Sovereignty and Self-Determination Over Our Arts and Cultural Knowledge
In recent years, Indigenous Peoples have been championing the development of major changes at Canadian cultural institutions that encourage these institutions to reframe and reconsider their responsibilities to First Nations, Métis, and Inuit in Canada, whose cultures and knowledges they often hold in trust. Ultimately, these initiatives aim to foreground Indigenous sovereignty and rights to self-determine such concerns as who has access to and decision-making authority over our arts and cultural expressions. In two essays about innovative work currently underway at the Canada Council for the Arts and Library and Archives Canada, both Steven Loft and Jennelle Doyle et al. foreground their commitments to addressing the ongoing impacts of the colonial legacies of Canadian museums, art galleries, archives, universities and funding bodies. Through their collaborative work with Indigenous interlocutors and their allies both within and outside these institutions, they have launched new programs that seek to create new relationships built on respect, reciprocity, and trust. In “Creating, Knowing and Sharing: The Arts and Cultures of First Nations, Inuit and Métis Peoples,” Loft explains how a radical departure from a prescriptive approach to arts funding towards more Indigenous-led processes has not only prompted a transformation in how the Canada Council for the Arts considers its responsibilities to Indigenous artists, but also calls for the whole country to consider how it can better act on its nation-to-nation relationship.
In the essay by Doyle et al. on the “Listen, Hear Our Voices” project at Library and Archives Canada, they examine how the institution similarly aims to improve its accountability to Indigenous Peoples and uphold the equality of Indigenous knowledge to Western knowledge. To do this, the project uses a two-pronged approach that both preserves existing knowledge (through the free digitization of Indigenous language and culture audiovisual recordings) and builds capacity in communities to build and maintain their own archives. Importantly, both reinvigorated processes at these behemoth cultural organizations have been led by deep, meaningful, and ongoing Indigenous consultation and collaboration.
While Loft and Doyle et. al. discuss the currently unfolding, institution-wide changes, Carey Newman’s essay, “Changing Relationships,” considers a single yet monumental action of asserting Indigenous sovereignty within a non-Indigenous institution. He describes the process of negotiating a resting place for the Witness Blanket, the massive sculptural work that toured across Canada between 2014-2019, sharing and gathering Indigenous experiences of residential schools through potent memory objects, photographs, text and other evocative commemorations, within the Canadian Museum for Human Rights (CMHR). Providing the perspective of being on the other side of this negotiation, Jennefer Nepinak describes the process of negotiating for the care of the Witness Blanket at the CMHR. She argues that the agreement serves as a powerful example of how we can forge new relationships in the future by meaningfully and respectfully bringing Indigenous traditions and western legal concepts together.Drawing on Kwakwaka’wakw understandings of sacred masks as living ancestors, Newman considers the Witness Blanket similarly as an entity unto itself, which therefore cannot be bought or sold, but only jointly stewarded by artist and institution alike. In this essay, the artist explains how he and the museum negotiate their shared responsibility. In this process, Newman forges new, sovereign pathways forward in relations between institutions and Indigenous arts that may inspire fundamental reconsideration of the museum-artist relationship.
“In recent years, Indigenous Peoples have been championing the development of major changes at Canadian cultural institutions that encourage these institutions to reframe and reconsider their responsibilities to First Nations, Métis, and Inuit in Canada, whose cultures and knowledges they often hold in trust.”
Tony Belcourt, Heather Igloliorte and Dylan Robinson
Kidja minjodiziyak eja ndendimak, ehja tebwetimac odja, anishnabe odikidowin
Maneh tisobon, Anishnabe ogi kishkiton kidja atchigadenik ogimanodaginika omizinigan, kidja nditwaginiyatc kwehwinwa, adi keh ija nditowajin anishnaben eh nendiminjin, pepkan anishnabe ehnegizinjin ka inendik ka tibenmadjin. Anish kinoweh, inendagoni ehgi ojitowatc agwa kidja nditchigadenik anishnabe ehja tebwetic keh ija madiziyatc, eja kishkitowatc kegoni, weminjigadeni odikidowiniyawa. Nijin mizinigan ikidomigini kidja ojitowatc megwatc nogom, Kitchi ogonodaginik omigwam, ka ija kinendasowatc, nijin gotch Steven Loft mamowi Jennelle Doyle, ikadok kidja animodimowatc eh animendagonik kitchi ogmanodagin ehnabijitok ogitco omigwam miziniginikak, ka ija kinendasowatc. Ka mamowi odimtamadiyatc anishnaben odja mamowi ka widokagodjin, ogodjik ka odisendjin ka ija odimtawat dish, ogi atonawa odimtawini kidja mamowi odimtawatc anishnaben mamowi, kidja mino widja odimtamidiwatc, kidja nditadowatc acitc kidja tebwetadiyatc.
Kidja ojitowatc mamowi kidja pigidinigeyatc Ehja kishkitowatc pepkan anishnabe eh negiitc, Loft ikido ehkitcha kijibidehnik ehja widokwaginijin anishnaben kagwewidokwajin, ehja kijikimowajin anishnaben ka widokwajin, pikan eh ijinagonik eh ji enendik ehja minjowadjin anishnaben ehja kendiminjin, odinendanawa wewenda kidja todwajin anishnaben.
Omizinigan Doyle kagi ojitok, nditin mamowi kija nodimowatc, omizinigwamikak Mamowi ka ija kinendjigadek miziniginin, ikadok ima adi keh odja atowatc ima anishnabe odikidowin mamowi odebwetimowin, adi keh ija mamowisidowatc anishnabe omidinendjigan mamowi wabishke ehnendik. Ejhja kendimowatc. Kidja todimowatc weni, nijin panima adabijitonawa ehja kendiminjin anishnaben, obisheshman, ominan dish anishnaben kiji kenendimadizinjin kehwin. Ka kotendagok dish, nijin ka ma tijikigadek, anishnabe otebwetimowin odja, omah kagwedjimawan, owidokwawan, kan obikanshimasin kama widokwadjin anishnaben.
Megwatc Loft mamowi Doyle, kina kegoni megwatc ehma kweksenik, Carey omizinigin odanmodan, (meshkodjisehni witckewini) ogipiyodanawa megwatc eh ma wijigabetowadjin anishaben agwa ka anishnabewatc. Odanimodan keh ija atowatc wabwani ka ijinkadimowatc, kidji ikidowatc eh kijigamidiyatc, kagi kijibashkamigik okitkimik, Canada ka ijinkadek, 2014 nash 2019, atsokidadiyok kagi bi kinamagiziyatc mekode migwamik ka bi ijiyebizowatc, ki atcigadeni mizinigini migwamik, mizonaziwinin mamowi ojibigini, Canadian Museum for Human Rights ka ijinkadenik (CMHR). Oditonawa iji kidja kishka animodimowatc agoneni ihi ka ndendimowatc, Jenifnfer Nepinak ka ijinkazitc, odanmodan an ketodimowatc wabwani kagi atowatc mizinigin migwamik CMHR. Odanmodanawa apitc kidja nijin wijidigabwetadiyat odi nigan, kidja mino widji tijikemidiyatc, kidja widjigabwediyac megwatc sinigik, anishnabe mamowi wabishkiyek.
Omizinbiyanawa Kwakwaka’wakw eh nisitimowatc ikidomiginik ka kipiyojigadenik ketewini, Newman owabidan wabwankak kidja kinendjigadek kidji ikidomgit dish tebwetimowini, kawin dish ijinaksinon kidja adawenanok koni kidja kispinjigadek wabwan, anish kidja kindimowatc kidja widja-odimtadiyatc. Oma miziniginikak, ogi mizinadanawa kidja kidja kiska abidinik apitc kegoni gwedeyatc, nijin kidja ija kijigabidimowatc. Keh ijiyebik dish, Newman Forges, oshkewini ima tigoni kido kidja animodimowatc, kidja witckemidiwatc tcigoji odimtawini mamowi anishnaben, mikeh inabidik wedi wabwan kagi kinendjigadek mizinigan migwamik.
Tipaychikayiwn akwa Wiiya-ikoo Tipaymishouwin Shawpou Kiyanawn Li art akwa Ka ishi Pimaatishihk Kishkayistamowin
Didawn anoushcheehkay aen naw, Lii Pramyii Nawsyoon Li moond ki weechihiwayw ooma oushistawin ishi kischee aenportaan mayshkoohtaashtawin itay Aen zhawnd Canada ka ishi pimaatishihk a l’ikol aykwawnima awnkourazhee oohin a l’ikol aen kanawaapuhtum akwa keehtwawm itaystam soon pishkayimiwawn ishi Lii Pramyii Nawsyoon, Michif, akwa Aen Niskimoo didawn Canada, aykwaniki soon aykishchiitaymoowin akwa kishkayistamowin ki souvawn michiminam didawn ashpayimouwin. Mawka, oohin niikaaniishtamakewina itwaham ishi mitouni shinishtoustamoohiwayhk Lii Pramyii Nawsyoon tipaychikayiwn akwa lii drway ishi wiiya-ikoo kishkayhtamowin isti nakatoohkaywina awina ayow piihtikwaywin ishi akwa la lway-ooshihtawin tipaychikayiwn shawpou kiyanawn li art akwa ka ishi pimaatishihk kishchiitayimoowin. Didawn deu en pchit istwayr ouschi la promyaenr louvrazh maykwaat aen mawchistawak ita Canada Council pour ooma Li art akwa Library akwa Archives Canada, lee deu Steven Loft akwa Jennelle Doyle (et al.) mitouni shinishtoustamoohiwayhk soon ashoutamakaywin ishi peekishkwachikatayk ooma toul tawn ayimiihiwewin ouschi colonial ka ki nakatamakayt Aen zhawnd Canada museums, li art galleries, archives, li university akwa aen tawd d’arzhawn opaminikaywak. Shawpou soon mamaawinitowin louvrazh avek Lii Pramyii Nawsyoon weechihiwaywak akwa soon en partineuz lee deu didawn akwa awnd hor oohin a l’ikol, ki meena mawchistawak neu paaminikaywin aykwawnima ka natounahk aen oushistahk neu mamaawinitowins oushistawin ishi rispek, reciprocity, akwa ashpayimouwin.
Didawn “Ooshistaw, Knowing akwa En pawr: Ooma Li art akwa Aykishchiitaymoowin ouschi Lii Pramyii Nawsyoon, Aen Niskimoo akwa Michif Li moond,” Loft mitouni weehstam tawnshi ishi kischee mawscheemakun ouschi aen si pa rawr nakishkamoowin ishi li art aen tawd d’arzhawn tayhkay kiyawpit nawut Lii Pramyii Nawsyoon-neekawnaywin paaminikaywin ki namoo wiya pikou awnkourazhee aen kwayshkoochinaakoohtawin didawn tawnshi ishi ooma Canada Council pour Li art itaystam soon pishkayimiwawn ishi Lii Pramyii Nawsyoon lee portray kawshoupaykakem, mawka meena kwayshihkaymou pour kahkiyuw li tayraen aen itaystahk tawnshi ishi aen ki nawut paaminikaw ooma naawsyoon-ishi-naawsyoon mamaawinitowin.
Didawn ooma en pchit istwayr ouschi Doyle et al. ooma “Natouhta, Payhta Kiyanawn La lway” aen koonploon ita Library akwa Archives Canada, ka ki kochiwahpatahiwayhk tawnshi ishi ooma a l’ikol tapishkoot itwaham aen kawmiyokistaw nawut soon pishkayimiwawn ishi Lii Pramyii Nawsyoon Li moond akwa michiminam ooma paray ishitoutawtowin ouschi Lii Pramyii Nawsyoon kishkayistamowin ishi Western kishkayistamowin. Aen toochikatayk ooma, ooma aen koonploon awpachistaw aen par-deu nakishkamoowin aykwawnima lee deu shimanawchistawhk maykwawt kishkayistamowin (shawpou ooma pour aryaen digitization ouschi Lii Pramyii Nawsyoon la lawng akwa aykishchiitaymoowin audiovisual tapashinahikataywin) akwa oushistaw kaashkihtowin didawn alawntour aen oushistahk akwa chikanawayhtahk wiya soon archives. Aenportaan, lee deu neu paaminikaywin ita oohin behemoth ka ishi pimaatishihk mamowwiitowuk ki neekawnayhtakwan ishi shoohkayihtakwan, nishtoohtakwun, akwa toul tawn Lii Pramyii Nawsyoon weehtamawkaywin akwa en partineuz weechayhtoowin.
Maykwawt Loft akwa Doyle (et. al.) peekishkwatam ooma maykwaat oushistawin, a l’ikol-larzh mayshkoohtaashtawin, Carey Newman soon en pchit istwayr, “Mayshkoohtaashtawin Mamaawinitowina,” itaystam aen payyek mawka mishi nakatoohkatewin ishi natamowihk Lii Pramyii Nawsyoon tipaychikayiwn didawn aen namoo-Lii Pramyii Nawsyoon a l’ikol. Wiya la diskripsyoon ouschi ooma paaminikaywin ishi li maaarshiihkayk aen ayiwaypiwin pour Ooma Timwaen en Kouvart, aen li groo sculptural louvrazh aykwawnima ou wayaezh mishiway itay Canada awntor deu 2014-2019, en pawr akwa mowshookoonam Lii Pramyii Nawsyoon kishkayhtamowin ouschi ita kawweekihk l’ikol shawpou la fors mimwayr kaykwuy, aen portray, la parol akwa kootaaka bonn mimwawyr kishkishowin, didawn ooma Aen zhawnd Canada Museum pour Human lii drway (CMHR). Pakitinam ooma la veu ishi ayowin itehkay loot bor ooma aen li maarshiihkayk, Jennefer Nepinak soon la diskripsyoon ooma paaminikaywin ouschi li maaarshiihkayk pour oooma nakahtoohkatum ouschi Ooma Timwaen en Kouvart ita CMHR. Ki kiihkahtootam aykwawnima ooma awn nagrimawn weechihiwayw ishi aen la fors ka kochiwahpatahiwayhk tawnshi ishi aen ki ay-ishchikawtayk neu mamaawinitowin didawn ooma neekawnaywin aen ishi geepayshiwihk Lii Pramyii Nawsyoon nakaayashkumowina akwa western si la lway aen nidee maamawi mishtahi akwa avek rispek.
Aymashnipayikayhk ishi Kwakwaka’wakw shinishtoostumowin ooschi amihayshtoutawin enn mask ishi la parawntee kayawsh pimatishiwin ouschi, Newman itaystam ooma Timwaen en Kouvart tapishkoot entity aen sipaarii, aykwawnima akouschi namoo wiya aen ki ataawan keema ataawaakay, mawka pikou awnsawmbl stewarded ouschi lee portray kawshoupaykakem akwa paray a l’ikol. Didawn ooma en pchit istwayr, aywawina lee portray kawshoupaykakem mitouni weehstam tawnshi ishi wiya akwa ooma museum li maarshiihkayk soon en pawr atoushkaywin. Didawn ooma paaminikaywin, Newman ay-ishchikawtayk neu, li lway en pchit shmayn chi kaashkamoohtayk anavaan didawn mamaawinitowin awntor deu a l’ikol akwa Lii Pramyii Nawsyoon li art aykwawnima aen ki i awnkourazhee kischee aenportaan keehtwawm itaystamowin ouschi ooma museum-lee portray kawshoupaykakem mamaawinitowin.
ᐊᐅᓚᑦᑎᔨᐅᕕᒋᔭᕗᑦ ᓇᖕᒥᓂᓪᓗ ᑐᑭᓕᐅᖅᑎᐅᓂᕗᑦ ᑕᒪᒃᑯᓂᖓ ᓴᓇᐅᒐᓕᐊᕆᕙᒃᑕᑎᓐᓂᒃ, ᐃᓕᖅᑯᓯᑐᖃᖏᑦ ᐊᑐᕐᓂᕐᒧᑦ, ᐱᐅᓯᑐᖃᕐᓂᒡᓗ ᓴᓇᔭᐅᕙᖕᓂᖏᓐᓂᒃ.
ᒫᓐᓇᓵᖑᓕᖅᑐᖅ, ᓄᓇᓕᑐᖃᐃᑦ ᐃᓄᖁᑎᖏᑦ ᐊᔭᐅᕇᓐᓇᕐᒪᑕ ᐱᕙᓪᓕᐊᖁᔨᓂᖅ ᐱᒻᒪᕆᐅᔪᓂᒃ ᐊᓯᔾᔨᖅᑕᐅᖁᔨᓂᖅ ᑲᓇᑕᒥᐅᓂ ᐃᓕᖅᑯᓯᓕᕆᕕᖕᓂ ᐱᔫᒥᓴᐃᓂᖅ ᑕᒪᒃᑯᐊ ᐃᓱᒪᒃᓴᖅᓯᐅᕈᑎᖃᑦᑎᐊᑲᓂᖁᔭᐅᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐊᓯᔾᔨᓗᑎᒃ ᑲᒪᒋᖃᑕᕆᐊᓕᖕᓂᒃ ᓄᓇᓕᑐᖃᐅᔪᓄᑦ ᐊᓪᓚᓄᑦ, ᐊᓪᓚᖓᔪᓄᑦ ᐊᒻᒪᓗ ᐃᓄᖕᓄᑦ ᑲᓇᑕᒥ, ᐃᓕᖅᑯᑐᖃᕆᔭᖏᑦ ᐊᒻᒪᓗ ᖃᐅᔨᒪᔭᑐᖃᖏᑦ ᑎᒍᒥᐊᖅᑕᐅᕙᖕᓂᖏᓐᓂᑦ ᐸᐸᑕᐅᓗᑎᒃ. ᐃᓱᐊᓂ, ᑕᒪᒃᑯᐊ ᐱᕙᓪᓕᐊᖁᔭᐅᔪᑦ ᑐᕌᖓᔪᑦ ᓄᓇᓕᑐᖃᐃᑦ ᐊᐅᓚᑦᑎᔨᐅᔭᕆᐊᖃᕐᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐱᔪᓐᓇᐅᑎᖃᕐᓂᖏᓐᓂᒃ ᐃᖕᒥᓂᒃ ᓇᖕᒥᓂᖅ-ᐃᓱᒪᓕᐅᖅᑎᐅᔭᕆᐊᖃᕐᓂᖏᓐᓂᒃ ᑕᒪᒃᑯᓂᖓ ᐃᓱᒪᓘᐆᕙᒃᑐᓂᒃ ᐱᔾᔪᑎᖃᖅᑐᓂᒃ ᑭᓇᒃᑯᑦ ᐱᔪᓐᓇᕐᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᑭᓇᒃᑯᑦ ᐃᓱᒪᓕᐅᖅᑎᐅᔪᓐᓇᕐᓂᕐᒥᒃ ᓴᖏᓂᖃᕐᓂᖏᓐᓂᒃ ᐅᕙᑦᑎᓐᓄᑦ ᓴᓇᔭᐅᓯᒪᔪᓂᒃ ᓴᓇᐅᒐᕆᔭᑦᑎᓐᓂᒃ ᐊᒻᒪᓗ ᐃᓕᖅᑯᓯᑦᑎᓐᓂᒃ ᐊᑐᖅᐸᒃᑕᑦᑎᓐᓂᒃ. ᒪᕐᕉᖕᓂᒃ ᐅᓂᒃᑳᓕᐊᓂᒃ ᒫᓐᓇᐅᓕᖅᑐᖅ ᑕᐃᑲᓂ ᑲᓇᑕᒥ ᑲᑎᒪᔨᖏᓐᓂ ᓴᓇᐅᒐᓕᕆᓂᕐᒧᑦ ᐅᖃᓕᒫᒐᖃᕐᕕᖓᓂᓗ ᑎᑎᖃᖁᑎᕕᓂᖃᕐᕕᖓᓐᓂᓗ ᑲᓇᑕᒥ, ᑕᒪᕐᒥᒃ ᔅᑏᕙᓐ ᓛᕝᑦ ᐊᒻᒪᓗ ᔭᓂᐊᓕ ᑐᐃᓚ (ᐱᓕᕆᖃᑎᒋᕙᒃᑕᖏᓪᓗ) ᖃᓄᐃᓕᐅᕈᑎᖃᕆᐊᖃᕈᒪᓕᖅᑐᑦ ᐊᒃᑐᖅᑕᐅᓯᒪᓂᖏᓐᓂᒃ ᐊᓯᒥᓄᑦ ᐊᐅᓚᑦᑎᔨᐅᖃᑕᐃᓐᓇᕐᓂᑰᔪᓄᑦ ᐋᕿᐅᒪᔭᐅᓂᖏᑦ ᑕᑯᔭᒐᖃᕐᕖᑦ, ᓴᓇᐅᒐᓕᕆᕖᑦ, ᐱᖁᑎᕕᓂᖃᕐᕖᓪᓗ, ᐃᓕᓐᓂᐊᕐᕕᒡᔪᐊᕆᔭᐅᓂᖅᐹᖑᔪᓪᓗ ᐊᒻᒪᓗ ᑮᓇᐅᔭᒃᓴᓂᒃᓯᒪᕙᒃᑐᑦ ᑎᒥᖁᑎᖏᑦ. ᑲᑐᔾᔨᖃᑎᒌᒡᓗᑎᒃ ᓄᓇᓕᑐᖃᐅᔪᓂᒃ ᓴᖑᓐᓂᐊᖅᑎᐅᖃᑕᐅᓕᖅᑐᓂᒃ ᑕᐱᕆᔭᖏᓐᓂᓄᓗ ᑕᒪᐃᓐᓂ ᑕᒪᒃᑯᓇᓂ ᓯᓚᑎᖏᓐᓂᓗ ᐱᓕᕆᐅᕙᒃᑐᓂᒃ, ᐱᒋᐊᖅᑎᑦᑎᓯᒪᓕᖅᑐᑦ ᓄᑖᓂᒃ ᐊᑐᒐᒃᓴᐅᕙᖕᓂᐊᖅᑐᓕᒃ ᓴᕿᑎᑦᑎᓗᑕᐅᓂᐊᖅᑐᓂᒃ ᓄᑖᓂᒃ ᐱᓕᕆᖃᑎᒌᖃᑦᑕᕈᑕᐅᓂᐊᓕᖅᑐᓂᒃ ᑐᖓᕕᖃᖅᑐᓂᒃ ᐊᓯᒥᓂᒃ ᐃᒃᐱᒍᓲᑎᑦᑎᐊᕈᓐᓇᕐᓂᕐᒥᒃ, ᐅᑎᕐᕕᐅᖃᑕᕈᓐᓇᑦᑎᐊᕐᓂᐊᖅᑐᓂᒃ ᐊᒻᒪᓗ ᓱᓕᔪᕆᔭᐅᔪᓐᓇᖅᑐᓂᒃ.
ᓴᕿᑎᑦᑎᓂᖏᓐᓂᒃ ᑕᐃᒃᑯᓂᖓ “ᓴᓇᔭᐅᕙᖕᓂᖏᓐᓂᒃ, ᖃᐅᔨᒪᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᑕᑯᔭᐅᔪᓐᓇᕐᓂᖏᓐᓂᓄᒃ: ᓴᓇᐅᒐᓕᐊᖏᑦ ᐊᒻᒪᓗ ᐃᓕᖅᑯᓯᑐᖃᖏᑦ ᓄᓇᓕᑐᖃᐃᑦ ᐊᓪᓚᐃᑦ, ᐃᓄᐃᑦ ᐊᒻᒪᓗ ᐊᓪᓚᖓᔪᓂ,” ᓛᕝᑦ
ᐅᓂᒃᑳᖅᐳᖅ ᖃᓄᖅ ᐊᓯᔾᔨᖅᑕᐅᕐᔪᐊᕈᑎᒃ ᓴᓇᐅᒐᓕᐅᖃᑕᕐᓂᕐᒧᑦ ᑮᓇᐅᔭᒃᓴᓂᒃᑕᐅᕙᖕᓂᖏᑦ, ᓄᓇᓕᑐᖃᐃᑦ ᐊᐅᓚᑦᑎᔨᐅᓕᕐᓗᑎᒃ ᐊᓯᔾᔨᕈᑕᐅᓯᒪᓂᖏᓐᓂᒃ ᑲᓇᑕᒥ ᑲᑎᒪᔨᕐᔪᐊᖏᓐᓄᑦ ᓴᓇᐅᒐᓕᕆᓂᕐᒧᑦ ᐃᓱᒪᒋᔭᐅᕙᖕᓂᖏᑦ ᓄᓇᓕᑐᖃᐃᑦ ᓴᓇᐅᒐᓕᐅᖅᑎᐅᕙᒃᑐᑦ, ᐊᒻᒪᓗ ᑕᒪᐃᓐᓂᒃ ᑲᓇᑕᓕᒫᒥᒃ ᐃᓱᒪᒋᔭᐅᖁᔨᓂᖅ ᖃᓄᖅ ᐱᐅᓂᖅᓴᓂᒃ ᓄᓇᓕᑐᖃᐅᖃᑎᒌᖕᓂᖏᓐᓂᒃ ᐱᓕᕆᖃᑎᒌᑦᑎᐊᕐᓂᖅᓴᐅᔪᓐᓇᕐᓂᖏᓐᓂᒃ.
ᑎᑎᕋᖅᑕᖏᓐᓂ ᑐᐃᓪᑯᑦ ᐃᓚᖏᓪᓗ, ᑕᐃᔭᐅᔪᓂ “ᐊᑕ, ᓂᐱᕗᑦ ᑐᓴᖅᑕᐅᓕᑦ” ᐱᓕᕆᐊᕆᔭᐅᓂᖏᓐᓂ ᐅᖃᓕᒫᒐᖃᕐᕕᖕᓂ ᑎᑎᖃᑐᖃᖃᕐᕕᐅᔪᓂᓗ ᑲᓇᑕᒥ, ᕿᒥᕐᕈᐊᓚᐅᖅᑐᑦ ᖃᓄᖅ ᐃᖃᓇᐃᔭᕐᕕᖏᓐᓂᑕᐅᖅ ᐱᐅᓯᒋᐊᖅᑎᑎᔪᓐᓇᕐᓂᖏᓐᓂᒃ ᐅᓂᒃᑳᑦᑎᐊᖃᑕᕈᓐᓇᕐᓂᖏᓐᓂᒃ ᓄᓇᓕᑐᖃᐅᔪᓄᑦ ᐃᓄᖁᑎᒋᔭᐅᔪᓄᑦ, ᒪᑭᒪᑎᑦᑎᓗᑎᒡᓗ ᓇᓕᖃᒋᔭᐅᓂᖏᓐᓂᒃ ᓄᓇᓕᑐᖃᐃᑦ ᖃᐅᔨᒪᔭᑐᖃᖏᑦ ᑕᐃᒃᑯᓄᖓ ᖃᓪᓗᓈᓄᑦ ᖃᐅᔨᒪᓂᕆᔭᐅᕙᒃᑐᓄᑦ. ᑕᐃᒪᐃᓐᓂᐊᕋᒥᒃ, ᐱᓕᕆᓕᖅᑐᑦ ᒪᕐᕈᐃᓕᖃᖓᔫᖕᓂᒃ ᐊᑐᖅᓱᑎᒃ ᑕᒪᐃᓐᓂᒃ ᓴᐳᓐᓂᐊᖅᑕᐅᓂᖏᓐᓂᒃ ᒫᓐᓇᐅᔪᖅ ᖃᐅᔨᒪᔭᑐᖃᐃᑦ (ᐊᑭᖃᖏᑦᑐᒃᑯᑦ ᖃᕆᑕᐅᔭᒃᑰᖓᔪᓐᓇᖅᑎᑕᐅᓂᖏᓐᓄᑦ ᓄᓇᓕᑐᖃᐃᑦ ᐅᖃᐅᓯᑐᖃᖏᑦ ᐊᒻᒪᓗ ᐃᓕᖅᑯᓯᑐᖃᖏᓐᓂᒃ ᑕᕐᕆᔭᐅᓯᐊᑦ ᓂᐱᓕᐅᖅᓯᒪᔪᑐᖃᐃᓪᓗ) ᐊᒻᒪᓗ ᐱᔪᓐᓇᑦᑎᑕᐅᓪᓗᑎᒃ ᓄᓇᓖᑦ ᓴᓇᖃᑕᕈᓐᓇᕐᓂᖏᓐᓂᒃ ᐊᒻᒪᓗ ᐋᕿᐅᒪᑎᑦᑎᔪᓐᓇᕐᓂᖏᓐᓂ ᓇᖕᒥᓂᖅ ᑎᑎᖃᖁᑎᖃᖏᓐᓂᒃ. ᐱᒻᒪᕆᐅᔪᒥᒃ, ᑕᒪᐃᓐᓂᒃ ᓴᖏᓂᖅᓴᐅᓕᕈᑎᒃ ᑕᒪᒃᑯᐊ ᐊᖏᔪᐊᓗᐃᑦ ᐃᓕᖅᑯᓯᓕᕆᕝᕖᑦ ᑲᑐᔾᔨᖃᑎᒌᖏᑦ ᓯᕗᓕᐅᖅᑎᐅᖃᕐᓂᐊᖅᑐᑦ ᖃᐅᔨᒪᕐᔪᐊᖅᑐᐊᓗᖕᓂᒃ, ᑐᑭᓕᐅᑦᑎᐊᖅᑐᐊᓗᖕᓂᒃ ᐊᒻᒪᓗ ᑲᔪᓲᑎᑕᐅᖏᓐᓇᕐᓂᐊᖅᑐᓂᒃ ᓄᓇᓕᑐᖃᕐᓂᒃ ᑐᑭᓯᓂᐊᕐᕕᖃᕐᓗᑎᒃ ᐊᒻᒪᓗ ᐱᓕᕆᖃᑎᖃᕐᓗᑎᒃ.
ᓚᕝᑦᑯᒃ ᑐᐃᓪᑯᒃ (ᐃᓚᖏᓪᓗ) ᐅᖃᐅᓯᖃᕐᓂᖏᓐᓂ ᒫᓐᓇᐅᔪᖅ ᑲᒪᒋᔭᐅᕙᓪᓕᐊᓕᕐᓂᖏᑦ, ᐃᖃᓇᐃᔭᕐᕕᖕᓂ ᐊᓯᔾᓪᔨᖅᑕᐅᓂᐊᖅᑐᑦ, ᑕᐃᓐᓇ ᑭᐅᕆ ᓂᐅᒪᓐᓂᐅᑉ ᐅᒃᓂᑳᓕᐊᖏᑦ, ᐊᓯᔾᔩᓂᖅ ᐱᓕᕆᖃᑎᒌᓂᖏᓐᓂ,” ᐃᓱᒪᒃᓴᖅᓯᐅᕈᑎᖃᖅᐳᑦ ᐃᓕᑕᕆᔭᐅᖁᔨᓂᖅ ᓄᓇᓕᑐᖃᐃᑦ ᐊᐅᓚᑦᑎᔨᐅᓂᖏᓐᓂᒃ ᓄᓇᓕᑐᖃᐅᖏᑦᑐᓄᑦ ᐱᓕᕆᕕᖕᓂ. ᐅᓂᒃᑳᖅᐳᖅ ᐊᑐᖅᑕᐅᕙᓪᓕᐊᔪᓂᒃ ᐊᖏᖃᑎᒌᒐᓱᐊᕈᑕᐅᓂᖏᓐᓂᒃ ᐃᓂᒃᓴᖃᖅᑎᑕᐅᑦᑎᐊᕆᐊᖃᕐᓂᖏᑦ ᕿᐱᒃ ᑕᐃᔭᐅᔪᖅ The Witness Blanket, ᐊᖏᔪᐊᓗᒃ ᓴᓇᔭᐅᓯᒪᔪᖅ ᐱᓕᕆᐊᖑᓚᐅᖅᑐᖅ ᑲᓇᑕᒥ ᑕᑯᔭᒐᒃᓴᐅᑎᑕᐅᓚᐅᖅᑐᖅ ᐊᕐᕋᒍᓂᒃ 2014-ᒥᒃ 2019-ᒧᑦ, ᐅᖃᐅᓯᐅᓂᖏᓐᓄᑦ ᐊᒻᒪᓗ ᑲᑎᒪᕕᐅᖃᑕᕐᓂᖏᓐᓄᑦ ᓄᓇᓕᑐᖃᐅᔪᓄᑦ ᐊᐅᓪᓚᖅᑎᑕᐅᓯᒪᓗᑎᒃ ᐃᓕᓐᓂᐊᕆᐊᖅᑎᑕᐅᕙᓚᐅᕐᓂᖏᓐᓂᒃ ᐊᒥᓱᐊᓗᖕᓂᒡᓗ ᐃᖃᐅᒪᔾᔪᑎᒃᓴᖃᓚᐅᖅᑐᓂᒃ ᐱᖁᑎᓂᒃ, ᐊᔾᔨᖁᑎᖏᓐᓂᒃ, ᑎᑎᖃᓂᒃ ᐊᓯᖏᓐᓂᓗ ᐃᖃᐅᒪᓇᕈᑕᐅᒋᐊᖅᑐᓂᒃ, ᑲᓇᑕᒥ ᑕᑯᔭᒐᖃᕐᕕᖓᓐᓂ ᐃᓄᓕᒫᑦ ᐱᔪᓐᓇᐅᑎᖃᕐᕕᒋᔭᖏᓐᓄᑦ. ᐃᓱᒪᒋᔭᐅᓂᖏᓐᓂ ᐃᒡᓗᐊᓂ ᐊᖏᖃᑎᒌᒐᓱᐊᖅᑎᐅᓂᖏᓐᓂ, ᔭᓂᕗ ᓂᐱᓇᒃ ᐅᖃᐅᓯᖃᖅᐳᖅ ᐊᖏᖃᑎᒌᒑᓱᐊᕈᑕᐅᓯᒪᓂᖏᓐᓂᒃ ᐃᓂᒃᓴᖃᑦᑎᐊᕆᐊᖃᕐᓂᖓ ᕿᐱᐊᓗᒃ ᑕᐃᑲᓂ ᑲᓇᑕᒥᐅᑦ ᐃᓄᓕᒫᑦ ᐱᔪᓐᓇᐅᑎᖃᕐᕕᓕᕆᔨᖓᓂ. ᑕᐃᓐᓇ ᐊᐃᕙᐅᑎᖃᖅᐳᖅ ᐊᖏᕈᑏᑦ ᓴᖏᔪᐊᓗᖕᒥᒃ ᐆᒃᑑᑦᑎᑦᑎᐊᕙᐅᓂᖏᓐᓂᒃ ᖃᓄᖅ ᐃᓚᒌᓕᖅᐸᓪᓕᐊᖃᑕᕈᓐᓇᕐᓂᑦᑎᓐᓂᒃ ᐱᓕᕆᖃᑎᒌᒡᓗᑎᒃ ᓯᕗᓂᓴᒥ, ᐃᓚᐅᑎᑦᑎᖃᑕᕈᑦᑕ ᓄᓇᓕᑐᖃᐃᑦ ᐱᐅᓯᑐᖃᖏᓐᓂᒃ ᐊᒻᒪᓗ ᖃᓪᓗᓈᑦ ᒪᓕᒐᖅᑎᒍᑦ ᐃᓱᒪᓕᐊᕆᓯᒪᔭᖏᓐᓂᒃ ᐊᑕᐅᑎᒃᑯᑦ, ᑐᑭᓕᐅᕐᓗᑎᒃ ᐊᒻᒪᓗ ᐃᒃᐱᒍᓲᑎᑦᑎᐊᕐᓗᑎᒃ.
ᒪᓕᒃᓱᒋᑦ ᑕᐃᒃᑯᐊ ᑯᐊᑯᐊᑲ’ᐅᐊᑯᒃᑯᑦ ᑐᑭᓯᐅᒪᓂᖏᑦ ᑮᓇᐸᖕᓂᒃ ᑕᐃᒃᑯᓂᖓ ᐃᓄᕕᐅᕙᖕᓂᖏᓐᓂᒃ ᓯᕗᓪᓕᕕᓂᖏᓐᓂᒃ, ᓂᐅᒪᓐ ᐃᓱᒪᖃᖅᐳᖅ ᑕᐃᓐᓇ ᖃᐅᔨᒪᓂᖃᖅᑐᓄᑦ ᕿᐱᐊᓗᒃ ᑕᐃᒫᒃᑕᐅᖅᑦ ᐃᖕᒥᒍᑦ ᓴᖏᓂᖃᕆᕗᖅ, ᑕᐃᒪᐃᓂᖓᓄᓪᓗ, ᓂᐅᕐᕈᑎᒃᓴᐅᔪᓇᖏᓚᖅ, ᓂᐅᕕᐊᒃᓴᐅᔪᓐᓇᕋᓂ, ᑭᓯᐊᓂ ᑕᐃᒪᓐᓄᑦ ᐸᐸᑕᐅᑲᐃᓐᓇᕈᓐᓇᖅᑐᖅ ᓴᓇᔨᖓᑕ ᐊᒻᒪᓗ ᐱᓕᕆᕕᐅᔪᒦᑦᑐᓄᑦ, ᐊᔾᔨᒌᒃᑐᒥᒃ. ᐅᖃᐅᓯᕆᔭᖏᓐᓂ, ᑕᐃᓐᓇ ᓴᓇᓚᐅᖅᑐᖅ ᐅᓂᒃᑳᓚᐅᖅᑐᖅ ᖃᓄᖅ ᐃᖕᒥᓂᒃ ᐊᒻᒪᓗ ᑕᑯᔭᒐᖃᕐᕕᓕᕆᔨᒃᑯᑦ ᐊᖏᖃᑎᒌᒎᑎᕆᐊᓕᓚᐅᕐᒪᖔᑕ ᑕᒪᐃᓐᓂᒃ ᑲᒪᔨᐅᖃᑕᐅᓂᖏᓐᓂᒃ. ᑕᒪᓐᓇ ᑲᔪᓯᕙᓪᓕᐊᓂᖓᓂ, ᓂᐅᒪᓐ ᐊᑐᓕᖅᑎᑦᑎᕙᓪᓕᐊᓚᐅᖅᑐᖅ ᓄᑖᓂᒃ, ᐊᐅᓚᑦᑎᔨᐅᖃᑕᐅᕕᒃᓴᖏᓐᓂᒃ ᐊᖅᑯᑎᒃᓴᓂᒃ ᓯᕗᒧᑦ ᐊᑐᖅᑕᐅᓂᐊᖅᑐᓂᒃ ᐃᖃᓇᐃᔭᕐᕕᐅᔪᓂ, ᓄᓇᓕᑐᖃᐃᓪᓗ ᓴᓇᐅᒐᓕᐅᖅᑎᖏᓐᓂ, ᐱᔫᒥᓴᐅᑕᐅᔪᓐᓇᖅᑐᓂᒃ ᑐᖓᕕᐅᕙᒃᑐᓂᒃ ᐃᓱᒪᒃᓴᖅᓯᐅᕈᑕᐅᑦᑎᐊᑲᓂᕈᓐᓇᕐᓂᖏᓐᓂᒃ ᑕᑯᔭᒐᖃᕐᕕᖕᓂᓗ ᓴᓇᔨᖏᓐᓂᓗ ᐱᓕᕆᖃᑎᒌᒍᓐᓇᖅᓯᓂᖏᓐᓂᒃ.