North of North
April 13, 2011
On a recent visit to New York, I was talking with an American friend about my upcoming trip to Inuvik (to attend the IRS TRC’s second national gathering at the end of June). This is how our conversation went:
Friend: How are things going in Toronto?
Me: Good. I’m planning my trip up to Inuvik.
Friend: Inuvik? Is that like 5 hours north of Toronto?
Me: No way – it’s way further. It’s like…way north. North of north.
But at that point, I realized that I didn’t really have a good grasp on exactly how far north it was. So we google-mapped it. The first image that comes up doesn’t give you a good sense of anything except that there isn’t too much around Inuvik.
If you zoom out a bit, you start to get a sense of how far north it is.
If you zoom out a bit more, you see that it is certainly farther than 5 hours north of Toronto!
The conversation made me realize just how much of Canada, especially up north and outside the urban centers, I have yet to see.
On my way up to Inuvik, I’ll be stopping in Yellowknife too. Looking forward to exploring this part of Canada!
NOTE: The IRS TRC has announced that it will be holding a statement gathering event at the Multiplex in Yellowknife on April 14, 2011. And will then be traveling to some of the other communities in the Northwest Territories until May 12, 2011. More information can be found here.
Event Recap: Memory, Art, and Modern
April 4, 2011
The last couple of weeks have been crammed full with interesting events. Recently, I posted about the Memory Studies conference in New York. The event, which started off with a fascinating opening night screening called A Film Unfinished, brought memory scholars from around together to discuss their research. It was the first time I was able to present some of my research on the IRS TRC’s national gathering in Winnipeg, Manitoba last summer, and I think (and hope) it went well.
Still from "Canned Meat". Image from Harbourfront Centre website.
Back in Toronto, I attended two other wonderful events. On Wednesday, March 30th, the Harbourfront Centre hosted Aboriginal Women in the Arts: Using Art to Reclaim Traditional Roles with Terril Calder, Lee Maracle and Cheryl L’hirondelle. Calder’s film, Canned Meat, was a jarring and beautiful film that spoke to themes of isolation, memory, and community. Maracle’s poetry, as always, was moving. Her responses during the Q and A were insightful and inspiring. And L’hirondelle’s songs were heartfelt and beautiful. (One of the songs was written in collaboration with Aboriginal women in prison in Saskatchewan.) My favourite song was “Wishful Heart,” written while walking through Vancouver’s downtown east side.
Image of the exhibit's book cover from the AGO website.
And last but not least was the Art Galley of Ontario’s symposium called Inuit Modern. The symposium, on April 2nd, brought together Inuit artists and curators to discuss the new exhibit at the AGO: Inuit Modern. As one of the moderators noted, it was the first time so many Inuit artists were gathered together in “the south.” (I learned that Toronto counts as part of “the south” when the point of comparison is so far north.) The participants discussed the tensions between concepts like traditional and modern, north and south, and art and authority.
Two Upcoming Events: New York and Guelph
March 23, 2011
1. Memory: Silence, Screen, Spectacle, March 24 – 26, The New School for Social Research, New York
| The clamor of the past can be almost deafening: it preoccupies us through speech, texts, screens, spaces and commemorative spectacles; it makes demands on us to settle scores, uncover the “truth” and search for justice; it begs for enshrinement in museums and memorials; and it shapes our understanding of the present and future. However noisy and ceaseless the demands and memory of the past may seem, though, in every act of remembering there is something silenced, suppressed, or forgotten. Memory’s inherent selectivity means that for every narrative, representation, image, or sound evoking the past, there is another that has become silent—deliberately forgotten, carelessly omitted, or simply neglected. The conference will explore the tension between the loud and often spectacular past and those forgotten pasts we strain to hear.
[I'll be presenting a short paper on the IRS TRC's first national gathering in Winnipeg last year.] |
2. Animating the Indigenous Humanities, March 25, 2011, Transcanada Institute, Guelph Ontario
The TransCanada Institute is hosting a one-day colloquium titled “Animating the Indigenous Humanities: Portaging Disciplines, Institutions, Ecologies” with the Indigenous Humanities Group of the University of Saskatchewan on Friday, March 25th at 11:00am.
The Indigenous Humanities Group (IGH) work in transcultural and transystematic ways to nourish a new/old learning spirit into education at all levels and into every aspect of what is recognized, funded, and published as academic research. Since establishing over a decade ago, the IHG has aligned itself with critique of Eurocentrism and promotion of indigenous voice and vision. These two activities encourage decolonization in complementary ways, challenging established academic hierarchies, assumptions, practices, and outcomes, and seeking to implement forms of inquiry, dialogue, and exchange based in the adaptive traditions developed by the First Peoples of North America. More info: http://www.transcanadas.ca/
Thanks, Sachi for sending information about the Guelph event!
Memories and Thoughts of Japan
March 17, 2011
Winter in Sapporo, Japan on my 2002 trip.
Like many people, I’ve been following the coverage of devastation happening in Japan. It is difficult to watch.
Having visited and lived in Japan in the past, the images are difficult to see. Japan is the country of my birth and my mother’s homeland. The majority of my friends and family are south of where the damage has occurred but it is still heartbreaking to watch as news of the earthquake, tsunami and nuclear threats continue to unfold.
My heart and mind are with Japan.
Red Cross’ website: http://www.redcross.ca/article.asp?id=38380&tid=001
Other relief organizations and coverage: http://www.cbc.ca/japanrelief/
On Blogging as Process
March 11, 2011
Why a research blog?
Here are some of the reasons that I am a fan of blogging:
1. Forget the big words:
There is a particular style of academic writing. Citations are required, specialized terminology is often necessary, and styles of argumentation and critique often, although certainly not always, close off academic writing from a larger audience. My hope is that this blog allows me to participate in a wider discourse.
2. Blogging as process:
Blogging is also about documenting the academic experience as a process. Often, the end result of one’s work is a research article or two, academic presentations, or hopefully, a book. But there is so much more involved in the academic experience. I wanted to document some of the day-to-dayness (or week-to-weekness) of the process.
3. Track this!
Blogging has helped me to keep track of relevant articles and discourses currently happening in relation to the IRS TRC. It has also helped me tie in other more tangentially related issues that, although interesting, will likely not make it into my dissertation or longer pieces of writing. Still, they are relevant and blogging gives me a small space to share those thoughts.
4. The joys of writing in short form:
I am a slow writer. So when faced with a large project like a dissertation, giving myself the task of writing a short blog post often helps me get in gear to write longer pieces.
5. Sometimes people post comments:
This makes me happy. It reminds me that people are out there who agree or disagree with me, who want to know more, or just want to share a word of support.
6. Reconciliation requires many voices:
Not only do I want to do research on reconciliation, I want to be a part of it. My hope is that by sharing resources and reflections, I can contribute as a witness and participant in this process.
Thanks for stopping by to read this.
Imagine This Text as a Living Room
February 18, 2011
I recently wrote a review essay for e-misférica, an online academic journal, for a special issue on Truth Commissions (forthcoming). (UPDATE: The issue is now online. Click here: After Truth.) My review focuses on three books: Julia Emberley’s, Defamiliarizing the Aboriginal: Cultural Practices and Decolonization in Canada; Jo-Ann Episkenew. Taking Back Our Spirits: Indigenous Literature, Public Policy, and Healing; and Gregory Younging, Jonathan Dewar, and Mike DeGagné (eds.) Response, Responsibility, and Renewal: Canada’s Truth and Reconciliation Journey.
So I was pleased to see that the recently published special edition of Topia, on The Cultures of Militarization included a special section for discussion on Emberley’s Defamiliarizing the Aboriginal. The section includes essays written by a number of respondents, and Emberley contributes to the discussion as well. One author in particular, Deana Reder, uses an interesting form of engagement. She asks the reader to imagine Emberley’s text as a living room. Because Emberely gives a series of readings of images, books, films and texts, Reder is able conjure a room filled with framed photographs, manuscripts and knick knacks that represent the various components of Emberley’s work.
“Given the premise that Emberley’s text can be imagined as a living room, we can imagine on the feature wall a fireplace, fueled by gas, ignited by the flick of a switch. There are the typical furnishing and knick-knacks that do not seem ill-placed unless more closely inspected. For example, as you enter, some of the first objects noticed are the somewhat charming picture frames perched on the mantle of the fireplace – with images first of a woman with a baby and second of a mother and child. But these are not family photographs of people with names and histories. If you peer closely at the photos you will see that both are of Indigenous people and that they been damaged through scratches inscribed upon them: the first is titled “Indian Woman with Papooose” and the second bears the title “The Indian Madonna,” even though the woman with the relaxed and sunny smile bears little resemblance to the icon in European paintings” (407).
Reder goes on to draw on the work of other authors, such as Carol Williams, Mique’l Askren and Michelle Raheja, to suggest other interpretations of the photographs Emberley reads.
Although Reder recognizes Emberley’s work as innovative and critically generative, she also notes that the “living room” constructed through her work is “haunted by indigenous absence” (413). The exercise of imaging a text as a space filled with objects struck me as an interesting exercise in working through the connections between the objects of the text and the way they are represented. I’m storing this technique in my reserve for future reading.
Louder than Words
January 24, 2011
There is an article in the New York Times today about Zimbabwean artist, Owen Maseko, whose recent exhibit at the National Gallery has been censored. Maseko’s work focuses on the Gukuranhundi, a massacre of thousands of Ndebele people that occurred between 1983 – 1987 in Zimbabwe. The exhibit remains standing but access has been barred. Instead, patrons can catch glimpses of the work from a balcony above. The windows of the gallery have been covered with newspapers.
The windows of the National Gallery, covered in newspaper. Source: NY Times
The New York Times article touches on the troubled past (and present) of Zimbabwe under President Mugabe’s rule, and discusses the fear of a public who cannot criticize its rulers or play a hand in shaping their country’s future. It also highlights the complicated relationship between art, politics and reconciliation. The article notes that Owen Maseko “created the Gukurahundi exhibit to contribute to reconciliation.” I wonder what reconciliation means in this context, especially given that Mugabe is still in power.
As my research on the Indian Residential School Truth and Reconciliation Commission (IRS TRC) moves forward, the role of artwork in the negotiation of a troubled past and particularly within the context of reconciliation continues to arise as an area of interest. The IRS TRC has put out a call for artwork, recognizing that images/artwork/film etc. can play a powerful role in processes of reconciliation. It is the first TRC that has prioritized artist engagements with the past in this way.
I recently came across this image on one of my favorite blogs, No Caption Needed. The blog post is entitled “Seeing the Past in the Present,” and showcases the work of artist Sergey Larenkov. Larenkov uses archival images of Europe during World War II and current photographs to make the past legible in the present. Because I find these images so striking, and because sometimes images do speak louder than words, I end this post with one of Larenkov’s images.
By Sergey Larenkov. Source: No Caption Needed
Reconciling Several Pasts
December 20, 2010
The Canadian Truth and Reconciliation Commission has recently announced a conference to take place in Vancouver (March 2 – 4, 2011) to discuss the proposed National Research Centre on Residential Schools. I recently visited the Nikkei Place / Japanese Canadian National Museum (JCNM) in Burnaby whose funds partially came from the reparations awarded for the internment of Japanese Canadians during World War II. I wonder if the Research Centre on Residential Schools will take their cue from the JCNM, which aims to be a site for both the sharing of information as well as the creation and fostering of a strong Japanese Canadian community.
Raymond Nakamura gave me a tour of the exhibit on the internment and we discussed some of the similarities between the Japanese Canadian experience and the Indian Residential Schools. A few months ago, I posted a short excerpt from Thomas King’s short story, “Coyote and the Enemy Aliens,” which draws connections between these two histories. It seems fitting to post it again here:
“I know the story of the Japanese internment in Canada. I know it as most Canadians know it.
In pieces.
From a distance.
But whenever I hear the story, I think about Indians, for the treatment the Canadian government afforded Japanese people during the Second World War is strikingly similar to the treatment that the Canadian government has always afforded Native people, and whenever I hear either of these stories, a strange thing happens.
I think of the other.
I’m not suggesting that Native people have suffered the way the Japanese suffered or that the Japanese suffered the way Native people have. I’m simply suggesting that hatred and greed produce much the same sort of results, no matter who we practice on.”
Model of Japanese Canadian Internment Camp in Lemon Creek, BC
Image at Internment Exhibit
New Book: Other Tongues
December 10, 2010
Yesterday, I had the pleasure of attending the book launch for Other Tongues: Mixed Race Women Speak Out at the Toronto Women’s Bookstore. It was an inspirational evening and I felt so honoured to be a part of the event and this amazing book.
Earlier in the week, I had decided that I wasn’t going to read an excerpt from my short story, “On the Train”. The idea of standing up in front of a room full of strangers to share this story made me too nervous. But as I sat in the audience and heard all these amazing women read their poems and stories, I gathered the courage and decided to read as well. I’m glad I did.
Thank you to the editors, Adebe D.A. and Andrea Thompson, the publishers Inanna Press (York University), and all the contributors who made the collection possible. I’m looking forward to reading the book from cover to cover.
Back to the matter at hand
December 1, 2010
Postcard for The Children Remembered
I’ve been looking through the archival documents and images I brought with me to Paris and am still trying to process the many stories they tell. Because in most cases I did not bring the originals with me, I am either looking at pictures of pictures (photographs I’ve taken of the images), photocopies or reproductions of the originals that are now circulating in different ways.
The image that has my attention now is a postcard printed by the United Church of Canada. It is a piece of promotional material for their Residential Schools Archival Project: “The Children Remembered.” There is a lot going on in the photo. The children are drawing “zeros” or perhaps circles on the blackboard, their backs facing away from us. Three girls, five boys. The banner “Looking unto Jesus” is perched above them in bold block letters. The image conveys both a sense of movement and a sense of stillness. The second girl is caught with her head looking slightly to her left; the boy second from the right seems to be reaching upwards to write higher. The angle from the picture is taken positions the photographer (and the viewer of the photograph) within the first rows of the classroom.
On the back of the postcard is a short excerpt from the United Church of Canada Apology made in 1986: “We tried to make you be like us and in so doing we helped to destroy the vision that made you what you were.”
