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Tag: Reconciliation

Sk’elep speaks

Canada’s residential school system for Aboriginal children was an education system in name only for much of its existence. These residential schools were created for the purpose of separating Aboriginal children from their families, in order to minimize and weaken family ties and cultural linkages, and to indoctrinate children into a new culture—the culture of the legally dominant Euro-Christian Canadian society…

– from Honouring the Truth, Reconciling for the Future: the Final Report of the Truth and Reconciliation Commission of Canada

Imagine a little boy or girl walking a gravel road on the reserve near home. Picture in your mind’s eye an Indian agent driving through town, opening the door of his truck and snatching a child from the road, to spirit the child away over a thousand miles to residential school. As you imagine the scene you may be in a safe place, such as your home or a café. Or on a train taking you to school or work. Unlike the child, you board the train willingly, whether following a familiar route or going on an adventure.

When the children board the train, it is icy cold and strange. They are all alone, without Mum or Dad or Grandma. The train conductor knows this—he’s done this run before, driving the straight rail all night through bush and swamp, his cars full of frightened children, crying for their families. Their lonely voices rise and pass through the windows into moonless sky. The train conductor hears the small voices and remembers them always.

If such a thing happened to even one white child—a child of privilege, the police would be called. The alarm sounded. Search parties sent out to shine lights in dark places. Every sighting reported. People running through the darkness with lights held high, through the neighbourhoods, searching for a sign.

In the image above, sk’elep is howling. I can’t tell if he feels rage or joy. I think his fierceness includes both. At night, he still visits the place where they kept the children. It’s been closed 40 years, but his ears still prick up when he hears the voices. He sings with them.

Sk’elep is still here, as people in their regalia still dance at powwows, as fires that went underground rise to the surface, crackling with tobacco and cedar. The shadows of eagles’ wings brush the darkness, bringing clean, cold air to the abandoned rooms of the old residential school, dispelling odours of mould and fear.

The train whistle is gone but sk’elep always sings at night. He passes through backyards and across suburban streets, sending his voice over the neighbourhoods, waking people from sleep. He walks the broken railroad tracks that come down from the north, and he remembers.

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Artwork above by Chris Bose of the Nlaka’pamux nation. The image includes a photograph of the Kamloops residential school building. The Kamloops Indian Residential School was in operation from 1893 to 1977. Sk’elep or coyote is the trickster figure in the Traditional Stories of the Secwepemc.

Writing by Jennifer Dales.

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What is reconciliation? Purple and white

In this life I’ve felt a touch, whispering of cloth against my skin; big sky flowing over me, an endless blanket of twinkling lights, round white moon floating there, caught in a tangle of branches and clouds. At the height of summer, I’ve walked at night in a stand of pines; the forest is small, but trees become deep and endless in darkness, and I wander there. I once found a clearing where women danced, their dresses swaying and jingling; the bells on their skirts gleaming silver in the pearly light. I’ve always wanted to dance like them, to circle round and round under branches of jack pines, on ground covered with soft, scented needles; round and round to the distant sound of drums.

In this country I’ve walked forests where leaves and needles sway softly, walked under spruce, pine, cedar, tamarack, maple, poplar, birch—walked over clear cuts too, over charred ground, as far as my eyes could see, with a shovel in my hand and saplings in my pockets. In northern B.C., near Cranberry River junction, I watched the sun set at nearly 11 o’clock, listened at night for the sounds of Cranberry River as I lay in my tent. But I never heard or saw it, only imagined the water, narrow and fast-running, bubbling over rocks, fed by cold melting snow running into a rocky bed every spring season, a river descending, always southward.

When I was a girl, I snowshoed in the forest on my grandparents’ land with my Grandpa, under the pine and spruce boughs. I watched him haul out logs, stood nearby as he cut and split them for firewood to heat the big cast iron stove in the kitchen, where a kettle of water always simmered, ready for tea. My grandparents had a swing set across from the old house, and in summer, I would swing as high as I could, watching the sun glint on the tin roof of their home, feeling the coolness of dark evergreens rising behind me. Toward sunset, the mosquitoes would bite my cousins and I as we flew back and forth, watching the sun descend, glinting on the thousands of smooth round stones mixed in the sand and soil of the driveway.

In the city there are pathways too, places where you can wear down the asphalt; I’ve added my footsteps along routes near my house, my boots rising and falling to the rhythm of rush hour traffic. I’ve packed down snow in winter and added my breath, smoky vapour in the freezing air. The big city feels small sometimes—for all its steel and concrete, at times it seems like little more than clusters of houses and office towers hunching along a southern border. Canada, our vast and powerful country, clinging tenuously to warmth and light, while our sleep is disturbed by dreams of driving off the road into darkness, of unexpected blizzards that bury us in snow drifts, of sitting there behind the wheel, frozen and silent until spring. Sometimes we dream of twisting roads leading to nowhere, of rutted gravel ending at the sites of closed down uranium and diamond mines, or an empty oil field, or a vast patch of razed ground. The truth is we only want a little bit of the wild, not too much. It reminds us painfully of all we’ve stolen from the land to feed our cities; of how we can’t manage there, or survive. We just want to live in safety, wrapped in our country Canada, that place of peace, order and good government.

The stand of pines where the drums reverberate, where I’ve walked at night, belongs to a people, the Onkwehonwe people at Kanehsatà:ke, every tree top and root, every needle-covered path. When I walk there it feels like someone’s home, like you could stand all night in a clearing where the moonlight washes over the branches, and pours over our heads, as mosquitoes bite us and the coolness of the woods drifts down upon us.  I’d give it all up, the comfortable, polite neighbourhoods, the friendly faces of Canadians, the peacekeepers, our smug satisfaction. I’d give up the dream and cross over, follow the river currents in my memory. Extend my hands and feel the weight of wampum beads pressing into my skin, the weight of broken treaties, the smoothness of purple and white beads, row upon row, a sea of peace and friendship once offered. But I’m still wandering each day further away from my old home and onto the land; out of Canada and into the world, wide-open places, shimmering with stories, overgrown with relations.

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Ricochet

His words ricochet. He casts them out, they strike and, on the rebound, start to make sense. They pick up grit and dirt from skittering on roads. Bits of wood from striking against walls and glancing off trees. Words and strings of words: constellations and courage, Newfoundland dogs, a great black plate of ice. Something called winterfighter in Thompson, Manitoba; breezes turning into rivulets; treasures buried on the Paris of the prairies.

If his words come to you, they may create an image in your mind’s eye, a feeling in your heart about living here, on this land and in the city, with your feet on the street, under trees and street lamps, beneath satellites that circle around the world and back to you.

He offered poems and songs like sparks from a campfire, leaving behind flames that smoulder and catch on, enter our imagination and make us see things from the outside—bigger, more mysterious.

His words ricochet. He throws them as hard as he can into the air and fears they will make no sense. But you are alert and quick and your heart is open, so you catch them, closing your hands before they hurtle onward. You feel them bouncing against your palms, see light sparkling through openings between your fingers. The energy of words seeps through your skin, helping you understand the country, the people, your own heart. And the hearts of others, who don’t feel this country, Canada, is home. The words slow down and become softer—like a goose feather that drifts into your hand, or milkweed that flutters around your feet as you wander a field behind your house.

It was urgent for him to get the words out, to use them all up, so he sent them hurtling. But really, he only needed to open his hands and blow softly to release a butterfly of wings and meanings. We were always there, holding out our hands, waiting for them to brush our palms.

Now his work is over, and he’s left a job for the reconcilers: to be gentle and quiet so we hear voices and stories that are always told but not understood. To reach out and take hold of each other across the deep divide of ignorance and anger disturbing this country, and not let go. Even if we are strangers to each other; even if we have to walk a long way together in the cold and dark. A job for the reconcilers: to never forget the promise-breakers; the treaty-breakers. To do everything we can to build good relations and trust. To walk the sometimes cold and treacherous path along the divide, looking for places that might become hospitable; where we can build new crossings together.

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What is reconciliation: the burden of proof

A narrative I hear again and again, spoken in anger:

Nowadays, everybody thinks they should get special treatment. Immigrants want to keep their religion and speak all these different languages—I mean, isn’t French bad enough? And young people! They don’t even know if they’re male or female. And they expect to get everything without working for it. To have their cake and eat it too. Who doesn’t want that? It’s the same with the Natives. They want to bulldoze peoples’ homes so they can make their reserves bigger. What with their houses falling apart and not one of them willing lift a hammer to fix anything. Why don’t they pay taxes like everyone else? Did you know, they have healing circles for criminals? Why should Natives get sentenced to a healing circle? Wouldn’t we all like to get off easy? Those drunk kids who overran that hard-working farmer’s land and threatened his family probably think they’ll get a healing circle. So one of them gets shot. What do they expect? You can’t go breaking into private property. They act like the land belongs to them. Like we should take down all the fences. Change the laws and have different ones for Natives. Give them a free ride. There is only one set of laws, one set of rules. They apply to everyone.

On the trial of Colten Boushie, the boy from Red Pheasant First Nation:

At the trial for the boy who was shot by the farmer, everyone obeyed one set of laws. They all laboured under the burden of proof – some hoping for evidence strong enough to withstand it and others hoping for collapse. The prosecution presented hard evidence, but some of it never got to court: blood spatter and gun powder residue were left to wash away in a summer downpour: the police omitted to throw even a tarp over the truck where the victim died. 1 But the farmer’s Tokarev pistol, a cold war collector’s item, and photos of blood spilling out of the SUV were presented, as well as images of the boy shot in the head. And then testimony: a defendant admitting to shooting the young man, Colten Boushie, but by accident, a freak accident. The hard evidence that survived—difficult pictures of blood, a cold steel pistol—did not withstand the burden of proof beyond reasonable doubt. Certain facts of the case were presented to a jury of 12 Canadians, none of them (apparently) Indigenous, each bearing their own histories and responsibilities. Like all of us, they could see only so far in a world obscured by assumptions and blind spots, gaps in knowledge. These citizens were asked to pass one of three possible judgments: second-degree murder, manslaughter or not guilty. Gerald Stanley, the farmer, the shooter, was acquitted and walks free and Colten Boushie, the boy who trespassed, is dead and buried: one set of laws and one set of rules, applied to everyone.

 

 

 

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Introduce yourself

Reconciliation is so far away. Now is not the right time. We are miles and miles apart, even though we live next door. How do we move closer? How to begin at the beginning? Hello, my name is…. Nice to meet you. Where are you from?

Armed RCMP officers pulled up in front of the trailer belonging to Colten Boushie’s mom. An armed RCMP officer told her that her son Colten had been killed. “He is deceased,” the officer said.

Officers came into her trailer and searched it. Opened all the doors and cupboards. Meanwhile, Colten’s mother lay on the floor. “Ma’am, get yourself together,” the officer said. He said, “Ma’am, was you drinking?” And she said “No.” And then he smelled her breath. Asked Colten’s brothers: had they been drinking?

Gerald Stanley, the farmer who shot Colten, didn’t know him. He used a Russian-made semi-automatic pistol in the conflict between settlers and Indigenous Peoples. Stanley seems to have felt only coldness and fear. He didn’t ask, “Where are you from? How do you do?” The kids in the pickup truck didn’t ask either. No one sat down and introduced themselves.

Almost 200 years ago my mother’s family settled in the bush north of Quebec City. They survived by raising chickens and growing vegetables. Cutting wood. Earning a few dollars here and there.

Margaret McKeown, my grandmother, kept a rifle in her bedroom. When drunk fishermen came to the house to steal farming equipment, tools–anything not nailed down–she filled the gun with rock salt, opened the window, shot them in their behinds and watched them run away.

Would the RCMP officer have helped Colten’s mother up, made her tea and held her hand if he could have seen her as a mom? If we don’t know each other, there is nothing to reconcile, only hard words and stony ground. Walls with no doorways leading through. No garden on the other side, where we could walk together.

I know of a town and a reserve. The mayor and his son went on a canoe trip with the Chief and his son. They travelled together on a rushing river, adventuring to a place they had never been. It was part of their process of creating. Building a community centre, a hockey rink. Something that wasn’t there before. Making a place where strangers can sit side by side and ask, “How are you?”

Rock salt may hurt like hell. But a Tokarev semi-automatic kills (or maims). The absence of knowing each other brings the bullet through the window of the truck. The problem is always the same and keeps repeating: Gerald Stanley’s wife says “That’s what you get for trespassing on private property.” Colten’s family says, “We share the land. To say they killed him for trespassing means they violated the Treaty. Nobody owns the land.”

We are side by side in this place of stories–some shared, some growing out of this old land, belonging to no one. It is not the right time. It is the only time. How do we get close enough to hear the stories, be claimed by them and find ourselves changed?

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Details taken from:

 https://www.theglobeandmail.com/news/national/colten-boushie/article32451940/

The long list of problems Colten Boushie’s family says marred the case

https://www.cbc.ca/news/canada/saskatoon/colten-boushie-family-list-problems-gerald-stanley-case-1.4532214

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The myth of the vanishing Indian

“To the extent that the Indian was on his way out, [colonial society] created reserves, they created little wardship statuses, they created situations to manage the problem while it went away. In the meantime, the colonial society arrogantly assumed everything that the Indian had. Her land, his power, all of these things. In Canada in the 1950’s, the people and their rights were assumed to be…fading away, the vanishing Indian. But then, you had this boomerang effect where the Indian comes back, and it was ‘Indian’ at that time. The Indian comes back, physically, culturally, intellectually: that culture, that society, that power begins to re-emerge.”

–Taiaiake Alfred on Canada and its indigenous peoples, Dec 29, 2003

The myth of the vanishing Indian is the story about what’s left over as peoples die off, leaving behind a faded imprint. As they fade away, their voices become faint; their cultures dim; a light goes out. A light that shone brightly in the distant past. People in the thrall of this myth look down through a narrow space of the present and see only worn-down reserve houses; broken bottles of booze; grey, cold streets with old men hunched on city sidewalks.

In this story, you don’t hear the piercing sound of singing and the pounding of the pow wow drums coming towards you under the earth, through the soles of your feet and up into your guts. Drums you hear all summer long on the pow wow trail, or in night clubs, where the electric pow wow beats of A Tribe Called Red bounce off the walls, and voices like a high wailing wind swirl across the dance floor. In that story, you can’t feel the intense heat of sacred fires, burning all over this land. Where you can sit with tobacco and cedar in your hand before tossing the medicine into the fire, sending your prayers to your creator.

Mark how the face and voice of Chanie Wenjack’s sister Pearl rise in stark relief against that faded and tattered story of the Indian. Hear her voice travel to us across CBC’s airwaves as she retells how her little brother died escaping residential school. Ever since she started speaking to us, Pearl’s voice has been whispering in our hearts, whether we hear it or not. She has the voice of my grandmother and your grandmother. She had a brother who could have been my brother or yours. Feel it, a connection growing, deep within your sense of country.

It is time for those blinded by the myth of the vanishing Indian to find our roots in this land, to let ourselves be changed. To let the spirit into our blood.

Image from CBC News. Accessed November 19, 2016.
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Visiting Waswanipi

In memory of Robert Ottereyes

I left my country and entered another. After driving a long time on winter roads, we crossed the border. Slowly, the language began to change, until iiyiyuu ayimuun, James Bay Cree, took over completely. When I looked out the window at endless snow, it was all familiar, roads and rooftops covered in white, but it belonged to another land. When we finished driving and stepped onto the ground, my feet sank into white snow and we were encircled by a village of snug houses. We followed a woman wearing snowshoes until the path led us to an outdoor shelter, where we sat on a bed of cedar branches and warmed ourselves by the heat of an oil barrel stove. We ate beaver, goose and ptarmigan. Beaver roasting and crackling on a spit and bannock turning golden in a cast iron pan. The language of the Eeyou Istchee was the lingua franca, with English or French difficult to speak. Outside, winter was fierce and my coat from down south was like a sweater. I sat close to the hot barrel stove and smelled the wood smoke and fat of roasting meat; listened to the hum of people talking; felt the softness of cedar; the roar of a snowmobile in the distance. Outside, I knew the sky would be pure blue and the pines and firs, dark green. We had come from a place called Canada, but there it was another country.

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What is reconciliation? Memory of stones

Dusk was coming to the balcony of our Montreal apartment. We could see lights flickering on in windows of the city below the cliff. We lit cigarettes using the gas ring on the stove and I singed my hair. Standing on the highest balcony, I saw smoke drifting up and lights coming on: street lamps, flickering neon signs and high beams of cars, as I stood there with my friend and her brother.

He was visiting from his cabin in the woods near Peterborough. A small cabin with a wood stove that never gave enough heat in winter—where one night, when it was pitch black, an owl swooped down and startled him just after he had put the campfire out. His cabin was near a place called Silent Lake, not far from Curve Lake and the petroglyphs. The air is fresh up there and feels gentle and warm when summer is coming.

Back then, before the Good Friday Agreement, Ireland was on our minds: people were hoping for an end of the Troubles. Kanien’kehá:ka (Mohawk) people from Kanehsatà:ke, Quebec invited the Northern Irish to speak to them of their struggles, so much like home—disputed borders and broken promises, guns threatening to fire, soldiers and police guarding all rights of way, armed checkpoints on the roads.

In 1994, four years before the Agreement, Gerry Adams spoke at the university in Montreal and people gave him a standing ovation, but I stayed in my seat. I knew he lived in a house surrounded by a fortress. How could he be a man of peace? I suspected him. Afterward, my friends and I were invited by an IRA supporter to have a beer at the nearby pub, in a private room, with Gerry Adams a few tables away. The whole time I waited for an explosion.

Years later, I visited Saskatchewan and a different friend, who took me walking on a flat, silent expanse of land covered in sage and short grasses. He showed me a tipi ring he had found near his home, and I stood in the circle. After dark, we made a campfire in his backyard, such a long way from my home. No trees blocked the night sky—it went on and on forever. There I remembered the campfire in the Ontario woods near Silent Lake and I remembered the owl, swooping down in the dark. I thought of all the campfires among the Pines in Kanehsatà:ke during the pow wow—everywhere I walked, the sound of drums and strumming guitars. I thought of the Easter Rising in 1916 and how the Good Friday Agreement completed a circle.

Near my friend’s home on the prairies, we listened to the crackling fire and talked about medicine wheels and stones, marking a year’s passing. We thought of how we were sitting under a slowly spinning night, under a wheeling sky. Our thoughts turned around and around the memory of stones.

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What is reconciliation? The stranger

Don’t worry, he’ll still be here, walking Toronto’s sidewalks in ten years’ time. Stopping to hug a stranger who puts a hand on his shoulder and opens her arms. Like her, we need someone to hold hands with, the way he held Pearl Wenjack’s hand. Someone to hug and kiss the way he kissed his bandmates and hugged them close.

It’s quietness, that’s his trick. Silence where you hear soft voices and gentle breathing, the first opening of trust. You might not know it’s arrived. As you may not realize that Gord’s walked by. Just another guy in a jean jacket and toque. Scraps of paper in his hand and spilling out of his pockets. His brother walking beside him, arm around Gord’s shoulders. Sound of boots on the sidewalk, air moving aside as they pass.

It won’t matter that time passes if you carry the memory of his kisses with you. How he kissed his bandmates on the lips. If you can still imagine how it would’ve felt if he hugged you – he gave so many hugs. Gord didn’t need to write those memories down. He carried them inside of him and on his skin and clothes. He’s passed on, but he’s still here. You’ll have to watch and listen for that friend you used to know ten years ago. He might be downtown. A guy walking by. You don’t want to mistake him for a stranger.

In his time, he tried to reconcile with the ones he loves; tried to make this place the country of his dreams. In his heart, he held a little girl’s hand, a child needing help finding her way back home, from being lost; home to sounds of the TV, her favourite couch and her mother’s arms around her. In Toronto, he walked with his own daughter, their arms intertwined, holding her close. You could hear their footsteps and soft laughter; see long shadows of skyscrapers at sunset as they wandered home.

You’ll run into him one day outside a café perhaps, and he’ll wrap you in his arms. You’ll feel rough denim on your cheeks and his jacket’s buttons pressing in. Your tears will fall on his sleeve and his hat’s feather will brush your hair. It will be as if you’ve just returned here from a long time away, to this sidewalk, this bright window, the cool softness of his cheek.

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Powerful reflections on the Oka Crisis at Red Post Art Exhibit

Here is an article I wrote for Rabble.ca on the exhibit that took place in Kanehsatake earlier this month. I made the trip out and visited the exhibit at the elementary school in Kanehsatake. I chatted with Ellen Gabriel, the show’s curator as well.

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Onekwenhtara Kanehtsote – the Red Post Art Exhibit, curated by Katsi’tsakwas Ellen Gabriel of Kanehsatà:ke and Jolene Rickard of Tuscarora, commemorates the 25th anniversary of the Crisis of 1990, also known as the Oka Crisis, by demonstrating its impacts through art.

This exhibit brings together the work of 16 artists, both Indigenous and non-Indigenous, who have reflected on their experience of the Crisis of 1990. In some cases, artworks reflect first-hand experiences of Kanehsatà:ke residents, and in other cases artworks reflect on the long-term impacts of the Crisis.

The Crisis of 1990 began with a peaceful protest against plans by the town of Oka, Quebec to expand a private nine-hole golf course. The expansion would destroy part of a mature pine forest in Kanehsatà:ke and required the destruction of the Kanien’kehá:ka (Mohawk) community graveyard. The peaceful protest escalated when the Kanien’kehá:ka people of Kanehsatà:ke were surrounded by the Quebec provincial police on July 11, 1990.

Many of the artists represented in the exhibit are Kanien’kehá:ka from Kanehsatà:ke and Kahnawake, a Kanien’kehá:ka community which was also involved in the Crisis.

The exhibit offers visitors an opportunity to reflect on the effects of the conflict on the people who were personally involved, as well as the impact on Indigenous and non-Indigenous societies and politics across the continent.

In the centre of the exhibit is the red post itself, an installation piece created by Katsi’tsakwas Ellen Gabriel. The red post refers to the Haudenosaunee (People of the Longhouse) practice of erecting a red post in communities during times of conflict or war.

Gabriel’s installation, a post painted red, a colour signifying power and war, reminds us of the Kanien’kehá:ka people’s long history, one that began long before European settlement and continues into the present. The symbols depicted on the post include wampum beads, corn, a war club and the tree of life.

At the top is a circle of people holding hands, united in protecting the land. These symbols emphasize the richness and longevity of Kanien’kehá:ka culture and calls into question the settler notion that Indigenous people belong only to the past, or that their cultures and political systems have no role to play in the modern world.

The red post also reminds those entering the exhibit of the long-standing and unresolved conflict over land rights that grew into the Crisis of 1990 and remains unresolved today. The pine forest where the conflict took place is considered by the municipality of Oka to belong to the town. However, the Kanien’kehá:ka never ceded the land that is now Kanehsatà:ke (includes the Pines).

Photos used with permission from the artists

Among the artworks contributed by artists from Kanehsatà:ke is Douglas Tehonietathe Beaver’s  backpack called “Pelt and Pine, Armed with Healing.” This work alludes to a soldier’s pack, and reminds viewers of the Canadian Army soldiers who surrounded Kanien’kehá:ka s in 1990. But instead of being filled with ammunition, grenades and guns, this backpack is “armed” with an eagle feather, a sweet grass braid, a cedar smudge stick and pot, and other items related to spiritual healing, presenting an alternative response to land conflict both in Kanehsatà:ke and elsewhere.

Another artwork emphasizing the importance of Haudenosaunee culture is a quilt called “Sky Woman’s Descent” by Carla Hemlock, a Kanien’kehá:ka of Kahnawake. The story of Sky Woman is the creation story of the Haudenosaunee people — Sky Woman descends into our world and lands on the back of a turtle that transforms, with the help of various animals, into North America. In this blue, gold and black beaded quilt, we see the back of the turtle from the perspective of Sky Woman as she descends.

Elizabeth Saccà, a non-Indigenous artist and retired Concordia University professor who lives near Kanehsatà:ke, contributed an abstract monotype called “Maelstrom.” For this viewer, this print evokes the confusion and disorientation that must have reigned in the Pines when the Quebec police first attacked Kanehsatà:ke with tear gas and smoke bombs. It also represents the ever-present potential for violence that Indigenous people face when they protest land development on their territories.

Nadia Myre, an Algonquin artist based in Montreal, contributed “Still Life,” an ink print depicting two protesters in silhouette with flags. The image connects the Red Post exhibit to the broader history of Indigenous social and land justice issues and brings to life the widespread support for Indigenous sovereignty manifested nation-wide in the form of demonstrations, blockades and flash mobs, as well as Idle No More.

Photos used with permission from the artists

Along with these artworks, pieces include Patrycja Walton‘s “Dress for Amicee,” a sculpture of a dress made of animal hide, wire and stain glass, and dedicated to missing Aboriginal women and girls, including her friend Amicee. Julie Otsi’tsaonwe Gaspé’s created her untitled graphite drawing of the Pines before the protests against development turned into an armed conflict. Her prophetic drawing depicts a conflict between Indigenous and non-Indigenous people in the Pines, while above them in the trees, faces look down, watching the conflict unfold.

Onekwenhtara Kanehtsote – The Red Post exhibit moves from Kanehsatà:ke to Kahnawake, Quebec. Visitors are invited to reflect on these works and on the impact of the Crisis of 1990 at the Kanien’kehá:ka Onkwawén:na Raotitióhkwa Language and Cultural Centre from August 24 to September 4. The Vernissage is on August 24 at 6 PM.

To learn more about the impacts of the Oka Crisis, and to hear a discussion by the exhibit’s curators and some of its featured artists, check out the webinar: 25 Years Later, Impacts of the Oka Crisis.

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We have the most in common with our enemies…

It has often been said that we have the most in common with our enemies. This is, in many ways, true of Israelis and Palestinians. They occupy the same part of the world, have similar desires for nationhood, identity, safety and freedIsraeli times articleom, and even follow religions that are very similar. With a few changes, this angry letter from an Israeli could have been written by a Palestinian:

“But I will not apologise for surviving. For surviving missiles intended to kill me. The fact they didn’t kill me doesn’t mean they weren’t sent with the intention to murder. I will not apologise for living and surviving thanks to being prepared because we have a culture that celebrates our lives and cherishes them…I will not apologise for having a business, a home, a family and friends here who want normal lives and to live in peace with our neighbors. I will not apologise for existing and I want nothing more than to co-exist quietly with neighbors who accept me here.”

http://blogs.timesofisrael.com/shalom-motherfr/

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