Creating a Critical Mass in Indigenous Arts Leadership
Sage Paul’s essay in this volume points to hopeful new directions for a future where Indigenous Peoples and their perspectives lead and guide our understanding of issues that impact us the most. Paul’s essay not only articulates the fraught nature of the international fashion industry and how a rampant culture of appropriation impacts Indigenous designers specifically—an issue also examined by Christi Belcourt in this collection—but also significantly concludes by discussing the model presented by Toronto’s Indigenous Fashion Week. Under this new model, the Artistic Director leads the event through creative and collaborative processes that seek to ensure that all participating Indigenous designers are respected and highlighted not only for their individual creative vision, but also for how they wish to represent their communities, knowledges, and practices. Sage Paul’s work thus fosters an artistic resurgence that raises our collective spirit and underscores our thrivance. Similarly, in Igloliorte et. al.’s essay Inuit Futures in Arts Leadership Project, which outlines the creation of a training and mentorship program designed to increase the number of Inuit in agential positions in all aspects of the arts, provides an example for how we can collectively build a critical mass of Indigenous arts leaders. Not only does the growing presence and leadership of this new generation create more space for Inuit self-determination in the arts, the co-authors argue it should also lead to fewer instances of cultural appropriation and misuse, as Indigenous peoples’ voices are foregrounded in matters pertaining to the circulation of their own culture. This argument is borne out in the essay by Anne Laija Utsi, on the experience of consulting on Disney’s Frozen II to make an accurate and respectful portrayal of Sámi peoples. The film, which contains not only accurate depictions of clothing and cultural objects but also reflects Indigenous worldviews, and which is also fully translated into the Sámi language, stands as an exemplary model of what is possible when Indigenous Peoples are equal partners and collaborators in projects that represent themselves.
There is a long history of the film and television industries appropriating Indigenous stories and narratives. This appropriation has exerted a great deal of influence on the lives of Indigenous Peoples around the world.
Anne Lajla Utsi
Odoshtonawa eh pitendagonik anishnabe odoshtcigan
Sage Paul omizinigan eh kidomiginik, eh wikodendik nigan apitc anishnaben nditwadjin eh ijagabwemiginik madiziwini ka akozishkagwik. Paul omizinigin, odanmodan ejagabwemiginik ka ojitowatc kidja wabidiyatc odaymonya keh adaweyatc, odanamendanawa agwa eh minobidenik anishnabe adawehnik, Christi Belcourt ogi kijigabidan anesenik ka mojigingadenik. Ogi anmodanawa Toronto ka ijwatc kidja asawadjin agonehnin keh pitcokoneyawadjin,keh mizinanaginitc. Oskiyieni ka ojisidowatc, kamodja kitawendik ogimijan agwa awin kidja onikanaginindjin ka aninabegizindjin miyah, kan neta kidji win odja eh ja kiskitok anish wi abijitok odinishnabe onakinigwin koni ehja tebwetic. Sage Paul kagi pi-animodik, nanibwimigini ehja tebwetic actic mizinadeni adi ehodja minomadizitc oma. Bejigon kegat, Igloiorte’s omizinigin ikidomgini, , ka ijinkadenik, animodagon ima Inuit ka inegizitc anishnabe, kidja ojitowatc kidja ma – kinamag, wadji wendin anishnaben, kina gotch anishnabek. Tapishkot An ketodimik kidja manehya-ik anishnabe ka miyodok weni kija kishkitok . Nogom nagoziyo gwendik eh manehyatc anishnabek, ogi twishkanawa kidja ojisidowatc kidja minjodiziwatc ehja kishkitowatc, Igloirte ogi kikadan ka ikidinanonik, agwa kidji tibinmowaginiyat anishnabe kegoni ayak kidji ikiditc win ehja tibendasitc. Anne Laija Utsi ki-odisehmigin wedi mizinigin, kagi odja inendik weni kidja ojibiyak,kidja gwedjiman Disney’s Frozen II kakijigabik kidja ojibiyah atsokani, Sámi people ka ijinkanawadji kodigin anishnaben. Keh mizinsetowatc, kan nehta tebwe ka ijokonehyat ogi mizinatsinawa anish ogi mizinanawan eh-inenmagininjin anishnaben, ki ankonotomagehyok Sámi people ka inaginiyatc anishnabek. Kidja nisitowadjin, mehe yok weni ka abidjitowatc kidji kiski ikidowatc ehgi wabidiyajin anishnaben kina kegoni kidja minosenik ishpin widokowadjin wendin ka i-nehgizinjin, kidja mamowi widja odimtadi.
Ooshistaw a Aenportaan Li noombr didawn Lii Pramyii Nawsyoon Li art Neekawneewin
Sage Paul soon en pchit istwayr didawn ooma volume la pwaents ishi si baen na swetee neu la jhireksyoon pour li tawn ki vyaen itay Lii Pramyii Nawsyoon Li moond akwa soon la veu neekwanayw akwa kishinahamakyw kiyanawn shinishtoostumuhk oohin li troub aykwawnima ayimiihiwew ishi kiyanawn. Paul soon en pchit istwayr namoo wiya pikou ki peekishkwatam ooma fraught nature ouschi ooma tooroon not grawn piyee la fasoon ita ka oushchikatayk kaykway akwa akouyikouhk mishiway itay aykishchiitaymoowin ouschi katawa awpachihtawin ayimiihiwewin Lii Pramyii Nawsyoon designers ispray— li troub meena ka kochiwahpatahiwayhk ouschi Christi Belcourt didawn ooma tout sort dafayr—mawka meena mitouni pooyouwin ka peekishkchikayak ooma aen model paminikatayw ouschi Toronto soon Lii Pramyii Nawsyoon La fasoon Smenn. Awntsoor ooma neu model, wiya Artistic Director neekawanayw ooma ay-ishpayihk shawpou la promyaenr akwa mamaawinitowin paaminikaywin aykwawnima natoonum aen kayshchinahoo aykwawnima kahkiyuw weechihiwewak Lii Pramyii Nawsyoon designers aykwaniki avek aen rispek akwa waapamikaashoo namoo wiya pikou pour soon li moond la promyaenr la veu, mawka meena pour tawnshi ishi ayndawaytahk aen neepawistamakayw soon alawntour, kishkayistamowina, akwa li prachik. Sage Paul soon louvrazh akouschi awnkourazhee aen artistic pimachihtawin aykwawnima oohpinam kiyanawn si pa rarw l’ispree akwa oohpinam kiyanawn pimachihowin. Tapishkoot, Igloliorte soon en pchit istwayr Aen Niskimoo Li tawn ki vyaen didawn Li art Neekawneewin, aykwawnima aen itwayhk ooma shi-oushtawhk ouschi kishshinahamakaywin akwa mentorship paaminikaywin itashinihikataywin ishi aen ayiwaak li noombr ouschi Aen Niskimoo didawn agential pozisyoon didawn kahkiyuw rispay ouschi omma li art, geemiyikiw aen kochiwahpatahiwayhk pour tawnshi ishi aen ki maamawi ooshistahk aenportaan li noombr ouschi Lii Pramyii Nawsyoon li art neekawneewak. Namoo wiya pikou ooma ahkikiwin akoota akwa neekawneewin ouschi ooma neu awn partawn li moud oushchikatayw kiyawpit nawut lispaas pour Aen Niskimoo wiiya-ikoo tipaymishouwin didawn ooma li art, Igloliorte kiihkahtootam aykwawnima aen ki meena neekawnayshtam apisheesh ka aen ishpaayihk ouschi ooma ka ishi pimaatishihk katawa awpachihtawin akwa waanapachihtawin, ka ishi Lii Pramyii Nawsyoon li moond soon la lway ki li veu didawn nakatoohkaywina didawn kaykwuy ay-ishpayihk ouschi pimohtatawin wiya soon aykishchiitaymoowin. Ooma keehkawtouwin aykwawnima ki pimohtemakan ouschi didawn ooma en pchit istwayr ouschi Anne Laija Utsi, shawpou ooma nakishkamoowin aen kwaychihkaymoowin ishi Disney’s Frozen II aen oushihtahk kwaayesh akwa avek rispek aen portray ouschi Sámi li moond. Ooma wapahtahiwewin, aykwawnima ashtayw namoo wiya pikou kwaayesh neepawistamakaywinouschi li bitaen akwa ka ishi pimaatishihk apacihchikanaa mawka meena wawpastahiwayw Lii Pramyii Nawsyoon la tayr aen veu, akwa meena mitouni itwayshtamakayhk didawn ishi Sámi la lawng, neepawistam ishi aen mitouni kwaayesh ashi wawpahchikayhk ouschi kaykwuy si possib ishpi Lii Pramyii Nawsyoon li moonds aykwaniki paray ishitoutawtowin en partineuz akwa mamaawinitowak didawn aen koonploon aykwawnihi soon neepawistamashoowin.
ᓴᕿᑎᑦᑎᕙᓪᓕᐊᓂᖅ ᐱᑕᖃᕆᐊᖃᒻᒪᕆᓕᖅᑐᓂᒃ ᑐᐊᕕᕐᓇᖅᑐᓂᒃ ᓄᓇᓕᑐᖃᐃᑦ ᓴᓇᐅᒐᓕᐅᖅᑎᑦ ᓯᕗᓕᐅᖅᑎᐅᔭᕆᐊᖃᕐᓂᖏᓐᓂᒃ
ᓰᔾᔨ ᐹᓕᐅᑉ ᐅᓂᒃᑳᓕᐊᖏᑦ ᑕᒡᕙᓂ ᓇᓗᓇᐃᔭᐃᕗᑦ ᒪᓕᒃᑕᐅᓕᕈᓐᓇᖅᑐᓂᕐᒃ ᑕᐃᒪᑐᖅ ᓴᕿᑎᑦᑎᓗᑕᐅᔪᓐᓇᖅᑐᓂᒃ ᓄᑖᓂᒃ ᖃᓄᐃᓕᐅᕈᑕᐅᔪᓐᓇᕐᓂᐊᖅᑐᓂᒃ ᓯᕗᓂᒃᓴᒥᒃ, ᓄᓇᓕᑐᖃᐃᑦ ᐃᓄᖁᑎᖏᑦ ᐊᒻᒪᓗ ᐃᓱᒪᒋᔭᖏᑦ ᑐᕌᖓᕕᐅᔪᓐᓇᕐᓂᖏᓐᓂ ᓇᓗᓇᐃᒃᑯᑕᕆᔭᐅᓗᑎᒡᓗ ᑐᑭᓯᐅᒪᔪᓐᓇᕐᓂᑦᑎᓐᓄᑦ ᐃᓱᒪᓘᑕᐅᕙᒃᑐᓂᒃ ᐅᕙᑦᑎᓐᓂᒃ ᐊᒃᑐᖅᓯᓯᒪᓂᖅᐹᖑᕙᒃᑐᓂᒃ. ᐹᓕᐅᑉ ᐅᖃᐅᓯᒃᓴᖏᑦ ᑐᑭᓯᓇᑦᑎᐊᕐᒪᑕ ᓈᒻᒪᒍᓃᖃᑕᕐᓂᖏᓐᓂᒃ ᓄᓇᕐᔪᐊᕐᓕᒪᒥ ᐱᐅᓯᕆᔭᐅᕙᒃᑐᑦ ᐊᓐᓄᕌᓕᕆᓂᕐᒥᒃ ᐃᖃᓇᐃᔮᕆᔭᐅᕙᒃᑐᑦ ᐊᒻᒪᓗ ᖃᓄᑐᐃᓐᓈᓗᒃ ᐊᑐᕐᓂᕐᓗᒡᕕᐅᕙᖕᓂᖏᓐᓂ ᐃᓕᖅᑯᓯᑐᖃᕆᖏᑕᖏᓐᓂᒃ ᐊᓐᓄᕌᓕᐅᕈᑕᐅᕙᒃᑐᓂᒃ ᐊᒃᑐᖅᑕᐅᓯᒪᖃᑦᑕᖅᓱᑎᒃ ᓴᓇᐅᒐᓕᐅᖅᑏᑦ ᐊᓐᓄᕌᒃᓴᓂᒃ ᓄᓇᓕᑐᖃᐃᑦ ᐱᓗᐊᖅᑐᒥᒃ-ᐃᓱᒪᓘᑕᐅᓂᖓᓪᓗ ᑕᒪᓐᓇ ᐅᖃᐅᓯᖃᕐᕕᐅᓪᓗᓂ ᐊᑐᖅᑕᐅᕙᖕᓂᓕᖅᑐᓂᒃ ᓴᕿᑎᑕᐅᓚᐅᖅᑐᓂ ᑕᐃᑲᓂ ᑐᕌᓐᑐᒥ ᓄᓇᓕᑐᖃᐃᑦ ᐊᓐᓂᐊᕌᒃᓴᓕᐅᖅᑎᖏᓐᓂᒃ ᑕᑯᔭᒐᕋᖅᑎᑦᑎᓂᖏᓐᓂ ᐱᓇᓱᐊᕈᓯᐅᓚᐅᖅᑐᒥ ᐊᓐᓄᕋᒃᓴᓂᒃ ᓴᕿᑎᕆᓗᑎᒃ ᓄᑖᓂᒃ. ᐊᑐᕐᓂᖏᓐᓂ ᑕᒪᒃᑯᐊ ᐋᕿᐅᒪᖁᔭᐅᓂᖏᑦ, ᓴᓇᕙᒃᑐᑦ ᑕᒪᒃᑯᓂᖓ ᓯᕗᓪᓕᖅᑎᐅᕙᒃᑐᑦ ᖃᓄᐃᓕᐅᓚᖓᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᑲᑐᔾᔨᖃᑎᒌᖕᓂᖏᓐᓂᒃ ᐅᔾᔨᖅᑐᑦᑎᐊᕆᐊᖃᕐᓂᕐᒧᑦ ᑕᒪᕐᓂᒃ ᐃᓚᒋᔭᐅᖃᑕᐅᔪᑦ ᓄᓇᓕᑐᖃᐃᑦ ᐊᓐᓄᕌᒃᓴᓕᐅᖅᑎᐅᖃᑕᐅᕙᒃᑐᑦ ᐃᒃᐱᒋᔭᐅᑦᑎᐊᕆᐊᖃᕐᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐃᓕᑕᕆᔭᐅᖃᑕᕐᓂᖏᓐᓂᒃ ᑕᐅᑐᒐᕆᕙᒃᑕᖏᓐᓄᑦ ᖃᓄᐃᓕᖓᓂᐊᕐᓂᖏᓐᓂ ᐊᒻᒪᓗ ᐊᑐᓂ ᐃᖕᒥᓂᒃ ᓴᕿᑎᑦᑎᓯᒪᓂᖏᓐᓂᒃ, ᐊᒻᒪᓗ ᖃᓄᖅ ᑭᒡᒐᖅᑐᐃᔪᒪᓂᖏᓐᓂᒃ ᓄᓇᓕᖕᒥᓂ, ᖃᐅᔨᒪᔭᑐᖃᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐱᐅᓯᑐᖃᕆᔭᖏᓐᓂᒃ. ᓰᔾᔨ ᐹᓕᐅᑉ ᐱᓕᕆᐊᕆᔭᖏᑦ ᑕᐃᒪᐃᒪᑦ ᐱᕚᓪᓕᕈᑕᐅᔪᑦ ᓴᓇᖃᑕᕈᒪᓕᕈᑕᐅᑲᓂᕈᓐᓇᕐᓂᕐᒧᑦ ᑕᒪᐃᓐᓂ ᐃᓚᐅᖃᑕᐅᔪᒪᓂᕐᒧᑦ ᐅᕙᒎᓗᑕ ᑕᒪᑦᑕ ᐊᒻᒪᓗ ᐊᔪᖏᓂᖅᐳᑦ ᑲᔪᓯᔪᓐᓇᕐᓂᖓᓄᑦ. ᑕᐃᒪᑦᓴᐃᓐᓇᑲᓴᒃ, ᐃᒡᓗᓕᐅᖅᑎᐅᑉ ᐅᓂᒃᑳᖅᑕᖏᑦ ᑕᐃᔭᐅᔪᑦ ᐃᓄᐃᑦ ᓯᕗᓂᒃᓴᖏᑦ ᓴᓇᐅᒐᓕᐅᖅᑎᐅᓂᕐᒧᑦ ᓯᕗᓕᐅᖅᑎᐅᓗᑎᒃ, ᓇᓗᓇᐃᔭᐃᕗᑦ ᓴᕿᑎᑕᐅᔪᒪᓂᖏᓐᓂᒃ ᐊᔪᕈᓐᓃᖅᓴᐅᑎᒃᓴᑉᐃᓪᓗ ᐃᓱᒻᒥᖅᓴᐅᑎᒃᓴᐃᓪᓗ ᐊᒥᓱᕈᕆᐊᕈᑕᐅᔪᓐᓇᖅᑐᑦ ᐃᓄᖕᓄᑦ ᓂᐅᕐᕈᑎᒃᓴᖃᖅᑎᐅᓕᕈᓐᓇᕐᓂᖅ ᑕᒪᐃᓐᓂᑦᑎᐊᖅ ᐊᔾᔨᒌᖏᑦᑑᑎᐅᔪᓂᒃ ᓴᓇᐅᒐᓕᕆᓗᑎᒃ, ᐱᕕᒃᓴᖃᕈᑕᐅᖕᒪᑕ ᖃᓄᖅ ᐅᕙᒍᑦ ᑕᒪᑦᑕ ᐱᑕᕆᐊᖃᒻᒪᕆᓕᖅᑐᓂᒃ ᓴᕿᑎᑦᑎᔪᓐᓇᕐᒪᖔᑕ ᓄᓇᓕᑐᖃᐃᑦ ᓴᓇᒐᓕᐅᖅᑎᑦ ᓯᕗᓕᐅᖅᑎᒃᓴᖏᓐᓂᒃ. ᐱᕈᖅᐸᓪᓕᐊᑐᐃᓐᓇᖏᒪᑕ, ᐊᒻᒪᓗ ᓯᕗᓕᐅᖅᑎᖃᖅᑎᑦᑎᑐᐃᓐᓇᖏᒻᒪᑕ ᓄᑖᒥᒃ ᒪᒃᑯᒃᑐᓂᒃ ᓴᕿᑎᑦᑎᒋᕗᑦ ᐃᓂᒃᓴᖃᕐᕕᐅᓂᖅᓂᓴᐅᓂᐊᓕᖅᑐᓂᒃ ᐃᓄᖕᓄᑦ ᐃᖕᒥᓂᒃ-ᐃᓱᒪᓕᐅᖅᑎᐅᖃᑕᕈᓐᓇᕐᓂᖏᓐᓂᒃ ᓴᓇᐅᒐᓕᕆᓂᕐᒥᒃ, ᐃᒡᓗᓕᐅᖅᑎ ᐊᐃᕙᐅᑎᖃᕐᒪᑕ ᓯᕗᓕᐅᖅᑎᐅᔭᕆᐊᖃᕐᓂᖏᓐᓂᒃ ᐊᒥᓲᔪᓐᓃᕆᐊᕈᑕᐅᔪᓐᓇᕐᓂᕐᒧᑦ ᐊᑐᕐᓂᕐᓗᒃᑕᐅᖃᑕᕐᓂᖏᑦ ᐱᐅᓯᑐᖃᕆᖏᑕᖏᓐᓂᒃ ᐊᑐᖃᑦᑕᖅᑐᑦ ᐊᖏᖅᑕᐅᓯᒪᒍᑎᒃ, ᓄᓇᓕᑐᖃᐃᑦ ᓂᐱᖃᕐᓂᐊᕐᒪᑕ ᐱᔾᔪᑎᖃᖅᑐᓂᒃ ᐊᑐᐃᓐᓇᐅᑎᑦᑎᕙᓪᓕᐊᓂᖏᓐᓂᒃ ᓇᖕᒥᓂᖅ ᐃᓕᖅᑯᓯᑐᖃᕆᔭᖏᓐᓂᒃ ᐊᑐᖅᓱᑎᒃ ᓴᕿᑎᑕᐅᕙᒃᑐᓂᒃ. ᑕᒪᓐᓇ ᐊᐃᕙᐅᑕᐅᒋᕗᖅ ᐅᖃᐅᓯᐅᓯᒪᖕᒥᔪᑦ ᑕᐃᔅᓱᒧᖓ ᐋᓐ ᓚᐃᔾᔭᒧᑦ, ᑐᑭᓯᓂᐊᕐᕕᐅᓚᐅᕐᓂᖏᓐᓂᒃ ᐱᔾᔪᑎᖃᖅᑐᓂᒃ ᑕᕐᕆᔭᐅᑎᓂᒃ ᐅᑭᐅᖅᑕᖅᑐᕐᒥᐅᑕᐅᔪᑦ ᐃᓄᖁᑎᖏᓐᓂᒃ, ᖃᓗᓈᑎᑐᑦ ᑕᐃᔭᐅᔪᓂᒃ Disney’s Frozen II ᐃᓄᖁᑎᖏᑦ ᓵᒥᒥᐅᑦ ᑭᒡᒐᖅᑐᖅᑕᐅᑦᑎᐊᖁᓪᓗᒋᑦ ᑕᒻᒪᖅᓯᒪᖏᑦᑐᓂᒃ. ᑕᕐᕆᔭᐅᑎᖏᓐᓂ ᑕᐃᒃᑯᓇᓂ, ᐊᓐᓄᕌᕆᕙᒃᑕᖏᑦ ᐋᕿᐅᒪᑦᑎᐊᕐᒪᑕ ᖃᓄᐃᓕᖓᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐃᓕᖅᑯᓯᑐᖃᕆᔭᖏᑦ ᐊᑐᖅᑕᐅᕙᒃᑐᑦ ᑕᑯᒃᓴᐅᑦᑎᐊᖅᓱᑎᒃ ᐊᒻᒪᓗ ᓱᓕ ᓄᓇᕐᔪᐊᕐᒥ ᐃᓱᒪᖃᕈᓯᖏᑦ ᐃᒃᐱᒋᔭᐅᑦᑎᐊᕐᒪᑕ ᑕᑯᒃᓴᐅᑎᑕᐅᓪᓗᑎᒡᓗ. ᑕᐃᓐᓇ ᑕᕐᕆᔭᐅᓯᐊᖓᑕᐅᖅ ᓵᒦ ᐅᖃᐅᓯᑐᖃᖓᓄᑦ ᑐᑭᓕᐅᖅᑕᐅᓯᒪᒋᕗᖅ, ᐊᑐᕈᒥᓇᑦᑎᐊᖅᑐᓂᒃ ᐊᑐᕐᕕᐅᓯᒪᓂᖓᓄᑦ ᐊᔪᕐᓇᖃᑕᖏᓂᖓᓂᒃ ᖃᓄᐃᓕᐅᕈᓐᓇᖃᑕᕐᓂᖅ ᓄᓇᓕᑐᖃᐃᑦ ᓇᓕᖃᒋᔭᐅᔪᒥᒃ ᐃᓚᒋᔭᐅᑦᑎᐊᖃᑕᕌᖓᒥᒃ ᐊᒻᒪᓗ ᑲᑐᔾᔨᖃᑎᒌᖑᔭᕋᖓᒥᒃ ᐱᓕᕆᐊᕆᔭᐅᔪᓂᒃ ᐃᖕᒥᓂᒃ ᑭᒡᒐᖅᑐᐃᔪᓂᒃ ᑕᑯᒃᓴᐅᑎᑦᑎᓇᓱᒃᑐᓂᒡᓗ ᐃᓄᖁᑎᖏᓐᓂᒃ.