This new program creates creative opportunities for a selected poet to encourage engagement with poetry writing in the community
The Poet in Place program is a new inclusive initiative that aims to engage the city's community with poetry and the literary arts.
The program spotlights a chosen poet or spoken word artist who has a term of two years and receives a total honorarium of $20,000, or $10,000 each year. The selected poet's responsibilities include performing original works at public events, delivering poetry workshops in collaboration with the Hamilton Public Library and developing creative placemaking projects.
Brianne Gascho is the cultural project specialist for the city of Hamilton. Her role consists of supporting arts and culture in the community. For this particular program, she is in charge of developing and managing the project as the lead.
Gascho explained the program was originally directed by the city council. They had pushed for a poet laureate program to do more for the literary arts in the city and Gascho and her team were tasked with assembling the project. After community consultations and research, they decided to create a program different from a traditional poet laureate program, as they wanted to remain accessible and to stay rooted in creative placemaking.
Gascho highlighted some key differences between a poet laureate program and Hamilton’s Poet in Place program. One key difference is that laureate programs are rooted in certain conceptions of merit and achievement, making them inaccessible to many artists, especially unpublished ones. Hamilton’s Poet in Place program does not require applicants to be published. Another key difference is that Hamilton accepts Poet in Place applications from spoken word artists, rather than only accepting applications from page poets. These features, Gascho explained, make the program unique to Hamilton.
“What really makes this program different is the amount of placemaking-based project work. . . which is using specific places and spaces in our city to implement projects. So we're going to create opportunities for engagement that are very specific to Hamilton [using poetry],” said Gascho.
The process for choosing the poet begins when the city receives applications from poets, according to Gascho. Application materials include a project proposal, artist bio, community engagement statement and poetic works in the form of writing or video. City staff then check each poet’s eligibility requirements before sending their applications to a jury.
The jury consists of poets, spoken word artists and people with placemaking and project expertise, though the specific members of the jury are not revealed until after the poet has been chosen. The jury reviews applications and reaches a consensus decision for the poet before announcing it in the new year. The process is entirely community-led.
Reception for the program has been both positive and negative. Gascho said that some negative reception is to be expected with the social issues the city currently faces, with people concerned about the monetary cost of the program and whether it is at the expense of funding other initiatives.
On the other hand, there has been a lot of positive support from the city council, the mayor and the broader arts community. This has highlighted a positive outcome of the project, which is that citizens and people not normally engaged with the arts have been given the opportunity to explore that side of Hamilton more.
Gascho also pointed out that the program is relevant to students as a way to venture beyond the academic setting on campus and explore more of what the city has to offer.
“It's an opportunity for students to engage with practicing artists and arts professionals. . . it provides opportunities for students to actually connect with these [poetic] projects. . . and be able to see the literary arts and more broadly, the creative arts activated in our community,” said Gascho.
Gascho encourages students to attend workshops or performances held by the poet in the future. If they have any questions or would like further information about the program, they can connect with her or other members involved in arts and culture. Her information is located here. She hopes that students will enjoy what the program has to offer and feel involved in the community.
How stopping to explore the culture of Hamilton helped Volume 93 A&C Reporter make up for lost experiences as the world kept turning
Time is argumentatively linear. By that, I mean it continues to move forward even if you don’t realize it. Even when you try to keep yourself awake a little longer to make the day last longer, 12:00 a.m. will always mark the beginning of a new day.
The reality that time doesn’t stop at one's will is something people spend their entire lives accepting. It isn’t that the mass population believes they can stop time, but rather a sad feeling knowing there will always be time that can’t be returned.
The reality that time doesn’t stop at one's will is something people spend their entire lives accepting. It isn’t that the mass population believes they can stop time, but rather a sad feeling knowing there will always be time that can’t be returned.
These kinds of thoughts never plagued my mind growing up. As per the average child, I was just happy to exist. I found easy happiness in holding my mom's hand as she walked me to the big yellow school bus that would always stop over the same bump and made all the kids yell.
However, in recent years, I have fallen victim to the hope that time will pause with me. I know it is truly unrealistic to hope for such a thing, but alas I am one of the billions of people who cycled through a pandemic and now I'm one of the many third-year students at McMaster University who sometimes forgets which direction on Main Street West will take her to downtown Hamilton.
Though the glaring lack of knowledge about their university town isn’t uncommon among university students, the degree to which it affects people is different. When I brought up my own fears to my friends about how little I have explored within Hamilton, they admitted they didn’t necessarily have the same worry.
To them, it was a given that they didn’t explore Hamilton as much as the average student. Though it is more than fair, it was hard for me to accept how little I knew about a city I lived in.
My worries of not knowing much about Hamilton became more prominent through my position as a reporter for the Silhouette. For almost the past eight months, I have been learning about how robust Hamilton is. Every week I have had the privilege to talk about the arts, thriving businesses and new events prospering in Hamilton.
It wasn’t as if an external person was keeping me from the plethora of culture in Hamilton, but rather the glaring eye of time. As a third-year undergraduate student, so much of the year was spent trying figure out my next steps and classes, I felt as though I would lose time if I enjoyed myself.
It wasn’t as if an external person was keeping me from the plethora of culture in Hamilton, but rather the glaring eye of time. As a third-year undergraduate student, so much of the year was spent trying figure out my next steps and classes, I felt as though I would lose time if I enjoyed myself.
The first time anxious knot in my stomach had begun to unravel was for a piece I wrote earlier this year. I had thought the interview was meant to be done through Zoom, for an upcoming exhibition. Instead, it ended up being an interview that was meant to be in-person, at the exhibit. What had been a miscommunication between the interviewee and me, ended up becoming a secret blessing.
With limited opportunities to leave the confines of McMaster this year, visiting the exhibit in-person for the interview offered me a unique chance to experience art in real-time. As I walked around the exhibit, with the artist who had spent years creating the work, I found myself truly connecting. When I was able to put aside my initial hesitancy regarding the underlying fear of losing time, I was enjoying myself. The simple mistake made me realize how fulfilling it is to explore; how even if I may lose time in one aspect, I am enriching myself in another.
As I walked around the exhibit, with the artist who had spent years creating the work, I found myself truly connecting. When I was able to put aside my initial hesitancy regarding the underlying fear of losing time, I was enjoying myself. The simple mistake made me realize how fulfilling it is to explore; how even if I may lose time in one aspect, I am enriching myself in another.
The chance to view my own life beyond the confines of my own fears would not have been possible if not for my time on the Silhouette. The undeniable reality is that time will continue, no matter what we do.
As someone who up until recently was consumed in the fear of never fully using my time correctly, I urge you to take a chance. Visit the art exhibit showing up on your feed, go to the concert even if it seems far away, stop by the street fair that pauses the traffic and let yourself be present. Let yourself take back control of the time you fear you’ll never get back.
Volume 93 Arts and Culture Editor reflects on her time at the Silhouette and the immense healing inherent storytelling
Storytelling is a skill I feel I have undervalued most of my life. It wasn’t until this year that I learned to appreciate its full potential and power. A good story can draw out our deepest emotions, forge connections and inspire us. But there is also
a side to a story that can provide healing and growth.
My curiosity, love for stories and interest in writing are what initially drew me to journalism in high school. When I later joined the Silhouette in university, my main motivation for becoming a reporter was getting to know the Hamilton community better. I mostly viewed the storytelling I practiced through journalism as a medium to understand the spaces I was part of — that was until I had a conversation with Carmen Cooper and Carl Lambert from 541 Eatery & Exchange.
I had the pleasure of interviewing Cooper and Lambert to cover a new harm reduction initiative at the eatery called Concrete Tales which focused on ex- changing stories and teaching storytelling skills to people who are unhoused or experiencing substance addiction. They shared with me the differences these workshops were making on people’s lives and how it provided healing for everyone involved.
“Because I’ve been [working at 541 Eatery & Exchange] for four years, in some ways, I have earned the privilege and hon- our of getting to know some people who have had very hard lives and because I myself found healing and growing through storytelling, I wanted to offer that opportunity to other people,” said Cooper.
Since our conversation, this is a quote from Cooper I have continuously reflected on and held close to me. It showed me that stories can enable people to understand their lives, construct meaning from trauma and cope with reality. After reflecting on it further, I realized I, too, had taken advantage of this part of storytelling to cope with my own past trauma.
It showed me that stories can enable people to understand their lives, construct meaning from trauma and cope with reality.
The most difficult event I had to endure in the last few years was the passing of my aunt. Growing up, with my mother often busy at work, it was my aunt who acted as the primary caregiver. Unfortunately, when I was in high school, she was diagnosed with stage four breast cancer. The years following, and especially when she entered the palliative care home during the pandemic, were the most challenging years for us.
For a while, I couldn’t speak about her to anyone because all I would do was cry and so instead, I chose to suppress my feelings and tuck her story away. However, I finally revealed her story to the world through the Silhouette in 2021.
I found immense healing through the experience of retelling her story and her impact in my life. Recounting my memories with her washed away my sadness and brought warmth over the painful experience of watching her slowly deteriorate away. Since writing the article, I’ve also been more comfortable speaking about her to others and my family which provided further healing.
I found immense healing through the experience of retelling her story and her impact in my life. Recounting my memories with her washed away my sadness and brought warmth over the painful experience of watching her slowly deteriorate away. Since writing the article, I’ve also been more comfortable speaking about her to others and my family which provided further healing.
There is so much one can take away from stories and storytelling. I’ve continued to apply the lessons I learned by encouraging family and friends to ex- press their feelings and experiences and listening attentively to them when they are going through a difficult time. Even in conversations with strangers, I’ve had experiences where people would thank me for allowing them the space to share their story.
Storytelling can be a powerful skill to develop to help others understand their own narrative but also for you to better understand yourself. It is one of the most meaningful lessons I’ve learned through- out my time at the Silhouette and I encourage everyone to practice and hone this skills — whether it be through participating in journalism or reflection — to become a stronger advocate for others and yourself and navigate trauma and loss.
Hamilton Day event supports local businesses in the city.
On Nov. 5, the city held its second annual Hamilton Day event, a one-day vendor event focused on showcasing and supporting local businesses.
The event was first held in 1931 by the Hamilton Chamber of Commerce during the Great Depression in order to help the economy and the city’s people. It has now evolved into a strong symbol of staying strong during hard times.
After working with the Stoney Creek & Flamborough Chambers and the 13 Business Improvement Areas in 2021, Hamilton Day was even able to help small businesses during the COVID-19 pandemic. The event supports all types of businesses, from cafes, bars, theatres, retail shops and florists to gym, fitness studios and independent artists and musicians.
For the special day, many businesses offered specials or collaborated with other businesses to promote local shopping. They also received a free three-month membership to GetintheLoop, Hamilton Day’s official partner, to gain access to various resources and be featured on the online map.
Katie Stiel, the project manager at the Hamilton Chamber of Commerce, participated in the organization of last year’s Hamilton Day event and was excited to plan it again as there was an overwhelmingly positive response last year.
“People flocked to [Hamilton Day]. They were so keen to share where they were supporting [and] who people should go check out in the city,” she said.
“People flocked to [Hamilton Day]. They were so keen to share where they were supporting [and] who people should go check out in the city."
Katie Stiel, project manager Of Hamilton Chamber of Commerce
Business owners also shared it was also one of the busiest days of the year. Many had special promotions for Hamilton Day and worked together with the community to stir up optimism and enthusiasm for local small businesses.
In addition to showcasing businesses that have permanent locations, the Hamilton Day event wanted to focus on pop-ups or marketplaces that sell to customers. All the different businesses that come out and partnerships with so many industries are all part of what makes this event unique to the city.
The variety of options and markets part of the event are what makes it different from anything else in Hamilton. From the Ottawa Street Farmers Market to the BIPOC market at Afrolicious, there is bound to be something for everyone on Hamilton Day.
Stiel explained the event was a great opportunity for McMaster students to explore the city of Hamilton and see everything the city has to offer. The event allows people to see other communities that they may not be normally exposed to and learn about the people who make up the city and its surrounding neighbourhoods.
“It's a great chance for students to get to know their neighbours, know local businesses, see what's here and see all the amazing things their city has to offer,” Stiel explained.
In the future, Stiel hopes Hamilton Day will grow and expand into an even bigger venture. By taking feedback from businesses and consumers, the event can improve to create the best possible experience for everyone.
“It's a great opportunity to for patrons to explore the city. And it's a great opportunity for businesses to raise their hand and use a platform to engage with the community...I would just encourage people to make the day their own,” she stated.
All the available businesses that participated in the event can be found on the website. Hamilton Day is the perfect choice for a fun outing with friends while still supporting the city at the same time.
C/O Kat Williams
By: Emma Shemko
Justin Langlois’s new exhibition explores how stories and language have shaped our experiences during the pandemic
Justin Langlois' exhibition No Exaggerations takes text-based art and turns it into an interactive event to help viewers process, understand and reflect on living with the Covid-19 pandemic. His artwork — a set of posters showing statements that have become common throughout this global health crisis — asks folks to reflect on how the pandemic and the specific statements included in the posters have made them feel. Viewers are then given a chance to vote with a sticker on whether they agree, disagree or are indifferent towards the statement.
"I think interactivity [within artwork] is a way to certainly engage the viewer — the audience — but it's also kind of like an invitation, right? I don't see the work as done until it has that level of interaction or participation," said Langlois.
C/O Kat Williams
The conversations and responses arising from the interactive nature of Langlois' work offer himself and others a new way to view what it means to live through tough and trying times. These interactions and connections to his audience are one of the aspects of artwork that Langlois enjoys the most. He has enjoyed watching his work evolve and transform as people from many different communities interact with it.
Before any audience interaction, his artwork is akin to an incomplete painting ready for the creative process to continue. Interactive artwork is beautiful because it allows the audience converse with the artist more directly and, in doing so, the audience becomes artists themselves.
The artwork in Langlois' does more than just communicate a narrative about living through the pandemic. It offers folks the chance to tell their own stories about the moments of change they have experienced throughout the pandemic. Langlois likened the artwork in No Exaggerations to a collection of short stories about the people within the Hamilton community.
"Storytelling is just another way to think through what we experienced and what we have been experiencing and I think, in this case, the idea of creating the short stories and really kind of like framing them in that way just creates an opportunity for [viewers] to hopefully be understood as those texts are not only about my experience, but they may be just abstract enough that folks can kind of see themselves in them, or that they might have their own understanding of them," explained Langlois.
C/O Kat Williams
No Exaggerations also fosters new ways of thinking about change. Langlois’ work opens many doorways for us to give thought to the shifts in our lives, whether small or dramatic, in deeply human ways.
“Change in a deeply human way, I think, is about recognizing that [change] is a very dynamic process and something that affects us not just in noticing that something is different from one moment to the next, but to really understand that it has other implications and impacts on our lives and how we feel,” explained Langlois.
Langlois hoped to his audience leaves feeling they are part of something bigger than themselves. He wanted his audience to notice the moments of change during this pandemic that have affected them and reflect on how they perceive those moments of change.
"I think it's a way to maybe kind of take stock of what the last couple of years have meant and to maybe start to imagine what it might continue to [mean] over time in the future," said Langlois.
No Exaggerations can help us understand past, current and future moments. Someone who visits Langlois' exhibition may come to know that though we have all been separated by a physical distance, we have all had similar experiences to someone else somewhere else.
No Exaggerations is on display at the Workers Art and Heritage Centre until April 16, 2022.
The Silhouette: Please introduce yourselves.
HL: I'm Hannah Laycock and I am President of Mac Crafters.
KD: I'm Kelly Deeth and I'm the Vice President Finance for Mac Crafters.
AS: I'm Amr Saleh and I'm the VP Finance of Senior with Skills.
ZA: I'm Zoe Ang and I'm one of the VP Events for Senior with Skills.
Can you elaborate on your Holiday Letters event?
ZA: We wanted to host a collaborative event where we could make holiday cards for seniors and then eventually donate them to senior homes. We were in a Zoom call making the cards together. We have a drop-off box on campus so whoever made cards can drop them off and then we'll send them out to a senior home. We're going to be scanning some of the physical cards and making them into a book so we can reach more homes as well.
AS: From the point of view of Seniors with Skills, one of our main missions is to combat senior isolation, especially during the pandemic. When Mac Crafters reached out to us, we thought this opportunity just perfectly aligned with our missions and goals.
What were your goals for this event?
AS: We just recognized that during this time, especially during the pandemic, a lot of seniors can feel quite lonely, especially due to things like COVID restrictions; maybe they might not have the same number of guests [or] maybe they just can't see their family as often. Hopefully, through these cards, we can say that people are thinking of them and we hope they can feel a little bit more included in the community.
HL: We really also notice that the holidays don't really feel the same on campus, especially with the restrictions. We really wanted to do something that could unite the fellow crafters.
Do you have a favorite memory from your club experiences?
AS: This event has been my most memorable experience so far just because our mission is all about trying to tackle the senior isolation that many in Hamilton might be facing. Putting together an event and seeing a tangible end outcome of the cards that we can then give to the seniors was something I found really, really rewarding.
KD: This event was so fun. It was a great chance to meet people from other clubs and meet general club members, seeing that even in an event that seems rather simplistic such as making holiday cards, everybody really does bring something different to the table. People can show that by doing something virtually or being good at art or hand lettering, as Zoe mentioned. It just showcases that even with something that seems simple and straightforward, everyone brings something different.
Do you have any big takeaways from this event in particular?
HL: For Mac Crafters, it's definitely the importance of giving back to the community. Really being able to see that in action was great, especially since we haven't been able to do that much from an online environment for such a long time. It's really an impactful thing. It's just such a warming feeling — it brings people together and, especially at this time of year, it's a wonderful thing to do.
ZA: I think that this event has opened my eyes up to more volunteering opportunities. Even though we haven't given the cards to the seniors yet, just the event itself and people coming together for the reason of helping others made it really nice to be in that call with everyone. It was amazing to be with everyone working together and taking time out of their days to help out. Hopefully, when the seniors get the cards, we can also see what they think and see their reactions.
AS: Just how much of a difference small actions can make. Taking an hour out of your day to make cards [for] seniors who might be feeling socially isolated can make a really, really big difference. I'm really looking forward to seeing the reaction from seniors once they do eventually get the cards.
KD: A lot of times with Mac Crafters, a lot of our focus can be on our own students, our own club members and mental health. That's such an amazing and really important cause in and of itself. But it was really nice for this event to shift the focus to something outside of the McMaster community and to the senior community, which is also so important.
All photos C/O Natasha Davey
The Wiiji’iwe Collective supports Indigenous artists by breaking down accessibility barriers
By: Subin Park, A&C Reporter
“Going together with the people”. Although not a direct translation, it closely describes the meaning behind Natasha Davey’s the Wiiji’iwe Collective. The Wiiji’iwe Collective is an Instagram-based shop that carries beaded accessories, moccasins, artwork and other hand-made items by Indigenous artists from Northern Ontario.
The shop’s story began in 2014, when Davey started her teaching career working with Grade 7 and 8 students in Aroland, a northern First Nations community. As a non-Indigenous person herself, the opportunity to teach there for three years allowed her to gain a deeper understanding of the Indigenous community and develop life-long friendships, many of which were with Indigenous artists.
“I went [to Aroland] without knowing what the North was and with little understanding of the Indigenous people in Canada,” explained Davey.
After returning from Aroland, she worked as a teacher development manager for Teach for Canada, a non-profit organization supporting teachers working in northern First Nations communities.
When Davey returned to her home in Hamilton, she missed her friends in the northern community very much. She also had people inquire about where to get similar beaded accessories and moccasins she owned. Recognizing the demand for Indigenous art and artifacts as well as the difficulty of connecting with Indigenous artists living in remote reserves, Davey was inspired to create The Wiiji’iwe Collective.
“I [want it] to be known that, from this collective, I’m not profiting from the Indigenous community and I’m really doing it to support the Indigenous artists who are in remote northern places, who don’t have as much exposure as [they would] in southern Ontario,” explained Davey.
Davey launched the collective last year in consultation with Elders and friends in the Indigenous community. On Nov. 7, the collective will celebrate its one year anniversary. It was important for her to discuss the project idea with Indigenous members and gather their input as she was conscious of her place as an ally and wanted to hold space for the Indigenous community. In support of Davey, two of the Elders she consulted with gifted her the name Wiiji’iwe for the project.
“When I was thinking about [starting the Wiiji’iwe Collective], I wanted to do it in a good way. Because I am not Indigenous myself, I recognize myself as an Indigenous ally. So when starting it, I didn’t want to go about things without consulting the Elders and my friends in the Indigenous community,” said Davey.
Currently, Davey runs the Wiiji’iwe Collective from her home office space while still working as a teacher at the Halton Catholic School Board. She sources her inventory directly from Indigenous artists who she knows from her time working in northern First Nations communities or have been referred to by friends in the community. The collective includes work from many including artists, Elders, teachers, education assistants, students and even school bus drivers. The collective works with over 20 Indigenous artists.
Once Davey receives the items to her home in Hamilton, she repackages them, takes photos to post on the Instagram page and ships it out to customers. Pick-ups are also available in Hamilton from her home.
When purchasing new items from Indigenous artists, Davey often pays more than the rate of the artists to ensure fair, equitable wages.
According to a recent report based on data from Demographic Diversity of Artists in Canada in 2016, Indigenous artists make 68 cents for every dollar non-Indigenous artists make. This can be attributed to many systemic barriers and biases that pose serious limitations on the income and career growth of Indigenous artists and discourages youths from pursuing art.
To address this inequity, Davey uses the profit from the sales to raise money for the collective’s Indigenous Youth Artists Fund.
“Part of the idea behind Wiiji’iwe is to support aspiring Indigenous youth who want to start beading, start making moccasins or maybe do art, but may not have the funds to get up and going,” said Davey.
A key aspect of the fund is that it is hassle-free. Davey noted although many grants are available for Indigenous youths, they often require an overwhelming number of forms and information to be uploaded in English which can be a barrier. Interested applicants can message the Wiiji’iwe Collective on Instagram and fill out a Google form to access the fund.
One of Davey’s favourite aspects of running the collective is sharing the stories behind the pieces and the artists. Recently, the Wiiji’iwe Collective had a collaboration event with MADabolic Burlington, Power Yoga Canada Burlington and Lululemon Mapleview called ReconciliACTION. It discussed the purpose of truth and reconciliation, recognized Indigenous communities and encouraged engagement in physical wellness activities. There, she was able to share and feature some of the artists and their works.
“It’s really about bringing the Indigenous and non-Indigenous communit[ies] together even though many of the artists are not always here. But I always tell [the artists] stories or tell them the pieces have sold right away and they’re so happy,” said Davey.
She is also keen on maintaining transparency and sharing the operation behind the business. A common question she receives is whether a non-Indigenous person can buy from the shop. Davey has consulted with many members in the Indigenous community to answer this question, including Elders, who have shared that as long as it is not appropriating Indigenous culture and the non-Indigenous person remains respectful, it is okay. For items with a ceremonial purpose, the artists will always indicate it.
“The artists know I’m not Indigenous and these items are being sold to everyone. The Elders and community also know and want people to support their work and their art,” said Davey.
To accommodate the growing community under the Wiiji’iwe Collective, it will soon partner with Grandmothers Voice, an Indigenous organization based in Halton aimed at bringing Elders to various groups, events and ceremonies to reclaim and restore their Indigenous culture.
Soon, the Wiiji’iwe Collective will have its own page on the Grandmothers Voice’s website and some of their items will also be available at Grandmothers Voice’s office space. With their support and guidance, Davey hopes to eventually open a Shopify account and ultimately help the artists to open their own websites as well to help them gain more autonomy in selling and promoting their work.
“I want to support the artists to be autonomous, build their capacity, build understanding about shipping, receiving and social media and promoting themselves so they can eventually go off on their own and have their own platform . . . For now, I’m happy to support them and show them there’s a lot of worth in the work they do and people are interested in it,” said Davey.
The Wiiji’iwe Collective is a place of sharing, appreciating, supporting and celebrating Indigenous art and creators. Whether you are Indigenous, non-Indigenous, wanting to feature your work, connect Indigenous artists or curious about Indigenous art and how to support Indigenous artists, the collective welcomes all students to reach out and go together with the Indigenous community.
The items listed on the page can be purchased by completing a Google form linked in the shop’s bio.
C/O Paige Porter
Local business owner Paige Porter is rediscovering her Indigenous heritage through her beadwork
Beading has a historical and cultural significance among Canada’s Indigenous communities as an art form passed down through generations. For Paige Porter, the Hamilton-based Indigenous beadwork artist behind House of Beads, it is a means of reconnecting with her heritage and carving out a cultural identity of her own.
Porter’s small business specializes in Indigenous beaded jewellery, accessories and custom commissions. Though beading is traditionally passed from parent to child within Indigenous communities, Porter’s journey to beading arose out of a self-driven search to learn more about her heritage. She is Haudenosaunee and Onyota'a:ka from Six Nations of the Grand River. As an intergenerational survivor of the residential schools system, Porter described feelings of disconnection from her culture within her family in her formative years.
“Growing up, I didn’t know that much about my culture. Down the line, my family was afraid to acknowledge and speak the language. Over the years it died off, which is sad to say, but because of residential schools I know some older Indigenous people went through especially traumatic experiences and were ashamed of being Native. That’s how they were brainwashed. Being Indigenous, I grew up and had to learn about my culture myself,” explained Porter.
In her efforts to reconnect with her heritage, Porter became involved with the Hamilton Regional Indian Center, where she gained more exposure to resources and other Indigenous community members. She began beading in November 2019 to rekindle the traditional art form within her family, entirely through self-teaching and her own devices.
“Beading is usually a tradition passed down generations and generations, but in my case, my family was never taught beading. I wanted to become the first-generation leader in my family . . . It’s not only for myself, but also so I can pass it down to my family and my grandkids — I can be that grandma that teaches them how to do it,”
Paige Porter
Porter began learning to bead through online resources and imitating designs, before beginning to create original designs of her own. The learning process has provided her with a sense of resilience and pride in her heritage.
Initially, Porter never saw herself as a business owner. Along her self-teaching journey, she began posting her work on Instagram. She started to amass a following and it was her mother who first had the idea to sell the art Porter had created. Her mother’s encouragement incited the transformation of her passion into a business, now with over 1,500 followers on her combined social media platforms.
Porter fondly recalled memories from the Together in Dance Festival at Mohawk College, which she attended as a vendor in February 2020. The celebration of diversity and multiculturalism was one of Porter’s first times presenting her work to the public. After the festival, Porter went on to collaborate with Sweet Peas Baby Company, a seasonal subscription box for parents of young children, where her bead art was featured.
“My products are handmade and take time. You're getting something that is authentic and handmade by an actual Indigenous person rather than Indigenous-inspired and when you support an Indigenous business, then you're also supporting the Indigenous community. When you go and shop in Canada, those proceeds go into Canada,” said Porter.
Beyond her bead art, Porter stressed the importance of bringing awareness to injustices committed against Indigenous peoples in Canada. She called students to action to educate themselves on Orange Shirt Day, Truth and Reconciliation Day and the missing and murdered Indigenous women, girls and two spirit.
Porter’s small business has helped her to build a bridge back to the Indigenous culture that was stolen from her and her family and her art is a reminder of the importance of Indigenous culture and legacies.
C/O @killyourmasters_
For local artist Kyle Joedicke, murals are an opportunity to honour his Indigenous roots and share stories with the Hamilton community
By: Edwin Thomas, Contributor
As students, many of us are familiar with the difficult dialogue that is often involved in learning, particularly in conversations about Indigenous justice and reconciliation. However, most of us might not be aware of the importance of art in fostering these conversations. Art is powerful. It can raise awareness and provoke thoughts and dialogue while also helping us to give voice to experiences and stories that are otherwise difficult to communicate.
For local artist Kyle Joedicke, his murals are a way to honour his Indigenous roots and share Indigenous art, culture and stories with the Hamilton community. Joedicke is Cayuga Turtle Clan from Six Nations of the Grand River and grew up between the Six Nations reserve and Caledonia on the border of Hamilton. Although he describes himself as being not very connected to his Indigenous identity during his adolescent years, he began rediscovering his Indigenous roots in his twenties.
Joedicke uses his art to find his voice as an Indigenous person. His work has helped him become closer with the Indigenous community as well, which in turn teaches him more about the culture. For Joedicke, the relationship he has developed with his Indigenous community is a gift.
“I’m speechless in a lot of ways about the gifts that I have been given recently,” explained Joedicke.
His first mural was of an orca commissioned by Merk Snack Bar in 2020, dedicated to his late grandmother. He soon realized the spaces he was creating Indigenous art for could be used to support urban Indigenous communities and provide opportunities for conversation between both Indigenous and non-Indigenous folks.
Joedicke’s murals are woodland style and inspired by the style’s creator, Norval Morrisseau.
“His ability to paint these oral stories in such a visually captivating way is remarkable,” explained Joedicke.
Similar to Morrisseau’s depictions of traditional stories, Joedicke recently created a mural depicting The Seven Grandfather Teachings, which is an oral teaching and tradition centered on the Indigenous way of life.
Joedicke also uses his art to explore intergenerational trauma among Indigenous communities.
“I think being Indigenous means being resilient in a lot of ways. From the inception of the colony of Canada, it’s been the goal to have us not exist, to put it in blunt terms. To be an Indigenous person in 2021 is to be living proof of an entire civilization’s will to live,” said Joedicke.
The discovery of the unmarked graves of Indigenous children at residential schools over the past few months has shocked the nation and impacted Indigenous individuals and communities in complex ways. This extends to Joedicke, whose grandparents were survivors of the residential school system.
Recently, Joedicke has been working on a mural in the memory of children who died while attending residential schools. The mural is located at St. Matthew's House.
He found the experience of creating the mural at St. Matthew’s House cathartic and an opportunity for reflection.
“While I was working on the mural, it gave me a lot of time to reflect on the fact that it isn’t specific to me. It is an issue that has affected thousands and thousands of families. It also gives you a sense of the community because of the outpouring [of] support from the Indigenous and non-Indigenous communities,” explained Joedicke.
Art can be an important catalyst for conversation and change and Joedicke has felt that the important role art plays in social progress in creating his artwork.
“It was impossible not to feel the added weight behind the art because, at that point, when you are trying to convey the particular images and ideas, it is too emotional to not be present for it,” explained Joedicke.
Joedicke was recently featured on CBC and has recently been commissioned across the city to continue his work, including a future project with the Hamilton-Wentworth District School Board.
“I want people to be able to come to see this art and feel that they are welcomed and included. It’s something they can be a part of and interact with,” said Joedicke.
Youth, representing the future generations of our society, are pivotal to social progress and change and embody people’s growing openness to learn. Joedicke encourages students from McMaster University to learn more about Indigenous culture as much as they can.
“It’s never wrong to ask questions. Education is important, especially in terms of understanding different cultures. Look into the teachings; [they] can be applied to your own life without being associated with a particular religion or culture. The stories are one of the major things that help us learn in life,” said Joedicke.
C/O @mcmaster_ihm
The McMaster student-run Indigenous Health Movement is encouraging education and reconciliation within issues relating to Indigenous health
By: Meg Durie, Contributor
The Indigenous Health Movement at McMaster University embodies the passion, drive and dedication to social justice of this generation of Indigenous folks and allies. Involving both Indigenous and non-Indigenous ally students, the group aims to educate others about and promote reconciliation within the area of Indigenous health.
The student-led movement and club, which started in 2016 and has been flourishing ever since, was initially a group project by classmates Yotakahron Jonathan, Yipeng Ge, Alex Liu, Sharon Yeung and Deepti Shanbhag. While their main event is the annual Indigenous Health Conference, which is organized in collaboration with the Indigenous Health Learning Lodge, IHM also runs learning circle workshops, speaker events and outreach activities with local Indigenous groups.
Current co-chairs Jayden Rivers and Alexa Vrzovski have both been involved with IHM in previous years. Both appreciated the opportunity the organization provided them to connect with other Indigenous students and become more involved in the community.
“I joined IHM midway through my first year as a liaison position opened up. Growing up, I had little exposure to my Indigenous background. It wasn’t until high school that I briefly learned about [residential schools] and Indigenous colonization. Upon entering university, I wanted to expand my knowledge and become an active member of the McMaster Indigenous community. Through joining IHM, I was happy to meet and learn from other Indigenous students,” explained Rivers.
“I joined IHM last year as a last-minute thing to do while everything was switching to an online platform. I have been very politically active since high school and wanted to join a group that fought for the rights of [Black, Indigenous and people of colour] and IHM seemed like a great place to start. IHM also gave me the opportunity to be more involved in the Indigenous community at McMaster and [to meet] new like-minded people,” said Vrzovski.
An interdisciplinary project, the IHM team is made of a unique group of students from all across McMaster faculties and years.
“Something that I find special about this team is how we are welcoming of people with all different levels of knowledge regarding Indigenous culture and health. For example, I was initially hesitant to join in first year because I feared I may not ‘know enough’, but they welcomed me with open arms so I could learn amongst my peers and figures in the community,” said Rivers.
“Not to brag, but we have an amazing team. Everyone has always been so genuine and kind and interested in making change in the world. If you are interested in Indigenous rights and health in general and want to fight against inequalities on a local level, IHM is a great student-led club to apply to!” explained Vrzovski.
It’s particularly important to Rivers and Vrzovski that all Indigenous students feel welcome at IHM.
“As reconnecting Indigenous women, Jayden and I also really wanted to make sure IHM was a really inclusive place for all Indigenous people, whether you live on or off reserve, are a mixed native person or you’re reconnecting to your culture for whatever reason,” explained Vrzovski.
A highlight of IHM’s year is their annual health conference. Each year, the conference features a number of accomplished and renowned speakers. It is a powerful and educational conference, aimed at promoting Indigenous voices and knowledge and providing opportunities to learn to workers and students in health-related fields. Typically, the conference is held in February.
As mentioned, IHM also hosts a variety of other events throughout the year that provide opportunities for both Indigenous students and non-Indigenous allies to come together, engage in activities and learn.
“We also have amazing, lighthearted events that allow allies to join beading circles or cooking classes and really appreciate Indigenous culture firsthand,” said Vrzovski.
In all their events, IHM strives to better educate and inform the McMaster community about issues relating to Indigenous health including environmental health and the climate crisis. IHM determinedly strives to encourage reconciliation in this realm.
IHM will be recruiting more members in the weeks to come, with applications to come out early November.
“IHM provides a welcoming space for both Indigenous and non-Indigenous students to learn from one another on important topics surrounding not only Indigenous health, but also community engagement and advocacy. It’s been amazing to see all the different initiatives this team has facilitated the last couple of years,” said Rivers.
Make sure to stay tuned to what this student group has in store for this academic year and to ensure to keep learning and unlearning on your own time.
