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Examples include Henry Tsang’s Chinook-inspired “Welcome to the Land of the Light”; the inclusion of three dialects for hayčxʷə (thank you) in Halq’emeylem and Hun’qumi’num in “Systems of Sustenance” by Collective Echoes (beside Science World); Edgar Heap of Birds’ Native Hosts series on the UBC campus, Christos Dikeakos’ naming of False Creek as Skwachays, and Sheila Hall’s prominent use of the Halq’emeylem word lheqto:lestexw, in her work “To Connect”.
Given the importance of naming within Indigenous ceremonies as a way to honor individual and community achievements, and affirm our histories, what does it mean when Indigenous names are co-opted by the military and consumer culture?
How might we negotiate what David Garneau has identified as “irreconcilable spaces of Aboriginality? Can public art practices create a platform for Settler publics to claim “intergenerational responsibility” towards historical injustices?
What are examples of public art works, performances, and interventions that have shifted understandings of the land, human / non-human relations, the subject / object divide?
Guiding the gathering was an engagement with David Garneau’s concept of “Irreconcilable Spaces of Aboriginality”, collective consideration of how Indigeneity is represented in public space, and working towards a more perceptive understanding of Indigenous public art and performance actions in public spaces.
Areas of Discussion: The Politics and Histories of Naming and Re-Naming In the Americas, the landscape is known by many names reflecting different moments in history and worldview.
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Does art play a role in creating communities (temporary or otherwise)?
Key to this session is the question of how we define Indigenous space.
Is Indigenous space physical, imagined, and/or delineated by customary law and traditional use? What is the potential of public art and actions to educate and engage Canadians about Indigenous histories and the social and political concerns of Indigenous communities today?
Does the public claim these works as another marker of “multicultural diversity”, or the “flavor of the street”, despite the artist’s intentions to intervene in other ways?
Do such inclusions risk becoming a kind of linguistic ornamentation for the neoliberal politics of multiculturalism?
For example, weapons are commonly named after US tribes (the operation to capture and kill Bin Laden was infamously called “Geronimo”), and are used to market other objects of consumer culture.