and petitions presented by the artists.

Further, that the action plan to be developed will be sensitive towards the unique perspectives and needs of Metis, Inuit and First Nations artists and communities.

CLOSING REMARKS BY MINISTER COPPS

In the Minister's closing remarks she discussed her experiences at the Gathering and her desire to build on the information shared during the event. Throughout her six years as Minister of Canadian Heritage, it was the first time she had participated in an event where there was such a high level of participation from the Aboriginal artistic community. She specified that the Gathering was the beginning of a process and not the end. According to the Minister, these events contribute to fighting racism in government institutions, as they create ties and raise awareness. Creating connections was one of the most important elements of the Gathering, for it is through those connections that we are able to initiate discussions and build strength together.

The Minister suggested we explore the following avenues as possible next steps:

  • Identify an Aboriginal Advisory Committee that could advise the Department on the development of an Action Plan on Aboriginal arts and culture suggested in the Declaration presented to the Minister;
  • Identify solutions in the Action Plan, as it is not enough to give out individual grants to Aboriginal artists without building capacity;
  • Identify opportunities to build infrastructure for Aboriginal artists so that their art can be supported, distributed and promoted.

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CONCLUSION

The goal of this conference, developed in collaboration with the Advisory group, was to provide an opportunity to raise awareness amongst key decision makers about Aboriginal artistic expression and lay the ground work for institutional change. The National Gathering on Aboriginal Artistic Expression represented a significant step for the Department towards this goal.

In response to the many important issues raised, and to the Declaration presented to the Minister at the National Gathering, the Department of Canadian Heritage is creating an Aboriginal Affairs Branch which will serve in part to build our capacity to address issues affecting the Aboriginal artistic community of Canada. This branch will also work to produce a framework for an Action Plan on Aboriginal arts in consultation with the Aboriginal artistic community. This framework will be presented at the upcoming National Gathering on Aboriginal Cultures and Tourism taking place in the fall of 2003.

The National Gathering on Aboriginal Cultures and Tourism will also work to build on the key recommendations identified in this report. The ideas and thoughts expressed during the National Gathering on Aboriginal Artistic Expression will be very helpful towards developing and identifying issues to be explored at the next Gathering, in cooperation with the Aboriginal community and our portfolio agencies.

In conclusion, the Department of Canadian Heritage would like to express its sincere appreciation to all of the participants at this important initiative. Together, we are confident that we will continue to work with the Aboriginal community to carve out a future that will, as Minister Sheila Copps stated, "create new ways of looking at our heritage."

ARTS EVENTS AND CELEBRATIONS

The Gathering was an opportunity to appreciate the diversity and richness of Aboriginal artistic expression. Embodying the concepts underlying the Gathering, the arts events were both a recognition by the Canadian government of the importance of the Aboriginal arts and culture and a celebration of artistic excellence.

Evening Reception, Canadian Museum of Nature

The purpose of this reception was to allow participants to meet, exchange ideas before the official opening of the Gathering and attend a short performance in the Auditorium. The evening was hosted by Lucie Idlout and Louis Amik Lalonde and the atmosphere was warm and friendly.

Artists:
Don Kelly (comedy), George Leach (jazz), Gaëtan Sioui and the group Sondaky (song and dance), George Taylor from the Le La La Dance Troupe (dance), Minda Forcier (opera), Tantoo Cardinal (theatre), Pauline Huppies (jig), Andrea Menard (jazz), Shayne Belcourt (singing), Brian Peekeekoot (fiddle), Lucie Idlout (singing), Simeonie Kunuk (Inuit drum), Edward Snowball (singing) and Allison Zakal and Charlotte Carleton (throat singing)


Bones: an Aboriginal Dance Opera

Bones is the world's first Aboriginal dance opera to be sung in the "universal language" created by author, composer and director Sadie Buck. The performance blends the modern and the traditional and was presented for the first time by the Banff Centre's Aboriginal Arts Program in the summer of 2001.

Artists:
Santee Smith, Soni Moreno, Faron Johns, Cherith Mark, Kalani Queypo and Carlos Rivera


Musicians:
David Deleary, Marc Duggan and Mike Olsen


Choreographer and
associate director:
Alejandro Ronceria


Dinner at the National Arts Centre

After a full day, the delegates were invited to a dinner prepared by chef David Wolfman and served under the tent on the terrace at the National Arts Centre. Chef Wolfman's menu paid special tribute to the Métis, First Nations and Inuit.

Dreamweavers

The first day of the Gathering ended with Tom Jackson's production of Dreamweavers. The show, which began in total darkness to the sound of a drum beating like a heart, was a resounding success, a high point of the Gathering and a hopeful performance.

Artists:
Michelle Thrush, George Leach, Moody X 2, Jacinthe Trudeau, Florent Vollant, Sandy Scofield, Lisa Odjig, Alex Wells, Susan Aglukark, Shannon Gaye and Tom Jackson


Dancers:
Adrian Abel, Sid Bobb, Penny Couchie, Sonia Cunning, Frank Jackson, Julia Jamieson, Shoshona Kish, Cherith Mark, Brandon Oakes, Matthew Pakozdy, Matthew Pheasant, Cheri Smith, Santee Smith and Carla Soto


Choreographer:
Alejandro Ronceria

Kiosks

During the Gathering, over twenty kiosks were set up in the Grand Hall of the Canadian Museum of Civilization. Among the exhibitors were the Department of Canadian Heritage, other federal departments, a number of Heritage's portfolio agencies and organizations from the arts and culture sectors like First, an initiative of the St. John's Native Friendship Centre and Christina Parker Gallery and the Aboriginal Book Publishers of Canada. Furthermore, three artists--Daniel Smith (canoe-making), Davidee Italu (engraving on ivory) and Janelle Reynolds (caribou hair embroidery)--shared ancestral techniques with the delegates and audience.

Music Industry Meeting

Despite a very heavy schedule, the participants took advantage of the Gathering to make new contacts and strengthen existing ones, as demonstrated by the informal meeting of musicians and other music industry players convened by the singer Curtis "Shingoose" Jonnie. At the meeting, conclusive support was given to the creation of NAMIA (National Aboriginal Music Industry Association). An official founding meeting should be held shortly.

Atanarjuat

After the official closing of the National Gathering on Aboriginal Artistic Expression, the delegates were invited to attend a screening of Zacharias Kunuk's magnificent film: Atanarjuat, the Fast Runner (compliments of Odeon Film). Lead actor Natar Ungalaaq welcomed the audience in Inuktitut and in English.