The CCCC Study group will meet on
Wednesday September 19th, 2018, at G101 from 2:00 P.M to 4:00 P.M.
Readings suggested by Lori Victor:
Please note:The readings that were originally posted for September, have been moved HERE, and will (possibly) be discussed in the October meeting.
We’ll be continuing our topic of (de)colonization, turning our attention to the issue of cultural appropriation. The session is facilitated again by Carmel Whittle, Community Outreach Indigenous Liaison at Gallery 101, who is collaborating with Lori Victor on this event. Three short articles are required reading and can be found below. This event will take place at G101, 280 Catherine Street, where the exhibition pîkiskwe-speak: An Invitation to Conversations in Reconciliation is on view. Please RSVP to email@example.com
I hope you all had a wonderful summer holiday. I hope you had an opportunity to see Indigenous art, listen to Indigenous speakers, attend workshops and/or perhaps attended a Pow Wow. I am looking forward to hearing your stories and experiences when we meet again on Wed. Sept. 22nd at Gallery 101, 2 – 4 p.m. (280 Catherine Street across from the bus station)
This third conversation in our series will look at appropriation in the arts, and continue to work with the articles recommended by Lori Victor (see below). We’ll continue our discussion of what constitutes appropriation and its implications for Indigenous artist, community and culture. I have invited Lori to share her experience as an artist and her encounter with Indigenous perspective on an installation she presented in the past.
Returning to Garneau’s article, Imaginary spaces of conciliation and reconciliation, I would like to recommend the excerpt below for our consideration:
“IMAGINARY SPACES OF CONCILIATION AND RECONCILIATION” by
DAVID GARNEAU, page 38 West coast line, summer, 2012.
“Art is not healing in itself, but it can be in relation. Art is a stimulant and a balm when taken internally, but dangerous if mistaken for experience. There is a profound difference between reading signs and being engaged by a symbol. Sharing in a discourse about histories, responsibility, and transformation among artworks and with other human beings is a corrective to the colonial desire for settlement.
The paintings at the start of this essay, Aboriginal Curatorial Collective Meeting and Aboriginal Advisory Circle Meeting, try to picture irreconcilable spaces of Aboriginality without giving away any content. I want to signal that something interesting is going on beyond the colonial gaze. At the same time, by using dominant culture vernacular, I want to show that what happens in these spaces is very like what happens in similar spaces but with different people. While the core of Aboriginality is incompletely available to non-Native people, Settlers who come to spaces of conciliation not to repair Indians but to heal themselves, who come not as colonizers but with a conciliatory attitude to learn and share as equals, may be transformed.” (p.38)
Read the complete article HERE
In conclusion I would like to share a link to Mi’kmaq artist Ursula Johnson’s extraordinary exhibition, the Indian Truck House of High Art, shown in June 2018 at the Central Art Garage here in Ottawa, which speaks directly to cultural appropriation. Please check out this short clip: The Indian Truck House of High Art
The CCCC discussions are open to anyone, but please RSVP to firstname.lastname@example.org