Nathan Adler

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Amy Malbeuf

Artist statement

I explore notions of identity, place, language, and ecology.”

My work is conceptually driven and I work in diverse mediums that include, but are not limited to: caribou-moose hair tufting, beadwork, installation, performance, and video. Through these diverse mediums I explore notions of identity, place, language, and ecology. Ideas that I have examined through my art practice include: relationships between humanity and nature; Métis identity; and Womanhood. Though my work is idea driven and experimental in approach, materiality, tactility, and craftsmanship are an integral element of my practice. The extensive hours spent during contemplative beadwork or the rigorous mental and physical preparations required by performance art are of equal significance within my practice.

Amy Malbeuf is a Métis visual artist from Rich Lake, Alberta.

Indigenous affiliation

Métis, Métis Nation of Alberta

Region or community

Lac La Biche, Northern Alberta, Prairies

Rich Lake, Alberta

Jeremiah Manitopyes

Artist statement

My music today is more about pride than ego; more about building others up than tearing others down.”

I once read that you can’t shoot a man and blame him for bleeding and while I’m still dealing with the effects of past aggressions on Native people in Canada, I’m working hard to reconnect with my culture so I can use my influence to help Native kids across the country deal with legacy of residential schools and racist public policy.

Compared to what I used to put out, my music today is more about pride than ego; more about building others up than tearing others down; and, more about breaking into the mainstream than carving out a niche in the Native community.

Jeremiah Manitopyes is an Anishinaabe/Cree musician from Muskowekwan First Nation.

Indigenous affiliation

Anishinaabe & Cree

Region or community

Muskowekwan First Nation

Calgary, Alberta

Doreen Manuel

Artist statement

When I first came to know myself as an artist, I was nine years old .I had just been released from Indian residential school.”

My mother sent me to my grandmother. Titi only spoke Ktunuxa language to me. At that young age she taught me to bead. In the years to come, I would learn to tan hides, sew moccasins and gloves, make teepees, dance and sing our songs.

My father Grand Chief George Manuel & my mother spiritual leader Marceline Manuel were both survivors of the Indian residential school. They taught us traditional values and history but also encouraged us to pursue academic education. I lived history as a participant of the: Traditional Spiritual Revival Movement; Rejection of Funds Movement; Concerned Aboriginal Women’s Movement; Indian Child Caravan; and Constitution Express Support Team. I was always a storyteller and historian because I shared these lived experiences, but I also developed my identity, including my artist identity, through these experiences of empowerment.

Later in life, I adopted the practice of film and media to tell story and express my art. Recording story with media is an extension of our oral storytelling practice. As Alanis Obomsawin taught me, we need to reach our young, to teach them our ways, through the use of that “box” (television).

Throughout the development of my last 4 films I have experimented connecting to the spirits in order to resurrect our traditional storytelling practice, of communication with spirits to receive & guide stories.I work to connect my art to the spiritual world as part of a connected universe.

Doreen Manuel is a storyteller and filmmaker from Neskonlith First Nations, Secwepemc, B.C.

Indigenous affiliation

Neskonlith First Nations, Secwepemc, BC

Region or community Secwepemc (Shuswap) in central BC and Ktunuxa (Kootenay) Southeast B C

North Vancouver, British Columbia

Candace Maracle

Artist statement

I am studying Kenienke’ha, an endangered language, so that I can include my Native tongue in my work including my most recent documentary.”

I am an Indigenous filmmaker and journalist from Tyendinaga Mohawk Territory. My award-winning documentary, “The Creator’s Game: The Quest for Gold and the Fight for Nationhood” addresses the issue of Indigenous sovereignty and has garnered several awards and credits and is being broadcast in the U.S. and on Australian television. I am studying Kenienke’ha, an endangered language, so that I can include my Native tongue in my work including my most recent documentary. “The Grandfather of All Treaties,” premiered this past fall at the 2015 imagineNATIVE Film + Media Arts Festival to a sold-out audience and was one of the festival’s highlights. It has since screened at several universities and doing well in the film festival circuit.

I got into journalism and documentary filmmaking because I felt it was my duty a as Mohawk woman to tell a better story. The distorted versions of our stories told in mainstream media, provoking controversy over insight. It’s a storytellers’ job to speak truth to power. In telling these stories, we not only have the capacity to inform but the influence to shape the way those stories are interpreted by the rest of Canada. It is also my intention to inspire my Nation through storytelling. I intend to draw the parallels between the health of our environment to overall health of our communities. My life’s work whether it has been in conservation, health and language and ceremonies, has been to gather information and stories from our wisdom keepers so that I can know them and pass them along through media arts.

Candace Maracle is a Mohawk filmmaker from Tyendinaga Mohawk Territory, Ontario.

Indigenous affiliation

Mohawk of the Bay of Quinte

Region or community

Ontario/Haudenosaunee Territory

Tyendinaga Mohawk Territory, Ontario

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