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Tag: Reconciliation

What is reconciliation? What the man says

Once a man said, “Indigenous people should not have to endure the labour of educating you.” He said, “I’m here to help you understand that you were culturally insensitive.” He mentioned my creativity to shove in the knife and twist it. But he’s a politically correct man; used to saying the right things to the right people. Helping to lift the world up through his righteousness. He’s not quiet and doesn’t seem soft.

Each year, delicate creatures migrate across the hemisphere to arrive here. They know how to find safe places to rest. They avoid his hands and shoulders; never land on the top of his head. Too much risk to their paper-thin wings.

I meet men who say the wrong things and don’t know it, but still, try to make offerings. Open themselves to being on the wrong side of the argument, though they are baffled by this world. In their uncertainty, they stop and notice. Something light and hesitant has landed, just for a moment before flying away.

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Gord Downie’s Secret Path shows: Did fans or scalpers get the seats?

In Ottawa and Toronto this  October, Downie will launch his reconciliation project, the Secret Path, to raise awareness about residential schools and raise funds for the National Centre for Truth and Reconciliation.

My friend and I tried to get tickets the Ottawa show, which will take place at the National Arts Centre. The Ottawa show will be held at Southam Hall, which only seats 2300 people.

Given how many people were probably trying for the general admission tickets, we knew our chances were slim. Especially since half the tickets were sold in a pre-sale, which I think was for NAC members.

However, when my friend tried to buy tickets, she was stunned to find that all of them sold out in about four seconds. She wondered if scalpers were to blame, since they use bots that take up all the connections on the Ticketmaster’s servers so no one else can buy tickets.

I was thinking maybe not, since for this show, Downie requested that all the tickets be “paperless”, meaning that you buy them with your credit card, and in order to enter the venue, you present your credit card along with government-issued photo ID at the ticket booth. This way, only the actual owner of the ticket and his or her party can enter. All tickets are non-transferable. This makes it more difficult for scalpers to profit from artists who are in high demand.

I also figured that around 30,000 people where probably all clicking furiously away at their computers and mobile devices at the same time, hoping to score one of maybe 1200 tickets.

I did some research,  because I wondered if the paperless method actually lowers the number of scalped tickets, and because if I was wrong, and it was scalpers scooping up all the seats, well, that is just infuriating.

In my research, I learned that to get around the paperless method, scalpers purchase tickets using gift cards from credit card companies and send the gift card to the purchaser. At the venue, the gift card is swiped. And many venues don’t bother checking ID. I also read that in some cases, scalpers will send someone to the venue along with the purchaser, and that person has the credit card and required photo ID. He walks the group into the venue and then leaves. I could see doing this for a few, very  expensive scalped tickets. But hiring someone to do this for thousands of people would be really expensive for the scalpers and a logistical nightmare.

To find out more, I opened an online chat session with a customer support rep for Vivid Seats, an American ticket “reseller”.

Here is part of that conversation:

Jennifer: Hi, I was wondering about buying tickets for the Gord Downie show in Ottawa, Ontario this October. How do you guys handle paperless tickets? I was told that you have to have the original credit card, plus photo ID to get in.

Lauren, from Vivid Seats: For the paperless tickets, the venue does not check IDs, they only scan the gift card and then you receive your seating voucher. We have not had any venues check IDs when scanning the gift cards.
However, our sellers will make sure you receive all of the necessary information to enter the venue.

Jennifer: The NAC says they do check. It’s a small venue. [I was just making this up, since I hadn’t spoken with the NAC yet.]

Lauren: Our sellers have special relationships with the venue and would not sell the tickets if they could not be used by someone else. If there is any other information or anything else required to enter the venue with the tickets, our sellers will make sure you receive that information.

Jennifer (losing my temper): Wow, that is so awful. Downie is doing a fund raiser and you are exploiting his efforts and artistry, while shutting out fans who can’t afford your prices.

Lauren ends the live chat.

I guess I blew my cover as a potential buyer.

After that, I called the NAC box office and asked them what information they require when processing paperless tickets (I did not ask if they accepted gift cards, or if they asked for credit cards or ID, because I did not want to provide any leading questions).

The woman I spoke to said that for Downie’s show, they will be checking credit cards and photo ID for every purchase. And they won’t accept gift cards. She also said they have never done paperless tickets before, and that Downie requested it because of the high demand for tickets.

I told the woman I was glad to hear this, and mentioned how apparently many venues don’t other checking for ID and accept gift cards. She assured me that the NAC would not be taking this approach.

In the end, I expect that there will be people at that show who did not purchase their tickets in a way that is fair to the artist or his fans, but I guess there won’t be very many. I also wonder if some people with scalped tickets will be turned away, because the NAC will not accept gift cards.

Ticket scalping is so unfair to everyone who cares about music, fans and artists especially.

I wonder if we should stop selling tickets online and go back to requiring fans line up and buy them, like we did when we were kids. And limit the number you can buy to four, and still require a credit card and photo ID at the show.

I’m sorry I won’t be sharing an evening in October with Gord. But I really hope those who have the privilege bought their tickets fair and square.
secret-path-2

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On the adventure

“I think it was Algonquin park; it was so cold and winter dark. A promised hibernation high; took me across the great black plate of ice.” – The Tragically Hip

On the day of the final Tragically Hip concert, we were travelling to south-western Ontario. All day, every radio station was playing the Hip. As we drove through Kingston, it was “Tragically Hip Day” with 27,000 people coming to celebrate the band. I’ve been reading Gord’s lyrics lately, watching him on video doing his weird salsa dances, wiping his face with a hankie, singing about Thompson, Saskatoon, Kingston and New Orleans.

Gordie’s been reminding me how I once thought my country was that place just outside of here, where wind lifts up the waves on Lake Ontario and on Huron, the freshwater sea. How we live along the North’s southern edge, with Canada geese, deer, coyotes, chickadees, and where pelicans fly overhead like an air force squadron in the Saskatchewan summer. Even the groundhogs and squirrels seem freer two hours north of Ottawa, four hours north of Toronto, 20 minutes north of Regina.

I used to think that place could be as soft and sweet as young bluebirds learning to fly on prairie fields, dipped in the colour of azure sky. I thought it was about us helping each other survive on the edge of land you mostly can’t live on. That we would not set out alone but always with a friend to keep each other safe—self-reliance being an illusion in vast, cold places.

Then I started to see fewer stars and more satellites up above; fewer horizons and more steel transmission towers marching in lockstep into the cities; more highways with line after line of cars. A pinched, stodgy and secretive government casting a grey pall.

Round Lake, Killaloe
Round Lake in Killaloe, Ontario

There is cold, still air at the tops of pines and firs that rise up along Highway 7 north to Peterborough and along Highway 60 up to Killaloe. There are deep-dark green and blue lakes. But what about the shacks that pass for houses in those little towns where no one driving through can figure out how you’d make a living? Maybe there, the wind is nothing. Pines and firs not worth thinking about. Wild strawberries are for the birds. You’d be looking for a signal from the cities, a new transmission, currents of life.

This country was meant to provide gold and furs to the Empire, which sent off its merchants and soldiers for that purpose. Behind them came refugees and immigrants from Ireland, Scotland, England, France, Germany, Poland, Ukraine, Iceland, China, Japan, India; folks from Africa who came to escape slavery and fight for that Empire in exchange for land. Is that our heritage? Beaver pelts and gold mines? Timber and diamonds; uranium and oil?

But what about a cold stillness that hovers above the highest branches of a crooked jack pine? Or the feeling of washing away from shore in a freshwater sea nobody can see the end of?

What about the east coast Mik’maq; the Haudenosaunee—the Mohawk, Cayuga, Seneca, Oneida, Onondaga and Tuscarora? The Algonquins of Ontario and Quebec? The Mississauga? The Cree of Quebec, Ontario and the prairies? The Saulteaux, the Dakota, the Siksika, the Dene, the Haisla, Heiltsuk, Haida, Tlingit, Shuswap, Nlaka’pamux, and on and on and on? They have always been here. Since before Columbus and Cartier, and shiploads of people searching for home; people who mistook the land for an empty place, and friends for enemies; saw fields for growing wheat and potatoes instead of wide-open space. People wanting fences and roads; treaties and land deeds; cows, pigs and sheep. Not buffalo or even Canada geese.

Gordie makes me think of a Canada I used to love; one that listens to the Hip all day, where 11 million people tune into a concert. I used to admire the idea of Canada. Not the constitution; or smug multiculturalism; or nice houses and safe streets for fortunate ones. But what’s here, on the edge of things, just below where the north begins.

In fall, my son and I walk our dog on the street at dusk and, looking up, we see thousands of bats beginning their night travels. We hear their wings whisper; their dark singing flight, never knowing where they go or how they come back.

Gordie doesn’t know what Canada is any more than I do. He writes about it anyway; goes on the adventure, and finds himself on a ferry covered in ice in the Atlantic Ocean, somewhere between Nova Scotia and Newfoundland. He holds hands with the girl from Thompson, Manitoba; so rosy-cheeked with her hair flying under the edges of her toque. He meets polar bears, black bears, black ice; black and white checkerboard floors; one third of his country singing for him in darkened halls, taverns and city streets on a Saturday night.

The adventure is touching the icy border where it all begins, feeling cold air come down from the roof of the forest; driving to unexpected places, where little towns are falling apart and no one can figure it out, how do they survive up there; what do they hear in the wind?

With love,
Jennifer

August 26, 2016
Ottawa, Ontario

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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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Honour the Treaties

Yesterday morning I watched Aaron Huey’s TED talk on the Pine Ridge Reservation and the Lakota Sioux. To me, the most important thing that he said was:

“Honour the treaties. Give back the Black Hills. It’s not your business what they do with them.”photographer_aaronhuey_thephotolifepodcast_0061

In these few words, Aaron voices the transformation needed here in Turtle Island – a shift from the patronizing, controlling approach to First Nations politics, land and culture – to one of respect. Canada needs to get out of the business of Aboriginal nations. It’s not up to us how a Mohawk or Ojibway or Haida community decides to use its land or organize its community. It’s long past time for us to get out of their business and start listening instead of dictating. I believe our future depends on it, because resource extraction in the form of mining, drilling for oil, forestry, etc is destroying our ecosystems. Maybe Aboriginal people will treat the land the same way. But if past experience is any indication, I believe things would be different. I also think that our colonial relationship with Native peoples is stunting our growth as Canadians, and undermining our humanity.

huey05-600x400

I recognize that ending our colonial relationships with Indigenous nations does not mean that First Nations become closed societies that don’t need or require relationships with other societies. It’s just long past time for use to get out of the way.

Thank you, Aaron Huey for saying it so well.

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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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