Crows and Sacred Tobacco, Flora May
Beyond Space
Gathering on Care in Strange Times
2020 Digital Gathering
Schedule
All events are free to attend! Don’t forget to click on Register to participate in some activities!
October 3, 3:00 pm EST | Zoom
Come play bingo with us at the ACC Annual General Meeting 2020 – Post-Meeting Reception! There will be amazing prizes! Register here for the AGM.
October 15, 8:00 pm EST | Digital
Love & Care Cabaret – BIPOC 2SIndigiqueer Performances Night. More info here.
October 22, 4:00 pm EST | Zoom
BIPOC Arts Professional’s Speed Networking Extravaganza! Click this link to register.
October 24, 4:00–5:30 pm EST | Zoom
Decolonial Self Love Workshop with Shane Sable. Register here.
October 24, 2020 | ACC Vimeo account
Roundtable – Challenging Imposter Syndrome: a discussion about success, going viral and self-compassion with Olivia Shortt, Yolanda Bonnell, Samson Bonkeabantu Brown, and Ravyn Wngz. Click this link for more info.
October 27, 7:00 pm EST | TQFF website and ICC Facebook Live
Cuzzins on Camera: ACC and TQFF present a 2Spirit Short Film Night – More info here.
October 30, 7:00 pm EST | Zoom
Roundtable – HULIĀMAHI: Cherishing the Land and Caring for Our Communities as Radical Curatorial Praxis with Halena Kapuni Reynolds, Ku’ulani Auld, Mina Elison, and Tarisi Vunidilo. Click this link for more info.
Horaire
Tous les événements sont gratuits ! N’oubliez pas de cliquer sur Inscription pour participer à certain événements !
3 octobre, 16h HNE | Zoom
Venez jouer au bingo avec nous à la réception suivant l’Assemblée générale annuelle 2020 de l’ACC/CCA ! Inscrivez-vous ici pour participer à l’AGA.
15 octobre, 20h HNE | Numérique
Cabaret Amour & Care – Soirée de performances BIPOC 2SIndigiqueer. Plus d’infos ici.
22 octobre, 16h HNE | Zoom
“Speed Dating” Réseautage Extravaganza pour les professionnel.le.s des arts Noire.s, Autochtones, et racisé.e.s. Cliquez sur ce lien pour vous inscrire.
24 octobre, 16h–17h30 HNE | Zoom
Atelier Decolonial Self Love avec Shane Sable (en anglais). Inscrivez-vous ici.
24 octobre 2020 | Compte Vimeo du CCA
Table ronde – Challenging Imposter Syndrome: a discussion about success, going viral and self-compassion avec Olivia Shortt, Yolanda Bonnell, Samson Bonkeabantu Brown et Ravyn Wngz. Cliquez sur ce lien pour plus d’infos.
27 octobre, 19h HNE | Site internet de TQFF et Facebook en direct du CCA
Cousin.e.s à l’écran : Le CCA et TQFF présentent une soirée de courts métrages Bispirituel – Plus d’infos ici.
30 octobre, 19h HNE | Zoom
Table ronde (en anglais) : HULIĀMAHI: Cherishing the Land and Caring for Our Communities as Radical Curatorial Praxis avec Halena Kapuni Reynolds, Ku’ulani Auld, Mina Elison et Tarisi Vunidilo. Cliquez sur ce lien pour plus d’info.
Love & Care Cabaret
October 15 at 8:00 pm EST
Don’t miss our BIPOC 2SIndigiqueer Performances Night!
Hailey Tayathy is a member of the Quileute Nation and Seattle’s premier Native American drag queen. Tayathy uses their queer Native experiences to inform their unique brand of drag. They aim to bring healing to Indigenous communities and to show everyone that Indigiqueers are still here and are stronger and more beautiful than colonized minds can imagine.
Devery Bess has come a long way, with 9 years of performance and 15 years dance experience. Born and raised in Montreal, they are now based in Calgary, Alberta. This international performer was awarded the title of Miss Twisted 2016 and has performedat World Pride TO, Interpride, Fierte, Vancouver Pride, Vancouver Dyke March, Calgary Pride, Queen City Pride, Ottawa Pride, Toronto Pride, Red Deer Pride, Jasper Pride, Femme Wave, Sexapolooza, Austin International Drag Festival, Calgary International Burlesque Festival, Edmonton International Burlesque Festival, and shows in New Orleans, Montreal, Halifax, and many more. They host a Drag variety night at Twisted Element pub in Calgary, produce a monthly all ages and QTBIPOC focused show called Reverse Racism, and are one of the cofounders of the production company Ctrl Alt Drag.
Feather is a 2 spirit Drag Queen who resides in Winnipeg Manitoba and has been doing drag for almost 6 years. She is the pride of Muskowekwan First Nation, and represents her culture within her performances. She has won titles, shown her talents on different kinds of platforms. Since newer to Winnipeg, Feather has been given the title: Indigiqueer drag Comedian. She is here to bring you some sass, yet stupid entertainment! She will either have you gagged with her stunts or your guts hurting from laughter! Feather is the Mother of the House of Wolves and Queens.
Also known as Mx.Wolverine, Midnight Wolverine is Tkaronto’s midnight tease, trickster and shapeshifter. They are a Dene/Métis indigiqueer burlesque and drag performer using their 2spirit identity to politicize and sexify stages everywhere, bringing Indigenous representation and narrative nationally across stages such as the Fierce Queer International Burlesque Festival, Bagel Burlesque Expo Montreal, Asinabka Festival, Pride Toronto and Pride Yukon. Fierce and unapologetic, they have also been featured on CBC Gem Canada’s A Drag Season 3 and CBC q with Tom Power. Watch out, they bite!
Quanah Style is Canada’s most infamous 2-spirit trans recording artist and house music diva. From coast to coast, there are few dance floors who haven’t felt her presence. After a brilliant run of singles on Wet Trax, Quanah became a festival fixture, performing her anthemic hits with vogue dance crew House of La Douche. Music videos for songs such as her debut single ‘Beat of My Heart’ and ‘Give Me Life’ showcased Quanah’s undeniable star-quality. Her incredible stage presence, signature vocals, and inspirational story led her to become the subject of several documentaries produced by CBC Arts, World of Wonder Productions, APTN and Vice Magazine. She has opened for Peaches, Bif Naked, Buffy Sainte-Marie, and Brooke Candy and more.
RainbowGlitz is one of Virago’s Nations founding members and Vancouver’s Rainbow slut that spreads her love medicine in a mix of classic, nerdlesque, exotic dance and pussy cat doll hip hop movement. This Haida, Squamish, musqueam and black artist will leave you wanting to throw your pot of gold at the end of her rainbow.
Kwe’ from Shea. Shea Muah (a play on words from the French expression “Chez moi” meaning “my home”) reigns from the city of love, Paris, and left the Moulin Rouge after her darling Pierre asked another performer “voulez-vous coucher avec moi?” Fleeing in rage, she began living on the French Riviera, starring in La Cage aux folles for one night only – as the star was destined for world domination… and perhaps she was a bit too “folle” for La Cage. Recently installed in Saint Jean, Terre Neuve, she takes to the stage to belt out power ballads, reimagine Broadway performances, find her lumière, and spread her French charm across this beautiful province. Her performances channel passion, humeur, and amour, in an attempt to always tell the audience a story. She has many chapters of her life to come; this is but the prologue.
BIPOC Arts Professional’s Speed Networking Extravaganza
October 22 at 4:00 pm EST
BIPOC Arts Professional’s Speed Networking Extravaganza
** This event is full, if you want to add your name to the waiting list, send an email: c.larivee@acc-cca.com /c.larivee@acc-cca.com**
Date: Thursday, October 22 at 4pm EST
Digital Platform: Zoom
ACC’s Hosts: Emma Steen, Outreach & Membership Coordinator and Camille Larivée, Director of Programming
**This event is only open for BIPOC Art Professionals **
This Speed Networking Extravaganza is a fun opportunity for BIPOC Arts Professionals to meet and discuss about their art practices, projects, and the arts sector in general.
How it works: Each participant will be assigned to breakout rooms for one on one meeting up to 3 times for a duration of 7 minutes each. The hosts will send some questions in advance to all the participants to help great discussions. The hosts will strive to ensure that matches are great fit for all the participants.
** Cet événement est complet ! Si vous désirez ajouter votre nom sur la liste d’attente, envoyez un courriel : c.larivee@acc-cca.com **
Date : Jeudi le 22 octobre à 16h HNE
Plateforme digitale : Zoom
** Cet événement est seulement ouvert aux professionnel.le.s Noires, Autochtones et personnes racisé.e.s**
Cette activité de “speed dating” extravaganza est une opportunité amusante pour les professionnel.le.s Noires, Autochtones et personnes racisé.e.s de discuter de leurs pratiques artistiques, projets et du secteur des arts en général.
Comment ça fonctionne : Chaque participant.e sera désigné à des salles de rencontres privées avec un.e autre participant.e jusqu’à 3 fois pour une durée de 7 minutes chacune. Les hôtes enverront quelques questions à l’avance à tous les participant.e.s pour faciliter les discussions. Les hôtes s’efforceront de faire en sorte que les matchs soient parfaitement adaptés à tous les participant.e.s.
Decolonial Self Love Workshop
October 24, 4:00 pm – 5:30 pm EST
Decolonial Self Love Workshop with Shane Sable
How do you demonstrate care for yourself? What does self-love mean? Many of us struggle in the face of such questions. In this workshop, we will use facilitated discussion and writing exercises to examine colonial barriers to self-love and build our capacity to heal our relationship with ourselves.
What to bring: This is a facilitated writing workshop and discussion, please bring a notebook and pen.
Shane Sable: The Furiously Flirtatious Force of Nature, Shane Sable is a 2spirit Gitxsan artist, activist, and community development facilitator. Shane is the Convening Member of Virago Nation, Turtle Island’s first all-indigenous burlesque collective and 2Spirit Programming Coordinator with the Queer Arts Festival on Musqueam, Squamish, and Tsleil-waututh.
* Maximum of 16 participants** **Closed workshop for BIPOC participants ** This workshop will be in English
Roundtables / Tables rondes
October 24, 2020
October 30, 1:00 pm HST
Challenging Imposter Syndrome: a discussion about success, going viral and self-compassion
DATE: Saturday, October 24 on Vimeo account
The invisible emotional labour of Indigenous and Black artists employed as curators, artistic creatives, and cultural producers, is very much at the heart of the arts sector’s work today in Decolonization, Reconciliation, Indigenous Sovereignty and Black Liberation.
This panel aims to address and discuss questions such as: How do we take care of ourselves while also supporting the communities we belong to? How do we express our boundaries and create space for self-compassion? How do we carry emotional labour through our bodies?
World-renowned artists Yolanda Bonnell, Samson Bonkeabantu Brown and Ravyn Wngz discuss their own experiences with moderator Olivia Shortt.
Le travail émotionnel invisible des artistes Autochtones et Noir.e.s employé.e.s comme commissaires, créateur.trice.s artistiques et travailleur.se.s culturel.le.s, est au coeur du travail des secteurs des arts aujourd’hui dans la décolonisation, la réconciliation, la souveraineté autochtone et la libération des Noir.e.s.
Ce panel vise à aborder et discuter de questions telles que : comment prenons-soin de nous tout en soutenant les communautés auxquelles nous appartenons ? Comment exprimons-nous nos limites et créons des espaces pour l’auto-compassion ? Comment transportons-nous le travail émotionnel à travers nos corps ?
Les artistes de renommée mondiale Yolanda Bonnell, Samson Bonkeabantu Brown et Ravyn Wngz discutent de leurs propres expériences avec la modératrice Olivia Shortt.
Bios
(They/She: Anishinaabe, Nipissing First Nation) Olivia Shortt is a Tkarón:to-based multi-disciplinary performing artist. They are a multi-instrumentalist, vocalist, noisemaker, improviser, composer, sound designer, curator, and producer.
Many highlights for Olivia include their film debut playing saxophone & acting in Atom Egoyan’s film Guest of Honour which premiered at the Venice Film Festival; their Lincoln Center (NYC) debut with the International Contemporary Ensemble and recording an album two kilometres underground with their duo Stereoscope in the SnoLAB (a Neutrino Lab in Northern Ontario, Canada).
Yolanda Bonnell (She/Her) is a Queer 2 Spirit Ojibwe and South Asian mixed performer, playwright and poet from Fort William First Nation in Thunder Bay, ON. Now based in Tkarón:to, and a graduate of Humber College’s Theatre Performance program, Yolanda and Michif (Métis) artist Cole Alvis began manidoons collective; a circle of artists creating Indigenous performance. In February 2020, Yolanda’s recently four-time Dora nominated solo show bug was remounted at Theatre Passe Muraille. She has performed on stages in institutions such as the Stratford Festival, the NAC and The Cultch on the unceded Coast Salish territory. She was recently nominated for a Dora award for her performance in Two Odysseys: Pimooteewin/ Gállábártnit.
Samson Bonkeabantu Brown is a sangoma, hoodoo, traditional healer and multidisciplinary artist with a primary focus on spiritual healing, ancestral veneration, trans advocacy and the arts. He uses the arts (acting, playwriting, stage and production managing) to create visibility for men of trans experience, educate the general public on trans issues, and to shed light on how ancestral veneration can assist with living in our purpose.
Ravyn Wngz is an African, Bermudian, Mohawk, 2Spirit, queer and transcendent individual. Ravyn works to change all hierarchical mainstream arts and dance spaces by centering disability justice and advocating for representations of marginalized LGBTTIQQ2S communities. Ravyn is a co-founder of ILL NANA/DiverseCity Dance Company- a queer multiracial dance company that provides affirming accessible dance education to all LGBTTIQQ2S communities. Ravyn is the Artistic Director of OVA- Outrageous Victorious Africans Collective a Dance/Theatre collective that share the contemporary voices of African/Black and Queer/Self Identified storytellers. Ravyn is committed to eradicating all forms of anti-Black racism, supporting Black healing and liberating Black communities through their work.
HULIĀMAHI: Cherishing the Land and Caring for Our Communities as Radical Curatorial Praxis
DATE: Friday, October 30, 1:00 pm HST on Zoom
Huliāmahi (pronounced who-lee-ah-muh-hee). To join together in great numbers. To cooperate. To overflow as a river. To be full of water. To collectively turn our hands (huli) towards the earth to work the land for nourishment (mahi).
The word “huliāmahi” in ka ʻōlelo Hawaiʻi, the Indigenous tongue of Kanaka ʻŌiwi (Native Hawaiians), reminds us that many hands make for little work, whether that be preparing loʻi (wetland terraces) for the planting of kalo (taro), or the numerous hands that it takes to develop exhibits, orchestrate massive collections relocation projects, and manage large educational programs. Huliāmahi also reminds us of the importance of connecting to the land and sea by forming intimate relationships with places, whether that is through growing food for ourselves and our families, or by visiting wahi pana (storied places) throughout our lifetimes. Join us as we discuss how our place-based connections enrich our work as museum scholars and practitioners. We assert that those institutions who are willing to decolonize or Indigenize must also reckon with the lands and place-based knowledges and histories that their institutions are literally built on.
Bios
Halena Kapuni-Reynolds was born on Hawaiʻi Island and raised in the Hawaiian homestead community of Keaukaha and the upper rain forest of ‘Ōla‘a. Currently, he is a doctoral student in museum studies and American studies at the University of Hawaiʻi-Mānoa, and serves as the graduate assistant for the Museum Studies Graduate Certificate Program. He has co-organized a range of museum-related events in Honolulu, including “Seeding Authority: A Symposium on Museum Decolonization” (2018) and a series of material culture/object interpretation workshops in partnership with the Hawaiʻi Mission Houses Historic Site and Archive (2019). As a board member of the Hawaiʻi Museums Association, he is currently organizing a series of webinars on cultural competence in Hawaiʻi’s museums. He also sits on the board of the International Institute for Indigenous Resource Management, located in Denver, Colorado.
Kuʻulani Auld is a kamaʻāina (child of the land) of Kona whose family for generations has lived and farmed in the ahupuaʻa of Kawanui and Lehuʻula. Currently, Kuʻulani serves as the Programs Director for the Kona Historical Society, where she develops programs in consultation with community members that honor Kona’s multi-ethnic heritage and inspires both kamaʻāina and malihini (visitors). She assisted with documenting and researching the Tax Records, from 1859 – 1890, of the Kingdom of Hawaiʻi, enabling a better understanding of the daily lives of citizens, in Kona, and received a Historic Hawaiʻi Preservation Award in 2018 for the preservation of the D. Uchida Farm House, which was built in Kealakekua in 1925. Kuʻulani graduated from Kamehameha High School on Oʻahu in the ahupuaʻa of Kapālama and studied Business Administration at the University of Hawaiʻi at Hilo.
Mina Elison was born and raised in Kailua on the island of O‘ahu. With generational ties to South Kona on Hawai‘i, Mina resides in her family home in Keʻei. Mina currently serves as the Communications Director & Curator for the Donkey Mill Art Center, located in the ahupuaʻa of Keauhou on Hawaiʻi Island. She previously held the position of Museum Curator at the Kona Historical Society where she curated a wide range of thought-provoking exhibitions which aimed to amplify stories of the community. Mina has B.A. in Anthropology and French from the University of San Diego and earned an M.A. in Museum Studies from New York University in 2008. She has served on the Board of the Association of Hawai‘i Archivists and has worked to create programs connecting communities with collections on Maui, O‘ahu, Kaua‘i, and Hawai‘i.
Tarisi Vunidilo was born and raised in Suva, Fiji. She is an Assistant Professor in Anthropology at the University of Hawaiʻi at Hilo, where she teaches courses on Pacific and Indigenous museology. In 2016, Tarisi received her Ph.D. in Pacific Studies from the University of Auckland after successfully defending her thesis titled “iYau Vakaviti-Fijian Treasures, Cultural Rights and Repatriation of Cultural Materials from International Museums.” Prior to her appointment at UH-Hilo and throughout her career, Tarisi has held positions at Creative New Zealand, the Waikato Museum of Art & History, the National Museum of New Zealand Te Papa Tongarewa, and the Fiji Museum. She also currently volunteers as Secretary-General for the Pacific Islands Museums Association (PIMA) and works between her office in Port Vila, Vanuatu and Hilo, Hawaii.
Cuzzins on camera: A 2 Spirit Short Film Night
October 27 7:00 pm EST
Image credit: Video still from A Sacred Place by Natalie King
Join us for Cuzzins on Camera: A 2 Spirit Short Film Night presented in partnership with Toronto Queer Film Festival /
Cousin.e.s à l’écran : Soirée de courts métrages BiSpirituel présenté en collaboration avec Toronto Queer Film Festival
Tuesday October 27th, 7 PM EST / Mardi 27 octobre à 19h HNE
Cuzzins on Camera features / Cousin.e.s à l’écran présente :
With suggestions of nearby pipeline protests to take your date to, and helpful elders who will matchmake you and tell off disrespectful suitors, this the culturally appropriate website all single 2 Spirit people wish existed.
Thirza Jean Cuthand was born in Regina, Saskatchewan, Canada, and grew up in Saskatoon. Since 1995 they have been making short experimental narrative videos and films about sexuality, madness, youth, love, and race. They are of Plains Cree and Scots descent, a member of Little Pine First Nation, and currently reside in Toronto.
A video assemblage that explores Indigiqueer identity, the colonial gaze, and the artists’ relationships to land, water, space and place.
Natalie King is a queer interdisciplinary Anishinaabe artist, facilitator and member of Timiskaming First Nation.
The only infomercial worth watching is Working In with Vanessa Dion Fletcher. Get expert guidance on optimal self-care through such activities as snacking and rest. Instead of ‘working out’ try working in!
Vanessa Dion Fletcher is a Lenape and Potawatomi neurodiverse artist.
This documentary bears witness to the impact of the pandemic on a family business. The necessary closure compromises a generational dream. However, the family adapts and ultimately rises to the occasion, displaying a moving combination of creativity and resilience.
Samay Arcentales Cajas is a queer/2S (Kichwa) digital media artist and filmmaker based in Toronto.
An introspective experiment that explores trauma, memory, and healing spaces.
Evelyn Pakinewatik (she/he) is a two-spirit artist and filmmaker.
An intimate look at a drag queen starting his career in the community of Fort William First Nation, and his relationship with his mother who has always encouraged him in his life choices.
Taran Morriseau comes from the Ojibwe Nation and is an indigenous Drag Queen who shares his perspective through this first audiovisual expression.
Jazmine grew up in Flying Dust, Saskatchewan as a boy who felt out of place… until discovering makeup, which helped her transition and begin her journey into womanhood. This is a story of acceptance, self-love and jewelry.
Jazmine Gladue-Smith grew up on Flying Dust First Nation, a Cree reserve located in North-Western Saskatchewan.. She runs a beauty studio out of her home, Jazzyjazz Style & Beauty, and an Indigenous jewelry business called Grizzly Turtle Jewelry & Art.
A poetic video about gender as told through an ambiguous being describing their relationship to land and the animals which inhabit it.
Kaya Joan is a multi-disciplinary Afro Caribbean (Jamaican/ Vincentian)-Indigenous (Kanien’kehá:ka) artist living in T’karonto (Dish with One Spoon treaty territory). Kaya is in the process of completing a BFA through the Indigenous Visual Culture program at OCAD.
This film takes us to Brazil where we meet the head of communication in an Indigenous village who is an integral member of his community, but who is still struggling with being accepted for who he is.
Based in Mato Grosso, Rafael Irineu took up filmmaking at the age of 11 finding in the digital camera a source of resilience.
Reserve your free ticket here / réservez votre billet gratuit ici: https://torontoqueerfilmfest.com/product/cuzzins-on-camera/
Please contact TQFF if you have any additional accessibility-related inquiries, requests, or needs.
RSVP contactez TQFF si vous avez des besoins d’accessibilité supplémentaires, demandes ou questions.
Closing
We offered the Snag Bag to the first 50 participants who registered for our Gathering! We no longer have Snag Bags available, but you can purchase or access some of these gifts for free. Support Indigenous art creatives!
Here is the list of gifts made by amazing Indigenous art creatives included in the Snag Bag!
- 1 Hummingbird Sticker and 1 “You Are on Native Land” Sticker by Urban Native Era
https://urbannativeera.com/ - 1 MIMTS’ Hand Sanitizer made by Sḵwálwen
https://skwalwen.com/collections/all/products/mimts-antibacterial-hand-sanitizer-spray
- 1 copy of The Land Back Issue, Briarpatch Magazine, edited by Nickita Longman, Emily Riddle, Alex Wilson, and Saima Desai.
Available to read online:
https://briarpatchmagazine.com/issues/view/september-october-2020
- 1 copy of the Beading as Medicine, Vol. 2 zine, edited by Kimberly Robertson and Jenell Navarro
https://www.kimberlydawnrobertson.com/product-page/beading-as-medicine-vol-2-zine
- 2 colouring pages from Time to Colour: A Collection of Indigenous Colouring Pages by the Woodland Cultural Centre.
Download the colouring book:
https://woodlandculturalcentre.ca/wp-content/uploads/2020/05/Time-to-Colour.pdf
Support the Woodland Cultural Centre:
https://woodlandculturalcentre.ca/donations/
- 1 postcard featuring the artwork Crows and Sacred Tobacco by Flora May
- 1 popcorn bag for the Screening Event on October 27
Nous avons offert le Snag Bag aux 50 premier.ère.s participant.e.s qui se sont inscrit.e.s à notre rassemblement ! Nous n’avons plus de Snag Bags disponibles, mais vous pouvez acheter ou vous procurer gratuitement certains de ces cadeaux. Soutenez les créateur.trice.s autochtones !
Voici la liste des cadeaux fabriqués par d’incroyables créateur.trice.s autochtones inclus dans le Snag Bag :
- 1 autocollant Colibri et 1 autocollant « Vous êtes sur un territoire autochtone » par Urban Native Era
https://urbannativeera.com/ - 1 désinfectant pour les mains MIMTS fait par Sḵwálwen
https://skwalwen.com/collections/all/products/mimts-antibacterial-hand-sanitizer-spray
- 1 copie du numéro The Land Back de Briarpatch Magazine, dirigé par Nickita Longman, Emily Riddle, Alex Wilson et Saima Desai.
Disponible en ligne :
https://briarpatchmagazine.com/issues/view/september-october-2020
- 1 copie du zine Beading as Medicine, Vol. 2, dirigé par Kimberly Robertson et Jenell Navarro
https://www.kimberlydawnrobertson.com/product-page/beading-as-medicine-vol-2-zine
- 2 pages du livre à colorier Time to Colour: A Collection of Indigenous Colouring Pages du Woodland Cultural Centre.
Téléchargement du livre à colorier :
https://woodlandculturalcentre.ca/wp-content/uploads/2020/05/Time-to-Colour.pdf
Soutenir le centre :
https://woodlandculturalcentre.ca/donations/
- 1 carte postale avec l’œuvre Corbeaux et tabac sacré de Flora May
- 1 sac de maïs soufflé pour la soirée de projection du 27 octobre
Crows and Sacred Tobacco, Artwork created by Flora May
Artist Statement, Crows and Sacred Tobacco
As an Inuk, I can say that our communities are extremely sociable and have long-lasting networks of support between family and friends. I know that the sentiment of ‘care’ plays a role in my work, whether visible or structural to the final piece. Medicines play an important part of community and personal spiritual care, with tobacco being used by many Indigenous groups in combination with other plants to treat illnesses and fatigue. Flowering tobacco can be added to smudge and is offered to elders. The two birds nesting create an image of kinship and family care.
Corbeaux et tabac sacré, oeuvre créée par Flora May
Démarche artistique, Corbeaux et tabac sacré
En tant qu’Inuk, je peux dire que nos communautés sont extrêmement sociables et ont des réseaux de soutien durables entre la famille et les ami.e.s. Je sais que le sentiment de «care» (pratique de soins) joue un rôle dans mon travail, qu’il soit visible ou structurel, jusqu’à l’œuvre finale. Les médecines jouent un rôle important dans les soins spirituels communautaires et personnels, le tabac étant utilisé par de nombreuses nations autochtones en combinaison avec d’autres plantes pour traiter les maladies et la fatigue. Le tabac à fleurs peut être ajouté à la pratique de purification et est offert aux aîné.e.s. Les deux oiseaux qui nichent créent une image de parenté et de soins familiaux.
Flora May is an artist and educator residing in Toronto, Ontario. She is of Inuit and settler ancestry, living and creating between NunatuKavut Labrador and St. John’s, Newfoundland. She received her Diploma in Textile Arts from College of the North Atlantic and is currently pursuing her Honours Bachelor of Craft and Design Furniture at Sheridan College. Flora leads youth programming ranging from sewing to watercolour, and aims to produce work while promising safe and accessible spaces for Indigenous youth to create and enjoy art.
IG: @flloramay
Flora May est une artiste et éducatrice résidant à Toronto, Ontario. Elle est d’ascendance inuite et colon, vivant et créant entre le NunatuKavut Labrador et St. John’s, Terre-Neuve. Elle a obtenu son diplôme en arts textiles du College of the North Atlantic et poursuit actuellement son baccalauréat spécialisé en artisanat et design de mobilier au College Sheridan. Flora dirige des programmes pour les jeunes, allant de la couture à l’aquarelle, et vise à produire du travail tout en promettant des espaces sécuritaires et accessibles aux jeunes autochtones pour créer et apprécier l’art.
IG : @flloramay
