the ones who raise them

We raise them. We hold them. We raise them high the ones we hold. These are the ones who will be our future. They are our children.

In most of my photo sessions I will ask family members to hug their children, squeeze them tight, give them a kiss and hold them high in the sky. There are two reasons why I do this. Firstly, because its a good maneuver to get the children either smiling or laughing. Secondly, it is because our children deserve to be held, comforted, and raised up. Even when I am behind the camera, I see the hope that we all have in our young ones. I am privileged to be able to capture some images of these precious moments that pass us by. I see in the children their innocence, their open honest emotions, and their need for love, acceptance and safety. We are responsible for holding their little hands and guiding them through life. All the ups and downs, we stand by their side.

Because one day, we all need to let go.

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-Amanda Laliberte

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making the cover

“So…. can I tape your nipples?”

My cousin Tara and I have had some weird conversations in our creative journeys. From video shooting to making her be the cover of my first poetry book, we’ve had some amazing times together.

In late October, I was working with Signature Editions on my book cover (to be released in April).

I needed a very specific shot of an Indigenous woman, standing proud, playful, and sensual.

No biggie.

Just decolonizing images, one Indigenous at a time.

I’ve chatted before about how our body and image are often portrayed by outside eyes, which fetishize our skin colour, our culture, and our beauty. I wanted to avoid that, obvs.

So I called Tara up and asked her to be my model. And while I was totally chill, for the most part, with writing and promoting this book, it’s always something to have your face be ‘the face’ of a book cover and have it forever be identified as part of this project. And when you’re chatting about casual sex and intimacy, I wanted to make sure Tara knew what she was getting into.

“Hell yes.”

No wooing needed, she was in.

I set up my RezStudio in my living room. Backdrop. Lights. Music playing. Kids playing in the bedroom. We laughed, as our kids played together the way we still play together – loud, dominant, yet so kind to one another.

And we shot. And shot. And we laughed even more. We chatted about position, lighting, sexuality, and the power of images. I kept making sure that Tara felt comfortable the more she undressed, and we laughed again – “I haven’t seen you this nekked since we took baths together.”

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Finally, after the hair teasing, the secret grins, the lip-gloss, and the taping of nipples, we were done. We sat and had tea, and listened to our kids play some more.

I didn’t know how to say thank you. I still don’t. This is powerful medicine for me, being able to take these stories and images and present them in a positive way.

Tara also shared some thoughts with me:

This is experience for me was so empowering. I’ve had the honour of working with Tenille on several occasions, and the thing I love the most is she’s always willing to go out of her comfort zone in order to share my ideas and visions. I appreciated this experience even more because she allowed me to go out of my own comfort zone while still feel completely at peace with it all.

In our culture, it’s almost seen as taboo to be open about sexuality. I know there is a long history of our stories and experiences being exploited, so this is a way for us to take back what is ours. Our bodies and spirits intertwined with healthy sexuality and openness.

When she first showed me the images from this shoot, I was completely amazed with how flawless she captured her ideas, what felt funny, awkward and cheesy to me in mid-pose came out strong, bold and effortless in photograph.

I feel its so important for women to feel comfortable within their own bodies and thoughts because we live in a time where images are hyper-sexualized beyond our control. We live in a time where we are shunned if we are openly sexual and on the other side of the spectrum, are considered to be of higher honour and respect if we are humble and modest.

I think it’s absolutely vital that women be accepted as we are, whether we are fully clothed or willingly exposed. This book is what needs to happen for us to begin this dialogue. We are able to giggle and tell stories amongst ourselves, so why not enable us to openly share our thoughts and innermost feelings with humour, beauty and confidence? Feminism doesn’t have to be seen as angry and aggressive, feminism needs to be seen as empowerment with acceptance and knowledge of self.

With that being said, I am so honoured to be a part of this experience. I see this book as a huge leap for the feminine peace of mind. Thank you, Tenille, for taking this step forward for us all.

Ekosi and Maci Cho.

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As a reader, I know the power of a book cover. As an artist, I think about tone, texture, shape, white space, font choice, meaning, and layers. As an Indigenous woman, I know the stereotypes that are often portrayed about us. I am leery and weary of feathers, tribal designs, buckskin, and the hyper-sexualisation of our bodies. So how was this going to work, consulting and deciding on a final image for a book about Indigenous erotica?

I am incredibly lucky that the team at Signature Editions listened to my concerns, and wanted to work with my own photographs. I am pleased to show you a draft of the final cover:

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 – tenille campbell

Featured Artist: Chief Lady Bird

I have nothing but mad respect for Chief Lady Bird as an artist and friend. During my travels in Toronto earlier this winter, I made it a point to go see her at an art & craft fair, and she was amazingly open to me being all “I like your work, be my friend.” I had first noticed her work last year, and was hoping to have her on as a featured artist, so I’m extremely happy this all worked out.

Introducing the eva-talented, Chief Lady Bird…


1. If you could collaborate with one other artist, who would it be and why?

Outside of the collective of artists that I currently collaborate with (Aura, Chippewar, Mitch Holmes, Reagan Kennedy, Nyle Johnston), it’s been my dream to create a mural with Christi Belcourt and Isaac Murdoch (Onaman collective). The murals and street art that I do with Spirit Arts Collective is very aligned with Onaman Collective’s art initiatives that connect youth to the land and the language. We all have very strong voices and I can see a collaboration being very powerful, unifying, and full of meaningful dialogue.

2. What is your favourite piece to date, and why?

My favourite piece is Medicine Man. It was the last piece I created during my thesis at OCAD University and features my dad. On the day I took the photo, we took the boat out on Georgian Bay to Tadenac where our ancestors are buried. We did ceremony and I was able to capture the essence of the smudge through silhouette and digital manipulation. I love that this piece combines storytelling with painting and bead work to discuss connection/disconnection to the land and our languages, and the importance of ancestral connection… concepts that we can all relate to as Indigenous people. It’s a very special piece. It’s one of those pieces that accesses one of my personal experiences to talk about ideas and issues that affect us all. And I think all of our individual narratives are essential to the greater narrative of who we are.

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3. What does working in schools with the Youth mean to you, and how is that reflected in the murals?

Creating murals in schools is one of the most fulfilling aspects of my career as an artist. It’s hard as hell because we open wounds when we speak hard truths and address the internalized and systemic racism that continues to exist within formal educational institutions. We address all of this while also teaching technical painting skills and painting on the mural ourselves. It can be exhausting but I love it. I love working closely with the students and hearing their stories. I love being able to find new ways to engage the students (which usually means using my tattoos as a teaching tool) and decolonize their education. I love watching the students enter the project rather timidly and then gain confidence throughout the project. There’s a lot of growth that happens when we create murals in schools. We ensure that our students receive an honest education about Indigenous peoples; we include traditional teachings, historical facts, contemporary issues, and personal narratives to create strong, trusting bonds with the kids we work with. One of my most favourite parts of mural creation is when an Indigenous student comes forward and opens up about their identity because they feel safe. There were a few students that Aura and I worked with recently who had never talked about it with their teachers. Because they felt safe enough to tell us, we were able to provide that information to the school and establish a smudging area at the school so these students could connect to their heritage. We are able to reach kids on a creative, collaborative level and this type of immersive learning is most effective because it shakes up the normalcy of Western pedagogy. The murals that we create with students bring our worldviews to life and invite them in, creating a safe space where we can all learn together and have fun.

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4. What has been your favourite mistake, in terms of your art?

My favourite mistake was assuming I was in this alone. It has been such a pleasant surprise to realize that we, as Indigenous artists, have such a strong community to work with. There was a certain level of fear when I thought about taking on a career as an artist because I thought it would be very cut-throat and I’d be working alone. But I am fortunate to be working with so many amazing collaborators who are strong, unwavering, loving and hardworking. Teamwork makes the dream work!

5. Who inspires you, outside of art?

My mom inspires me everyday. She is the glue that holds our family together. She is the strength that runs through my veins. She carries the spirit of all the women who came before us. She is strong, hardworking, compassionate, independent, honest and loving. She is one of the few people I know who truly lives by the seven grandfather teachings and she is the reason that I am an independent Anishinaabe kwe.

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6. Growing up on-reserve with a parent who practiced traditional medicine, and then moving to the city to study art: can you share how you relate, or don’t relate to, the concept of “we walk two worlds?”

It’s so interesting to be asked this question because I just included this concept in a recent piece I created for Life As Ceremony magazine. Here is an excerpt:

“There’s a concept that says Indigenous people walk in two different worlds. For most of my life i’ve had each foot in a different place. It can be difficult to balance because we are often faced with questions about blood quantum, language proficiency and “authentic Indian experiences.” Sometimes, because we have our feet planted in two different worlds, we feel “not Indian enough.” I have one foot on the rez where I can smell the sage burning. My dad cuts medicines on the front step and my mom prepares a beautiful home cooked meal for when we all convene in the dining room together. Here, the walls are lined with hand drums and Nan’s birch bark placemats. As the steam rises up from our meal and curls around our faces, I prepare a spirit plate to take into the bush for our ancestors. My mukluks crunch through the fresh snow and I think about Toronto, where my other foot is planted. I pass underneath naked birch trees and imagine they are the skyscrapers of Bay Street. The peeling bark hangs solemnly like a man in a suit, hunched over and gazing out his window at the rest of the city below him. There is a dignified sadness to the way the bark slouches and I can’t help but stare. As I lower the plate to the rock where we make our offering, I am struck by how different my worlds are. I think about how when I am home up North, I feel grounded in my traditions. I think about how I can pick cedar from a nearby tree and boil it up. I think about how my dad brings his turtle shaker into my room at night, as a form of comfort and protection. I think about how my brother rides his snow mobile down to the lake and drills holes in the ice to catch bass. And then I think about how practicing our traditions in an urban space can create tension. I think about when I smudged at a friend’s house on Pape Avenue and her neighbour texted to ask about the smell, which they described as a chemical burning. I think about how people on the subway reach out and grab my medicine pouch, because to them, it is a tactile piece of history, something that doesn’t quite belong. I think about the holes that form in the bottoms of my moccasins from walking on pavement, and the ache in my feet from being so disconnected from the land. And I think about a lady in Guelph who approached me while I painted a mural. She said: “Oh, when I heard they were doing an Aboriginal mural I assumed they would have hired an Aboriginal artist!” “I am,” I said. “How much?” she replied. Arguments about blood quantum, language proficiency and “authentic Indian experiences” aside, all I can say is, I am. No matter where my feet are, or what is above me, I AM.”

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7. Dreaming big, what is the ultimate goal for you, as an artist?

The ultimate goal for me as an artist is to have a gallery where we can showcase youth artists, emerging artists, and established artists. It will be a place to show and sell a diverse selection of Indigenous art, with no limitations. It will also have a studio space in the back for our collective to work, and a workshop space upstairs where we can host our own workshops or bring in third parties. It will be a social space where everyone can learn and have fun. I think that’s all I ever want is to spread the love, uplift our youth, create safe spaces and collaborate!

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8. One of your latest art features Evan Adams as his character Thomas Builds-the-Fire. Which is hella awesome. Can you share how this piece came to be?

I had so much fun making this piece! And Evan Adams even retweeted it! As if! This piece was created to accompany another illustration I did, which features Kawenn áhere Devery Jacobs’ character Aila from Rhymes For Young Ghouls. Both pieces represent Indigenous film and the ways in which these characters empower our communities. I wanted to create a diptych of these characters because they represent two different eras of Indigenous film. Thomas Builds-The-Fire has been essential to Indigenous film because his character has always emphasized the importance of storytelling and oral tradition, from a humorous position. And Smoke Signals as a whole is iconic because it responds to the misrepresentation of Indigenous identity in the media and allows us to sit at the same table as “everyone else” while also acknowledging our fundamental cultural and political differences. And then we have Aila in Rhymes For Young Ghouls, who represents our youth who have to fight for their lives. Her character speaks to the crisis our youth are constantly undergoing and this film, in my opinion, is a story of survivance, which Gerald Vizenor describes as a “renunciation of dominance, tragedy and victimry.” Aila fights back, and I love that about her. Aila and Thomas are different, but both are essential to the diverse and accurate representation of Indigenous people and our experiences within the media.

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9. What is something people don’t generally know about you?

People don’t generally know that I have a deep appreciation and fascination for Lady Gaga. I don’t know what it is, but ever since her first album Fame I’ve been attracted to her image and music. And the weirdest thing is that each album is released during crucial transitional phases of my life, and each of them speaks to what I’m experiencing and becomes the soundtrack for each phase. Its weird. But I’m okay with it.

10. Favorite quote:

“Yes, Pete, it is. Actually, it’s pronounced “mill-e-wah-que” which is Algonquin for ‘the good land’” – Alice Cooper, Wayne’s World Social Media:

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Keep in Touch:

FB: Chief Lady Bird Art // Insta: @chiefladybird

Twitter: @chiefladybird // Tumblr: Chief Lady Bird Art Tumblr


Chief Lady Bird (Nancy King) is a Potawatomi and Chippewa artist from Rama First Nation with paternal ties to Moosedeer Point First Nation. Her Anishinaabe name is Ogimaa Kwe Bnes, which means Chief Lady Bird. She completed her BFA in 2015 in Drawing and Painting with a minor in Indigenous Visual Culture at OCAD University and has been exhibiting her work since she was fourteen years old. Her current series of work uses “beaded glyphs” as fragments of made-up visual language that reference both wampum belts, syllabics and petroglyphs as a way of understanding the loss of language through Canada’s genocidal legacy and continued assimilation tactics. These beaded glyphs convince the viewer that they mean something and create tension and frustration between the work and viewer, to emulate the frustration that many Indigenous nations feel who aren’t fluent in their traditional languages.

 

27th Annual Feb 14th DTES Women’s Memorial March

A pilgrimage is described as any long journey, especially one undertaken as a quest for spiritual purpose, to pay homage. It’s a spiritual votive… a sacred promise put to action.

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Being a part of the annual February 14th DTES Women’s Memorial March is best described in similar ways.

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For me, it’s a long ongoing journey, a ceremony, a search for meaning, and an opportunity for gathering strength and healing. It’s also a stark reminder that while the profile of the issue, now captured in hashtags #MMIW, #MMIWG, #AmINext, #NoMoreStolenSisters etc… has been raised to International attention, the violence continues.

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Before the march, there is a gathering for family members hosted inside Carnegie Center. Here families of those stolen sisters are able to share, testify and find comfort with each other. During this time the community gathers outside in solidarity and takes the intersection. It is no small feat and after 27 years, now involves thousands of people, taking one of the busiest intersections in Vancouver; Main and Hastings.

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There are no organizational banners. No advertising. No sponsors. This is all community driven. This is the one day a year where women of the community are centered as leaders, guardians, speakers, singers, protectors. It’s the one day a year we can try and gather safely and name the violence. It’s the one day of a year we can mourn our lost ones together. It is a day when we get to dismiss the burden of stigma, and celebrate the beauty of the lives we honour.

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The RCMP have referenced 1,181 Missing or murdered Indigenous women (not including girls). They are still looking at this the wrong way. They only count us when we are gone, they don’t count those of us that have survived the exact same circumstances. If you counted those of us that have survived poverty, violence and misogyny, what would the numbers look like then? How big of an epidemic of violence would you be trying to quantify if you counted survivors? We are all survivors.

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The March is led by our matriarchs, our eldest warriors with whom the wisdom of survival and resilience resides. They lead us through the DTES singing the Women’s Warrior Song. We leave medicine and tobacco at the sites in which women were last seen, or were found murdered. This year we carried the ashes and prayers of one of our elders Bea, who although gone, is by no means forgotten.

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This march first started after the brutal loss of Cheryl Anne Joe in 1992. The tragedy of her young life was one too many for the community and the first march took place in response.

The women who started this march, did so at a time when there was no public awareness, or support from any level of government. This was not the cause célèbre it is often seen as now.  Women had things thrown at them while marching. There have been years when vehicles have tried to plow through the marchers, and still women were going missing.  They have never stopped marching, or organizing.

Now,  27 years since the senseless loss of her life, Cheryl Anne Joe’s legacy is now an international movement to end the epidemic of violence against Indigenous women and girls.

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There are marches across the country, into the US and there is solidarity felt from as far as Juarez, Mexico.

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There was a public Inquiry in BC and there is currently a National Inquiry being undertaking on the issue, both largely as a result the Memorial March and the relentless efforts by the Memorial March committee advocating to end the conditions that result in women’s vulnerability.

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The theme of the march is captured in the statement “Their Spirits Live Within Us”.

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And that is never more evident than in our  collective love for our next generation.

For that reason alone, we must continue.

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I hope you’ll join us next year.

All my relations,

Jessica Wood
~Sii Sityaawks

*For more images of this years march, be sure to follow Jessica on Instagram & facebook.
Galleries will be posted on her website shortly.

the love of photography

There are several reasons as to why I love photography, the main ones are that my camera allows me to capture and showcase everything that is of value to me, as well as special moments for my clients and for the many amazing opportunities that it has brought into my life.

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The first and foremost reason that I love photography is because it is a creative outlet that allows me to capture my family and everything that I love, while preserving my culture and my memories with my Jijuu. It is so incredible to be able to preserve my Gwich’in culture through my photography. I have made it a personal goal of mine to always carry my camera with me when I spend time with my Jijuu, because she’s always teaching me something new – from tanning a moose hide to setting a net under the ice in -40.

The second reason that I love photography is because I have the honor of being able to capture special, once in a life time moments for my clients and their families. It is a really great feeling to see a bride relive her wedding day while sifting through photographs that I took, or to look back on photographs of elders who have passed away.

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Last but not least, I love photography for the many opportunities that it has brought into my life. I have travelled throughout Canada – photographing the people, the scenery and my experiences. I’ve photographed the Moosehide Gathering in the Yukon, been showcased at the Adaka Festival and the Arctic Image Festival, as well as photographed several weddings all over Canada. On each of my adventures, I have had the opportunity to meet so many talented, kind and respectful individuals while creating memories that I will hold in my heart forever.

Photography isn’t just a hobby for me… it’s my lifestyle.

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 – shayla snowshoe