On Tuesday, U.S. Rep. Larry Bucshon, M.D., R-Indiana, released a statement following the passing of his friend and Perry County community leader Tom McCart

Bucshon: “It is with a heavy heart that I share the news of the passing of my friend, Tom McCart. Tom McCart was a devoted family man and steadfast community leader within Perry County’s banking industry. He was known for his great sense of humor along with his unparalleled empathy, always being there for others in times of joy and sorrow. Tom will be greatly missed, and the void he leaves is truly irreplaceable. In this difficult time, my heart goes out to his wife, Debbie, and his children, and I ask that Hoosiers join me in praying for his family. May they find comfort and strength in cherished memories and the enduring legacy of a remarkable man.” 

An exhibition of contemporary Native American art is now open at the Eiteljorg and continues through Feb. 25. 

From the press release: “UNSETTLE / Converge: The 2023 Eiteljorg Contemporary Art Fellowship features the works of five Native artists from the U.S. and Canada who create multimedia, ceramic sculpture, assemblage, beadwork and photography. The exhibition is included with regular museum admission. Details are here: https://eiteljorg.org/news-release-eiteljorg-contemporary-art-fellowship-exhibition-redefines-contemporary-native-art/”

Citizens Energy Group has announced the closure of a segment of E. Pleasant Run Parkway N. Drive, between Denny Street and near Brookfield Road, to conclude in August 2024.

From the press release: “Located primarily through Christian Park on Indianapolis’ east side, the impacted segment will allow for continued work on the DigIndy Tunnel System project. … Completed portions of the DigIndy Tunnel System already have prevented nearly 5 billion gallons of sewage from entering our local waterways. The entire system will be finished in 2025. Learn more about DigIndy online, and check out the 360 VR Tunnel Tour on YouTube.”

Applications will be accepted through Jan. 31 for the 2024–2025 Governor’s Fellowship, which places fellows in various state agencies on a rotating basis throughout the year. The application and submission guidelines can be found online at www.in.gov/gov/fellowship.htm.

Gov. Eric Holcomb: “Our Governor’s Fellows are such a valuable piece to our team. The wide range of assistance they provide over the course of their fellowship is key to serving Hoosiers. The experience is mutually beneficial as the fellows gain immeasurable professional skills that will serve them well into their professional careers.”

More than 200 practitioners, partners and advocates recently attended an end-of-year celebration hosted by the Indiana Public Health Association in Carmel.

From the press release: “The event highlighted the Governor’s Public Health Commission (GPHC) study and recommendations, which resulted in updated state legislation and a historic investment of $225 million in the current biennium for local public health services. Now known as Health First Indiana, this initiative empowers counties to determine their local health needs and then implement programs focused on prevention, with the goal of ensuring every Hoosier has access to the core public health services that allow them to achieve their optimal health and well-being. Eighty-six of Indiana’s 92 counties have opted to receive funding in 2024.”

IPHA President Joan Trendell: “We’re thrilled to bring together partners from across Indiana to recognize and show appreciation for the dedication and persistence of Indiana’s public health workforce. There have been significant challenges and lessons over the past few years, and together we have found ways to improve, advance and sustain our collective efforts.” 

Judy Monroe, MD, president and CEO of the CDC Foundation and co-chair of the Governor’s Public Health Commission: “It’s such an exciting time for public health in Indiana. State and local leaders, in partnership with community-based organizations and practitioners, have made a transformational investment in core public health services delivered at the local level. Indiana’s approach of studying the current system, talking and listening to community members, identifying evidence-based strategies across key focus areas, and then developing recommendations for improvements provides a tremendous example for other states to follow.”

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Thomas Vernon Hill was an artist, curator, art historian, arts administrator and champion of Indigenous culture. For more than half a century, he contributed mightily to raising the stature of Indigenous artists in Canada, particularly through his work at the Woodland Cultural Centre in Brantford, Ont. Known as Tom to his many admirers in Canada’s cultural milieu and on the international scene, Mr. Hill was a member of the Konadaha Seneca. He died in the company of his family on Nov. 11 at the age of 80.

He was born on May 9, 1943, to Alton and Daisy (née Johnson) Hill at Oshweken, in the Grand River Territory of the Six Nations, near Brantford. He graduated from the Ontario College of Art (now OCAD University) in 1967 and continued his studies on a scholarship at the National Gallery of Canada and Carleton University.

Expo 67 was a turning point for Mr. Hill, who contributed a ceramic mural at the event’s Indians of Canada Pavilion. He began a dialogue with fellow Indigenous artists offering a more realistic, less stereotypical or romanticized depiction of Indigenous peoples.

In 1968 he was named director of the Cultural Affairs section of the Department of Indian and Northern Affairs. In that role he was instrumental in displaying and promoting the work of Indigenous artists. Among those he mentored was actor and musician Gary Farmer, who worked for the Woodland Cultural Centre starting in 1973, driving a bus to exhibit art in Indigenous communities.

“It was a precious period for me,” said Mr. Farmer, who had grown up largely in the United States and was reconnecting with his Six Nations community at the time. “Tom was a big help to me. He saw something in me. He was this guy in the background, the sensible guy government could trust.”

In 1977, during Mr. Hill’s 14-year stint as a civil servant, Mr. Farmer was among a group of Indigenous artists Mr. Hill selected to meet Queen Elizabeth II on a royal visit.

Throughout his time in Ottawa, Mr. Hill remained close to his Six Nations community and the development of the Woodland Cultural Centre. It was built on the site of the Mohawk Institute Residential School, known as the Mush Hole because of the bowls of poor-quality mushy porridge served to students there.

The Six Nations community took possession of the principal building in the 1970s and made it into a museum and cultural hub.

“It’s significant that we are on a residential school site,” said Woodland Cultural Centre executive director Heather George. “We are engaged here in building resiliency through contemporary art and in that way also building on Tom’s legacy. Every day I come in here I realize how I and the communities benefit from his generosity and kindness.”

Mr. Hill was museum director at the Woodland Cultural Centre from 1982 to 2005, but his presence was felt far beyond the Brantford facility.

“I met Tom on almost my first day at the [Royal Ontario Museum],” said Trudy Nicks, senior curator emeritus at the ROM. “He was this wonderful, smiley, happy person who walked into my office to welcome me to the ROM. He became an important colleague, a friend and a mentor. Although he was at Woodland, it was hard to pin him down to a single role. He was very involved with the wider museum community. He was absolutely critical in building bridges between communities.”

In 1988, a controversy erupted concerning The Spirit Sings, an exhibition at Calgary’s Glenbow Museum that coincided with the Winter Olympics in that city. The Lubicon Lake Cree called for a boycott because the show’s sponsor, Shell Canada, was drilling in an area they claimed as their traditional lands. The brouhaha brought forward a cluster of tensions concerning Indigenous peoples, anthropology, ethnology and the role of museums. In the aftermath, the federal government set up a national task force to explore the issues. Its co-chairs were Mr. Hill and Ms. Nicks.

“It was an excellent opportunity to see his skills and insights. He was very open to working together,” Ms. Nicks said. Their report “was more than just a laundry list,” she said. “It dealt with the urgency of Indigenous involvement, access and opportunity. It didn’t solve everything, but it showed both sides a way of going forward.”

In Creation’s Journey – Native American Identity and Belief a book Mr. Hill co-edited for the Smithsonian Institution in 1994, he wrote, “the task force called for new partnerships between institutions and First Peoples to be based on such principles as mutual appreciation, the recognition of shared interests, and full involvement of Native Americans in the development of policies and programs. All this is a far cry from the practices of the past.”

Mr. Hill published widely including co-authoring the book Norval Morrisseau and the Emergence of The Image Makers, with Elizabeth McLuhan, in 1984.

As he emerged as a force as a curator and museum director, Mr. Hill put his own career as a visual artist on hold. Of that decision he told an interviewer in 2004, “You can’t be the patient and be the doctor too. Here I am now taking the role of the curator, and so I can’t do my own art … I’ve let my own art career go by the wayside.”

Museum director Rick Hill (no relation), who co-edited Creation’s Journey: Native American Identity and Belief with Tom Hill, called his friend and collaborator a bridge-builder, saying, “He was a cultural mediator here between Christians, Longhouse People and people in between to bring people together just as he was also a cultural mediator to government.”

“He was one of the few people who could talk about Picasso, the Canadian arts movement or a sacred object,” Rick Hill added. “We didn’t always agree, but he got me to rethink things. His greatest gift was to get us to think about what we think, what we make and what we say. He did that while maintaining and even embellishing Haudenosaunee intellectual tradition. He thought tradition could be used to fashion a new future.”

Tom Hill’s community involvement included participation with Old Mush, a group of male singers who perform traditional Six Nations songs. They sang at Mr. Hill’s funeral service at Oshweken.

Tom Hill had many diverse achievements over a long, productive life. In addition to museum direction and visual arts, he also contributed to stage productions. He worked on the script of Paddle Song, a one-woman show about Mohawk poet Pauline Johnson, with writer Dinah Christie.

In 2015, Mr. Hill invited Cheri Maracle, a Haudenosaunee/Irish actress, singer, playwright and professional host, to read for the lead part. Ms. Maracle was stunned when Mr. Hill reached out. “I first met him when I was a young girl. I was really floored by who he was, by his breadth. He was someone I aspired to be like.” She got the role.

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Paddle Song, featuring Ms. Maracle, toured Canada and was staged in Norway. She also performed excerpts from the show in New Delhi. As she sings at one point in the play, Ms. Maracle beats a water drum given to her by Tom Hill. “Getting the drum ready by soaking it and stretching it is part of my warm-up for the show every night.” In addition to remembering his sense of humour and lovely giggle, Ms. Maracle recalls his “infectious enthusiasm and his positive support. He was instrumental in seeing Indigenous artists succeed. He was a beacon of light to so many people.”

Among his many honours, Mr. Hill was named to the Order of Ontario in 1993 and received the Governor General’s Award for Visual and Media Arts, and honorary fellowships from the Canadian Museum Association and OCAD University. He was a member of OCAD University’s Indigenous Education Council from 2008 to 2018 and received an honorary doctorate from Wilfred Laurier University in 2003.

Tom Hill leaves his wife of 48 years, Roberta Jamieson; his sister, Rose Margaret Hill; daughter, Jessica; and grandchildren, Daisy, Miles and Lyla (Bird).

Hyundai Motor India Foundation (HMIF), the CSR arm of Hyundai Motor India Ltd. (HMIL) announced the 3rd edition of ‘Art for Hope’, a program to support Indian artists. The grant application is open to all Indian artists until 09th December 2023. 

Over the past two editions, 60 grants have been awarded to artists across 20 states for executing their projects on environmental, social and community centric themes under ‘Art for Hope’ flagship. The public exhibitions have seen a footfall of over 5000 people cumulatively in New Delhi’s Bikaner House and Chennai’s InKo Centre.   

Puneet Anand, AVP and Vertical Head – Corporate Affairs, Hyundai Motor India Ltd. said, “Hyundai Motor India has been a nurturer of creativity and innovation, and using art for making a meaningful change for future generations under Hyundai’s global CSV (Creating Shared Value) philosophy of ‘CONTINUE’.   Through ‘Art for Hope’, Hyundai is not merely organizing an art program, it is investing in the hopes and dreams of aspiring artists, providing them with the resources and recognition they need to flourish.” 

“This year, in addition to our existing grant program and in alignment with ‘Samarth’ initiative, we have introduced – ‘Ability for Dignity’ towards achieving the global vision of Progress for Humanity.

“A special grant for specially abled artists, where we will not just give them a grant but upskill them and provide them avenues for sustainable income generation. We are confident that this year too, we will be able to make a positive impact in the lives of deserving individuals and uncover the hidden talents across the nation,” Anand added.   

‘Art for Hope 2024’ grant is open in Visual Art, Digital Arts, Performance Arts, Folk and Traditional Arts and Community Arts categories for individual artists and collectives. At the end of the grant an art festival showcasing the artworks and grant projects will be hosted in New Delhi. 

A five-member jury shall select the final grantees on project concept, artists background and community impact of the projects.   

The application is open for ‘Art for Hope 2024’ for art projects on environmental, social and community centric themes till 09thDecember 2023.

I am an award-winning media and communications professional with experience across print, digital, social and radio broadcast, as well as photography and videography.
I am the NT Correspondent at Australian Community Media and I write for my hometown newspaper, the Katherine Times. I love telling people’s stories, and I am passionate about giving those a voice who may otherwise remain unheard.
When I am not busy putting pen to paper, I spend time in my garden, go bushwalking or travel across the Northern Territory, Australia or the world.
In my spare time I write, illustrate and publish books.

I am an award-winning media and communications professional with experience across print, digital, social and radio broadcast, as well as photography and videography.
I am the NT Correspondent at Australian Community Media and I write for my hometown newspaper, the Katherine Times. I love telling people’s stories, and I am passionate about giving those a voice who may otherwise remain unheard.
When I am not busy putting pen to paper, I spend time in my garden, go bushwalking or travel across the Northern Territory, Australia or the world.
In my spare time I write, illustrate and publish books.

Details

By Elyse Wild

December 05, 2023

“Yahipi kin waste” (Welcome in Dakota) signs greeted visitors to the Hocokato Ti, the Museum and Cultural Center of the Shakopee Mdewakanton Sioux Community in Shakopee, Minnesota,  on December 2nd, as they hosted a livestream event to bring attention to the diversity of Native American cultures on Tribal Museums Day. 

Tribal Museums Day, which takes place on the first Saturday of December, began last year in celebration of the Association on American Indian Affairs’ 100th anniversary. The day also brings attention to Native artists and businesses. 

“We have been working on protecting sovereignty, culture, and languages. We appreciate the work that all of these museums do across the country and like to be able to highlight what’s going on in all of these different places, ” Frank Ettawageshik, President of the Association on American Indian Affairs, said at the event at Hocokato Ti.

Visitors at Hocokato Ti received free admission to displays that move from prehistory to the present day, starting with a Dakota creation story of how the creator formed the land in the primordial waters. 

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Tools, garments, and other historical artifacts surround the walkways of the exhibit. Many pieces come from community members or the Smithsonian’s National Museum of the American Indian in Washington, D.C. 

“This has been very important to tell our own story,”  Andy Vig, Director of Hocokata Ti, said.  Being a tribe and owning our own Tribal Museum and Cultural Center, we get to tell our narrative and perspective. We are very happy to be a part of this day.” 

The livestream event also featured museums around the country, including the Navajo Nation Museum, Center for Native Futures, and the Osage Nation Museum.  

More than 100 Tribal Museums and Cultural Centers provide significant educational opportunities for the public by sharing wisdom and stories that are told by experts, including elders, academics, researchers, and citizens. Each Tribal Museum has a unique story to share and visitors can learn about local history, purchase art, and other Native-made goods at each museum. 

“These places play a vital role within our Native communities and are catalysts for our dynamic cultures. Tribal Museums and Culture Centers do not only interpret and share our culture but their most vital role is to provide space for Native communities to activate and participate in arts and traditions,”  said Shannon Martin, who emceed the livestream.  “We encourage everyone to visit each and every one of these amazing places, the ones that were showcased today, but also the 130 museums throughout the country.”

For a complete list of Tribal Museums and Cultural Centers across Indian Country, see the Association on American Indian Affairs website. 

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Miami, Dec. 5, 2023 – Miami Dade College‘s (MDC) Koubek Center presents Two Islands, an extraordinary multidisciplinary performance featuring storytelling, music and dance. This event, which will take place at 8 p.m. on Saturday, Dec. 16, is the culmination of the first part of a two-year international cultural exchange residency that brings together Afro-Cuban artists from Miami and Aboriginal artists from Australia to explore how these vastly different cultural traditions speak to their ancestors through a musical and dance performance.

Two Islands features Afro-Cuban musician and educator Michael Gil, who will be working with the First Nation artists along with Afro-Cuban dancer and choreographer Marisol Blanco from Sikan Afro-Cuban Dance Project; musicians Manuel Clua, René Pedroso and Caridad Paisán; and dancer Suramy Suarez. The Aboriginal Australian counterparts include NT Dance Company Artistic Director and Choreographer Gary Lang from the Larrakia nation, Yolngu elder Banula Marika and Marranunggu Marrathiyel singer-songwriter David Spry.

“The idea is to provide three sides of both cultures,” says Miami-based Gil. “We’d like to offer an idea of the cosmology, the origin of the world according to each culture, and also a bit of the tradition of each culture. We are talking about the Afro-Cuban Yoruba dances and music that are part of Yoruban liturgy, and from the Aboriginal side, the rituals, dances and music in their ceremonies. Another part of all this is that both cultures, while they are ancestral, have evolved, have transformed, and will continue to transform and develop. Gary Lang already takes that approach, blending the traditional aboriginal dances with elements of contemporary dance.”

This blend of ancestral and more modern elements is also reflected in the instrumentation.

“You can’t do an Australian Aboriginal ceremony if you don’t have a didgeridoo (a horn-like instrument developed 1,500 years ago by the Aboriginal people in Northern Australia), and you can’t do a Yoruba ceremony without the batá drums,” says Gil. “These are instruments of cultures that have been enslaved, conquered, mistreated, and are instruments of cultural identity, of resistance.” But in Two Islands, they will be perhaps played side by side with a guitar, a flute, an African kalimba (thumb piano) or a berimbau, a bow-like Brazilian instrument of Angolan roots.

Working with his Australian Aboriginal counterparts has presented Gil with very different notions of speed, time and a focus on process – being present, rather than outcomes. Beyond experiencing the beauty in these traditions, he hopes audiences will walk away with ”the questions that have been the same and remain the same. Who are we? Where do we come from? Where are we going? Is there something beyond? Those questions have been the same for all cultures, only they have been manifested and answered in different ways. So, despite how incredibly different two people may be, they have a profound similarity that perhaps could translate into a greater understanding.”

The second part of this collaboration will take place next year when Miami-based artists visit Australia. This project is possible with funding from the Miami-Dade County Department of Cultural Affairs International Partnership Grant and the National Endowment for the Arts.

WHAT:   Two Islands world premiere

WHEN:   Saturday, Dec. 16, at 8 p.m.

WHERE: Koubek Center

2705 S.W. Third St., Miami, FL 33135

Tickets:  $20

Purchase:

https://www.squadup.com/events/two-islands-world-premiere-dancemusic-australiamiami?legacy=0

Free Parking  

The Koubek Center
A South Florida landmark with a long and rich history as a cultural hub, The Koubek Center is dedicated to building community through the arts. Over the past several decades, the Center has offered a variety of activities, including workshops, art exhibitions, theater performances, literary readings, and concerts. It is a place for artists and local arts organizations to explore, experiment, collaborate, and share their work with the community. The Koubek Center includes a 200-seat theater, an expansive garden, classrooms, rehearsal, and multi-use spaces. Built in 1929 by Austrian trader John J. Koubek as a gift to his wife, it was later donated to the University of Miami and acquired by Miami Dade College in 2011.

Equal access/equal opportunity
Miami Dade College is an equal access/equal opportunity institution which does not discriminate on the basis of sex, race, color, marital status, age, religion, national origin, disability, veteran’s status, ethnicity, pregnancy, sexual orientation or genetic information. To obtain more information about the College’s equal access and equal opportunity policies, procedures and practices, please contact the College’s Equity Officer: Cindy Lau Evans, Director, Office of Equal Opportunity Programs and ADA Coordinator, at (305) 237-2577 (Voice) or 711 (Relay Service). 11011 SW 104 St., Room 1102-01; Miami, FL 33176. EquityOff@mdc.edu

The mysterious conceptualist Lutz Bacher is having her first posthumous institutional show at Raven Row in London. The artist herself initiated the concept for the exhibition with curator Anthony Huberman as a mixed presentation of audiovisual pieces which featuring old VHS footage from Princess Diana’s funeral and the voices and imagery of legendary figures from pop culture, including Leonard Cohen—but also Darth Vader. Eerie installations, including a pit of sand, fill the gallery rooms. After Bacher’s passing in 2019, the non-profit exhibition center Raven Row worked with the artist’s estate and Galerie Buchholz to deliver the exhibition.

A California native, Bacher lived in the Bay Area and later New York. She was known to be highly secretive and never publicly revealed basic biographical information, like her birth name or age (although it is known that she was born in 1943). Nonetheless, she received widespread institutional recognition with solo shows at MoMA PS1 in 2009, the ICA in London in 2013, and the Secession in Vienna in 2016.

At Raven Row, Bacher’s blend of found material, digital ephemera, and appropriated sounds and images is quintessential Bacher. In one gallery, panes of glass shimmer with projected images of the Empire State Building lit up with bright colors at night. In the lobby, the visitor is affronted by loud traffic noises, whereas upstairs, bible passages are blared out of a huge speaker while tinny radios play run-of-the-mill pop hits over each other. These strange works, that are tricky to categorize or contextualize, manage to disorientate the viewer in much the same way as our information-oversaturated world often succeeds in doing.

“Lutz Bacher: AYE!” runs through December 17. Check out more installation views of the exhibition below.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Marcus J Leith.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Anne Tetzlaff.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Anne Tetzlaff.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Marcus J Leith.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Marcus J Leith.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Marcus J Leith.

Installation of “Lutz Bacher: AYE!” at Raven Row gallery in London. Photo: © Anne Tetzlaff.

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Starting in 2026, travelers at Seattle-Tacoma International Airport (SEA) can experience Native artist Crystal Worl’s work both inside the airport and on the airfield.

Worl and fellow artist Fumi Amano were selected to create public art installations for SEA Airport’s C Concourse Expansion project as part of a first-of-its-kind residency partnership between the airport and two iconic glass art entities — Pilchuck Glass School and the Museum of Glass. The Pilchuck residency allows artists to brainstorm ideas; the Museum of Glass residency helps them produce these ideas into a final product for display at the airport.

And earlier this year, Alaska Airlines debuted an aircraft featuring Worl’s design, titled: Xáat Kwáani (Salmon People). It’s the first aircraft in the history of any domestic airline to be named in an Alaska Native language and to depict the ancestral importance through Northwest Coast indigenous formline art, which is characterized by curving lines and shapes and dates back thousands of years.

This summer, Worl completed her two-week residency at Pilchuck, and will complete a second five-day residency at the Museum of Glass, likely in 2024. Her finished piece will be on display at the airport in 2026 with the opening of the new C Concourse.

Indigenous and travel connections

Worl’s connection to her Native heritage threads itself through much of her work. Worl is Athabascan, Filipino, and Tlingit from Raven moiety, Sockeye Clan, from the Raven House. She is Deg Hit’an Athabascan from Fairbanks Alaska and currently lives in Juneau, Alaska. Her work is diverse, ranging from Tlingit Northwest Coast design to contemporary multimedia pieces.

Worl’s plans for her C Concourse piece reflect her love for travel and the time she spent at SEA as a child on her way to visit family and looking at the art on display. As an international gateway and a gateway to Alaska, SEA is the perfect venue for Worl to express that passion.

“I travel a lot. Ever since I was a little girl, I’ve always been curious about traveling and exploring. Maybe it’s the Athabascan in me. We migrated a lot; we’re nomadic people. So maybe it’s just in my DNA to be curious. And I remember thinking from a young age, I want to be an artist, but I want to travel the world, and how do I do both? How do I take my art around the world? Or maybe my art could take me around the world?”

Worl has used art to fuel her passion for travel, building residencies where she can live abroad for months at a time. She makes the most of each trip, bringing a little portable artist studio in her suitcase and seeking out other artists in the communities she visits.

Inspired by heritage

Worl also attributes her artistic inspiration to the creative community she grew up around and the blend of a traditional and modern upbringing. She participated in potlatches, ceremonies, and gatherings to connect with heritage, while attending school to study and follow her passions. Her family emphasized the importance of learning modern tools so she could become a better community member.

Her mom showed her how to bead, her grandmother taught her how to sew, and her family made their own regalia, which represents family and clan.

“Growing up with that upbringing is just normal for me, but the more I started traveling, as I got older and started going to school, the more I realized that was very special and very unique. And people are very fascinated by it. Native art can be respected and embraced, and it’s beautiful and it should be shared, but in a respectful manner. And so having this opportunity and this platform as an indigenous artist is really cool.”

Her work bridges multiple worlds — the indigenous artist community that practices formline design and the glass artist community. “It’s challenging because glass makers don’t necessarily understand what formline is unless they are a Native artist. It’s a fun challenge. It’s really making me scratch my brain.”

License to explore

During Worl’s Pilchuck residency, she found herself inspired by the passionate and boundary-pushing community of artists. This was her second time at the Pacific Northwest glass school; she first studied at Pilchuck 10 years ago.

“It’s cool to be in a small, isolated but beautiful community that’s just a bunch of artists. We’re all nerding out over creating pieces in new ways. I feel like I’m like Alice in Wonderland, and everyone’s telling me to come down this rabbit hole.”

The residency partnership is designed to allow the artists to explore before they land on a concept for the airport commission. This gave Worl full permission to explore during her residency. With the assistance of her assistant Priscilla Lowe, she spent the first week mapping out her vision for the sculpture; she envisioned a grid of colorful gummy bear shapes formed from glass.

“This residency at Pilchuck Glass School has been really incredible and amazing because not only has it returned me to dip my toe in glass, but it’s reminded me of the expansive and talented community that works in glass.”

As a multidisciplinary artist with a goal to make the installation predominantly in glass, Worl needed an opportunity like this to help expand her understanding of glass.

“We’ve been trying to create a frog out of glass in every possible way we could come up with; I think we have five or six frogs now,” she said. “They don’t all look like frogs yet, but the idea is there. And it’s really cool to work with the gaffers (specialized glass artists) because there are so many things I can’t do with glass, but then for everything I can’t do, I learned there are a million other ways that I can do it. So it’s challenging me to think outside of the box. I’m uncomfortable and it’s good for me.”

A vision for the new C Concourse

Worl said she is also inspired by the design renderings for the C Concourse Expansion and the beautiful, light-filled space it will become.

“There’s a space for sitting and hanging out next to the wall that will have my art. The piece will have high visibility and see a lot of foot traffic. It’s a route towards the restrooms and also by the elevator. So it’s going to be seen a lot, and that’s really exciting.”

Worl is also co-owner of an Indigenous graphic design and art gift shop called Trickster Company with her brother Rico.  

Top photo credit: Gabe Re @gabere

From a sealskin puffer jacket to a colourful atikluk dress, designs from Northwest Territories artists stunned attendees at the fourth edition of Vancouver Indigenous Fashion Week.

This year’s event, which ran from November 20 to 25 at the Queen Elizabeth Theatre in Vancouver, featured 15 Indigenous artisans and designers from the NWT.

Cheryl Fennell, who said she is Yellowknives Dene, showcased her collection “Drums in my Heart,” with designs incorporating hide, beads, fish skin and fur.

“My concept for all my designs is really nature and the natural world, which I really believe is what grounds us all,” she told Cabin Radio.

Fennell said this collection was inspired by the drum.

A model walks the runway wearing one of Cheryl Fennell’s designs. Photo: Kelly William
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” data-medium-file=”https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?fit=225%2C300&ssl=1″ data-large-file=”https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?fit=720%2C960&ssl=1″ src=”https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=720%2C960&ssl=1″ alt class=”wp-image-163402″ srcset=”https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=720%2C960&ssl=1 720w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=225%2C300&ssl=1 225w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=770%2C1027&ssl=1 770w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=300%2C400&ssl=1 300w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=600%2C800&ssl=1 600w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=450%2C600&ssl=1 450w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=150%2C200&ssl=1 150w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?resize=293%2C391&ssl=1 293w, https://i0.wp.com/cabinradio.ca/wp-content/uploads/2023/11/370316632_1625027988353474_3604846807595092312_n.jpg?w=843&ssl=1 843w” sizes=”(max-width: 720px) 100vw, 720px” data-recalc-dims=”1″>

“The drum was really meant to provide teachings to people,” she said. “It was all about love and unity and how people can work together in order to survive.”

Items in the collection included a sealskin bathing suit, an igloo dress, and a mermaid dress with a long water train and fish skin. Fennell said people particularly “went wild” over a sealskin puffer jacket she made, with rappers, musicians and artists all wanting to try it on.

Fennell said some of her earliest memories are of her mother attending Dene drum dances or asking her to make a dress for her doll.

She described the fashion event in Vancouver as “an extraordinary celebration of Indigenous creativity and culture.”

Cree artist Aerial Sunday-Cardinal wears Cheryl Fennel’s sealskin puffer jacket. Photo: Cheryl Fennell
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“The importance of the event is to celebrate the diversity among Indigenous peoples but also the creativity, the oneness, to make connections – which we really did – and to build understanding between Indigenous and non-Indigenous peoples,” she said.

Taalrumiq, who grew up in Tuktoyaktuk and is Inuvialuit and Gwich’in, shared her collection Anuuraat, which means “clothing” in Inuvialuktun. She said it began with more traditional designs and ended with pieces showing her more modern bold and colourful style.

“It was a reflection of Inuvialuit Gwich’in identity across time,” she said. “My intention was thinking of Inuvialuit and Gwich’in, all Indigenous youth, to see my clothing on the runway, to recognize their culture and to really feel proud of who they are and to know that they can do all this stuff too.”

A model walks the runway in one of Taalrumiq’s designs. Photo: Kelly William
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Taalrumiq said she has always loved fashion and being creative. One of her earliest memories is of her mother making her a sewing kit. As a toddler, she said, an Elder rubbed her hand in a tray of beads and said told her she would become a good beader.

“It’s just following in the footsteps of my mom and all my Inuit grandmothers who are expert seamstresses. My Gwich’in Juju was a master beadwork artist like my Gw’ichin auntie as well,” she said. “So just carrying on the family tradition and talent in my blood memory as well as incorporating my western education and training in art and fashion.”

Taalrumiq said her experience at Vancouver Indigenous Fashion Week was “a dream come true.”

She was among several designers featured in an article in Vogue about the Red Dress showcase. She said it was important for her to share the story of Frank Gruben, her relative from Aklavik who has been missing since May.

“I can use my work not only to promote myself or my brand, but to uplift my community and to highlight issues that are important to us.”

A model walks the runway in one of Taalrumiq’s designs. Photo: Kelly William
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Tishna Marlowe, who is a member of the Łútsël K’é Dene First Nation, showed her line Dene Couture – Heirloom Collection. She said the collection is about her past, present and future, and inspired by her grandmother and other women in Łútsël K’é.

Marlowe said she began creating fashion that showcased her Indigenous culture because she wasn’t seeing it anywhere else.

“When I was 23, I moved to Vancouver and it was quite a culture shock,” she said. “I just felt like I could never self-identify.”

Marlowe said getting to showcase her work at Vancouver Indigenous Fashion Week felt “like going home” and she left feeling inspired.

“It’s 100 percent pure celebration of fashion, Indigenous culture, diversity, inclusiveness,” she said.

Marlowe said events like this are important because Indigenous people were forbidden from wearing their fashions for many years. Until 1951, Canada’s Indian Act banned Indigenous people from wearing traditional and ceremonial clothing, and traditional dress was also forbidden in residential schools.

“Now that we’re in such a safe space, people are just wanting their culture back and wanting to self-identify,” Marlowe said. “This is just the tip of the iceberg, we are just beginning.”