First Nations youth make their mark by cultivating ancient food systems in their territories
Local Journalism Initiative
Tue, August 15, 2023 at 1:19 p.m. MDT·3 min read
Two dozen young men spilled out of their tents just after dawn, pulled on gumboots and work gloves, and lugging shovels and buckets, trudged down a logging road to a remote bay on Vancouver Island’s wild West Coast.
There was a moment of calm punctuated by the breaths of two killer whales breaking the surface of the bay while they waited for the tide to drop so they could begin work.
The moment the waters retreated, the group of First Nations youth, their adult mentors and knowledge holders, squelched onto the tidal flat in unison to haul rocks, debris and shift shellfish as quickly as possible before the ocean waters flooded back in.
The Nuu-chah-nulth Youth Warriors spent three days near Sarita Bay in early July to construct a traditional clam garden for the Huu-ay-aht community as part of a broader project to strengthen coastal First Nations’ culture, connections, food security and climate resilience.
With guidance from Huu-ay-aht knowledge holder Tommy Joe, the Warriors dug out boulders and stones from a natural clam bed to construct a rock wall extending in a semi-circle from the shore down to the low tide line. The new aquaculture terrace will transform the rocky shoreline, providing the shellfish with more space, improved habitat, water flow and feeding opportunities to boost the clams’ natural productivity, Joe said.
The Warriors, with youth groups in eight different nations across Nuu-chah-nulth territories, is a land-based leadership program that combines community service, skill-building and traditional knowledge.
Funding from the province’s Indigenous Food Systems and Agriculture Partnership Program (IFSAP) helped the Warriors to restore an existing clam bed in Opitsaht in Tla-o-qui-aht territory on Meares Island in May and will allow the youth to construct another in Kyuquot in Ka:'yu:'k't'h'/Che:k:tles7et'h' First Nations territory this summer.
As the Warriors worked their patch of shoreline in the increasingly hot sun, so did a black bear 100 metres down the beach, snuffling seaweed and overturning rocks in search of crabs and marine creatures.
As the stone wall took shape, the Warriors’ Huu-ay-aht co-ordinator Leonard Nookemis paused to wipe the sweat off his forehead, leaving a smear of mud in its place.
“We’ve crushed building this clam wall so far,” Nookemis said.
“I’m really happy to see the progress we made and how it works. It’s a bit of an ongoing experiment.”
Now that the wall is constructed it will be up to the Huu-ay-aht community to come and regularly rake the terrace, maintain the walls, and rake and clean the bed to create the conditions for the Manila and littleneck clams to thrive, he said.
The area is already a popular harvest location for the nation, and there’s evidence of another clam wall in a nearby location that is now too deep underwater to be used or maintained but acts as a historical record of the nation’s sustainable use of the land.
There are traditional clam gardens located the length of the B.C. coast, some of the mariculture systems are older than 3,000 years old and have fed First Nations communities for generations. And research indicates that traditional walled clam gardens contained four times the number of butter clams and more than double the amount of littleneck clams compared to uncultivated beaches.
“There's a mark of our people already here,” Nookemis said.
“Now we’re building on that as a new generation, which I find really cool.”
Rochelle Baker, Local Journalism Initiative Reporter, Canada's National Observer
Alanis Obomsawin celebrated in new exhibit for determined effort over decades to tell Indigenous stories
Local Journalism Initiative
Tue, August 15, 2023
The Children Have to Hear Another Story is an exhibit opening in the Art Museum at the University of Toronto on Sept. 7. It highlights decades of work by First Nations filmmaker Alanis Obomsawin.
Born in 1932, the Abenaki American-Canadian is well known for writing and directing documentaries about issues facing Indigenous communities across Canada. Her films speak to the hardships faced by Indigenous people, the racism, the bullying, the struggles for rights and recognition, displacement and state-mandated assimilation.
“I think it’s just a very important exhibition to give insight into what has been accomplished and how much important work has been done by her and has affected so many others ever since and has given courage to others,” said Barbara Fischer, director of the Art Museum.
In total Obomsawin has directed 57 films, had a singing career and created many pieces of artwork, which are incorporated into the display.
“It means a lot of details and a lot of organizing to do this, and it’s very touching to think that they would have that kind of interest,” said Obomsawin.
Celebrating her life's work, the exhibit presents Obomsawin’s work by decade, showcasing not only her documentaries but also the archives related to each production, including artwork, prints, music and media coverage.
The exhibit started in Germany last year, said 91-year-old Obomsawin. “It was the director of the museum at that time who decided to do an exhibition for me when I was in Berlin.”
Once she agreed to participate, members of the Haus der Kulturen der Welt Berlin Museum visited Obomsawin’s home in Montreal to go through her personal archives.
“They looked at a lot of my archives, but when I went to Berlin and I saw the actual exhibition, it’s like it’s 50 years of my work. Can you imagine that?” she said.
Beginning in 1960, the display shows a young Obomsawin featured in newspapers for her singing, but many of the articles were somewhat of a surprise to her.
“At first you came to the first room. It says 1960, and then they had a lot of interviews I had done then at that time … and me being, not attacked but almost by reporters…I was shocked.”
Traveling through each decade visitors will see the passion she had to educate people about the mistreatment of Indigenous populations.
“It was very different than you know, and I really revolted against the educational system because I got beat up very badly as a child in school here, and mainly because of what they were teaching. When I figured that one out, then I thought the children have to hear another story,” Obomsawin explained.
“I started very early because at first my big battle was education. I was very upset from the ways that they were teaching the history of this country. It started like that because I suffered a lot at that time. I was very young, and it was very difficult and so I figured out a way to produce changes and I’ve succeeded.”
She said Indigenous people were depicted as savages with no morals or religion. That their language was that of Satan.
“You know, stuff like that, and you get to the point where you start believing this,” she said. “So, I revolted. Like, I was very, you know, I became pretty wild.”
She started singing, telling traditional stories and talking about the history of her people to students in schools. “Hundreds and hundreds,” she said, and even some residential schools.
Transitioning to film was something she felt was important in order to “have our people telling their own story.”
“There were quite a few films that had been made and it was mostly a big British voice from someplace else who would tell about you, and I found that very upsetting,” Obomsawin said.
Once her interest piqued in filmmaking, she joined the National Film Board and has been working there ever since.
“That’s how I was able to make a lot of material, a lot of films for telling the history and with different communities and make sure that people were present in the classroom, their voice and themselves. That’s what I fought for this whole time, and I’m still doing it.”
Available on the National Film Board website are many of the films Obomsawin has produced and are featured in the exhibition.
Fischer described Obomsawin’s work as inspiring and is looking forward to the exhibition which highlights someone who has shown so many people the truths about Indigenous stories.
“She made films, documentary films from a (different) perspective. The Oka Crisis for instance. She was behind the barricades together with them, those who fought against the territorial takeover of their ancestral lands,” said Fischer.
“So that’s a perspective you just know you would not get in the mainstream media and so she’s made, kind of created really, room for others to see how another point of view can really make a difference in the perception of the broader public. And I think that kind of activism has worked on many fronts. She’s stood up for the rights of Indigenous children. She’s stood up for those whose voices were not heard.”
For more information on the exhibit please visit The Children Have to Hear Another Story – Art Museum at the University of Toronto (utoronto.ca)
By Crystal St.Pierre, Local Journalism Initiative Reporter, Windspeaker.com
Local Journalism Initiative
Tue, August 15, 2023
The Children Have to Hear Another Story is an exhibit opening in the Art Museum at the University of Toronto on Sept. 7. It highlights decades of work by First Nations filmmaker Alanis Obomsawin.
Born in 1932, the Abenaki American-Canadian is well known for writing and directing documentaries about issues facing Indigenous communities across Canada. Her films speak to the hardships faced by Indigenous people, the racism, the bullying, the struggles for rights and recognition, displacement and state-mandated assimilation.
“I think it’s just a very important exhibition to give insight into what has been accomplished and how much important work has been done by her and has affected so many others ever since and has given courage to others,” said Barbara Fischer, director of the Art Museum.
In total Obomsawin has directed 57 films, had a singing career and created many pieces of artwork, which are incorporated into the display.
“It means a lot of details and a lot of organizing to do this, and it’s very touching to think that they would have that kind of interest,” said Obomsawin.
Celebrating her life's work, the exhibit presents Obomsawin’s work by decade, showcasing not only her documentaries but also the archives related to each production, including artwork, prints, music and media coverage.
The exhibit started in Germany last year, said 91-year-old Obomsawin. “It was the director of the museum at that time who decided to do an exhibition for me when I was in Berlin.”
Once she agreed to participate, members of the Haus der Kulturen der Welt Berlin Museum visited Obomsawin’s home in Montreal to go through her personal archives.
“They looked at a lot of my archives, but when I went to Berlin and I saw the actual exhibition, it’s like it’s 50 years of my work. Can you imagine that?” she said.
Beginning in 1960, the display shows a young Obomsawin featured in newspapers for her singing, but many of the articles were somewhat of a surprise to her.
“At first you came to the first room. It says 1960, and then they had a lot of interviews I had done then at that time … and me being, not attacked but almost by reporters…I was shocked.”
Traveling through each decade visitors will see the passion she had to educate people about the mistreatment of Indigenous populations.
“It was very different than you know, and I really revolted against the educational system because I got beat up very badly as a child in school here, and mainly because of what they were teaching. When I figured that one out, then I thought the children have to hear another story,” Obomsawin explained.
“I started very early because at first my big battle was education. I was very upset from the ways that they were teaching the history of this country. It started like that because I suffered a lot at that time. I was very young, and it was very difficult and so I figured out a way to produce changes and I’ve succeeded.”
She said Indigenous people were depicted as savages with no morals or religion. That their language was that of Satan.
“You know, stuff like that, and you get to the point where you start believing this,” she said. “So, I revolted. Like, I was very, you know, I became pretty wild.”
She started singing, telling traditional stories and talking about the history of her people to students in schools. “Hundreds and hundreds,” she said, and even some residential schools.
Transitioning to film was something she felt was important in order to “have our people telling their own story.”
“There were quite a few films that had been made and it was mostly a big British voice from someplace else who would tell about you, and I found that very upsetting,” Obomsawin said.
Once her interest piqued in filmmaking, she joined the National Film Board and has been working there ever since.
“That’s how I was able to make a lot of material, a lot of films for telling the history and with different communities and make sure that people were present in the classroom, their voice and themselves. That’s what I fought for this whole time, and I’m still doing it.”
Available on the National Film Board website are many of the films Obomsawin has produced and are featured in the exhibition.
Fischer described Obomsawin’s work as inspiring and is looking forward to the exhibition which highlights someone who has shown so many people the truths about Indigenous stories.
“She made films, documentary films from a (different) perspective. The Oka Crisis for instance. She was behind the barricades together with them, those who fought against the territorial takeover of their ancestral lands,” said Fischer.
“So that’s a perspective you just know you would not get in the mainstream media and so she’s made, kind of created really, room for others to see how another point of view can really make a difference in the perception of the broader public. And I think that kind of activism has worked on many fronts. She’s stood up for the rights of Indigenous children. She’s stood up for those whose voices were not heard.”
For more information on the exhibit please visit The Children Have to Hear Another Story – Art Museum at the University of Toronto (utoronto.ca)
By Crystal St.Pierre, Local Journalism Initiative Reporter, Windspeaker.com
Katherine Swampy: A Journey From The Rez To Global Recognition For Academic Excellence
Local Journalism Initiative
Tue, August 15, 2023
(ANNews) – Katherine Swampy’s remarkable journey, from a modest upbringing on the rez to global recognition in academic excellence, serves as an inspiring testament to determination and empowerment.
The stage for her recognition was set at the prestigious 2023 Education 2.0 Conference held last month in Las Vegas, Nevada. This event serves as a platform to honour some of the world’s most gifted academics, and Swampy was rightfully acknowledged for her outstanding leadership.
The three-day, knowledge-intensive Education 2.0 Conference draws dynamic leaders from the education sector, offering fresh insights and perspectives that empower, inspire, and enrich the global learning community. At the heart of this conference, Swampy received the Outstanding Leadership award, a recognition that solidifies her position as a trailblazer in the field.
Reflecting on the experience, Swampy confessed, “At first, I felt like it wasn’t real. Then when I was awarded, I saw the other amazing recipients, and I felt a sort of imposter syndrome.”
Swampy’s journey to this moment has been one of resilience and determination. From her humble origins on the rez, she faced a multitude of challenges, including poverty, abuse, and the stereotypes attached to being a young Cree mother.
However, her determination to overcome these barriers and pursue academic education has been unwavering. Her story serves as a beacon of hope, breaking down barriers and empowering Indigenous people through education across Canada.
With a string of academic achievements under her belt, including multiple degrees and two master’s degrees, Swampy’s commitment to advocacy work for Indigenous rights and the cause of Missing and Murdered Indigenous Women and Girls (MMIWG) further showcases her dedication to effecting positive change within her community and beyond.
Her research delves into critical areas such as the Indian Act, traditional Indigenous education, and the enduring effects of colonialism, genocide, and residential schools on education.
Swampy’s journey is more impressive given her role as a devoted mother. A proud Cree mother of eleven, she emphasizes the struggles that come with juggling motherhood and academic pursuits.
She recalls, “Being a mom in school was always a struggle; children struggle with you as you pursue an education.”
Her story of becoming a mother at a young age, with her oldest son arriving when she was just fifteen, speaks volumes about her determination to provide a better life for her children.
In addition to her academic accomplishments, Swampy’s involvement in the political landscape of Alberta has made her a prominent figure. As a councilor for the Samson Cree Nation, she played a significant role in legal negotiations with the Canadian government and successfully contributed to essential infrastructure projects for her community, including the largest wastewater treatment facility on reserve in Canada.
Her political aspirations extended to running for a member of the legislative assembly and for a member of Parliament, reflecting her commitment to public service.
Swampy’s philanthropic efforts mirror her dedication to giving back to her community. Through scholarships and leadership programs, she supports young parents and students in their educational endeavours.
Her profound understanding of the challenges faced by Indigenous women with intergenerational trauma and poverty drives her commitment to breaking down barriers and creating opportunities for a healthier life for their children.
In reflecting on her journey, Swampy’s gratitude and humility shine through.
She said, “I’ve wanted to give up so many times, but a little prayer will take you a long way. I was often literally living on a prayer.”
The recognition she received at the Education 2.0 Conference served as a powerful affirmation of her efforts, as well as a reminder of the importance of giving back to one’s community.
As Swampy continues to make strides in academia, politics, and community service, she stands as an inspiration for generations to come.
Her story proves that with determination, resilience, and a commitment to making a difference, anyone can rise above their circumstances and create lasting change.
Chevi Rabbit, Local Journalism Initiative Reporter, Alberta Native News
Fort Nelson First Nation’s Annual Celebration honours Elders
Local Journalism Initiative
Tue, August 15, 2023
Fort Nelson First Nation (FNFN) celebrated its Annual Celebration, formerly known as Treaty Days, this weekend to mark the historical significance of Treaty 8 and pay respects to their Elders.
The three-day event took place from August 11th to August 13th at Fort Nelson First Nation community grounds with the theme, “Honouring Our Elders.”
This event serves as a platform to showcase and celebrate Indigenous artistic expressions while also sharing the values and cultural heritage of the community, said Leah Mould, the event planner at FNFN.
The community has celebrated its Treaty Days for decades. The Annual Celebration originated as a community gathering to mark when treaties were signed between the Government of Canada and Indigenous people.
Mould explained that it is essential that Fort Nelson youth have an understanding of this historical treaty agreement and their legal rights as Indigenous people.
Mould said that this year’s theme, “Honouring Our Elders,” was chosen to recognize their sacrifices and contributions to the First Nation community.
“Elders hold a significant role in the First Nations community as they are the encyclopedia of knowledge and vital links to the past, making them an integral part of the First Nations,” said Mould.
Among the competitive activities organized were archery, axe throwing, target shooting, dry-meat making, and hand games.
The event also emphasizes reviving the traditional arts of Fort Nelson First Nation.
A traditional arts competition was organized on the sidelines of the event from August 12th to August 13th, focusing on traditional footwear, traditional clothing, and many other categories.
“The traditional arts competition is a way to educate and create awareness of Indigenous values to the future generations,” said Mould.
Members from many Treaty 8 First Nations made an appearance during the event, including Prophet River, Blueberry River, and Doig River First Nation.
Mould hopes the celebration will serve as a memorable occasion for the community by instilling a sense of pride in its rich history and Indigenous identity.
Manavpreet Singh, Local Journalism Initiative Reporter, Energeticcity.ca
Local Journalism Initiative
Tue, August 15, 2023
Fort Nelson First Nation (FNFN) celebrated its Annual Celebration, formerly known as Treaty Days, this weekend to mark the historical significance of Treaty 8 and pay respects to their Elders.
The three-day event took place from August 11th to August 13th at Fort Nelson First Nation community grounds with the theme, “Honouring Our Elders.”
This event serves as a platform to showcase and celebrate Indigenous artistic expressions while also sharing the values and cultural heritage of the community, said Leah Mould, the event planner at FNFN.
The community has celebrated its Treaty Days for decades. The Annual Celebration originated as a community gathering to mark when treaties were signed between the Government of Canada and Indigenous people.
Mould explained that it is essential that Fort Nelson youth have an understanding of this historical treaty agreement and their legal rights as Indigenous people.
Mould said that this year’s theme, “Honouring Our Elders,” was chosen to recognize their sacrifices and contributions to the First Nation community.
“Elders hold a significant role in the First Nations community as they are the encyclopedia of knowledge and vital links to the past, making them an integral part of the First Nations,” said Mould.
Among the competitive activities organized were archery, axe throwing, target shooting, dry-meat making, and hand games.
The event also emphasizes reviving the traditional arts of Fort Nelson First Nation.
A traditional arts competition was organized on the sidelines of the event from August 12th to August 13th, focusing on traditional footwear, traditional clothing, and many other categories.
“The traditional arts competition is a way to educate and create awareness of Indigenous values to the future generations,” said Mould.
Members from many Treaty 8 First Nations made an appearance during the event, including Prophet River, Blueberry River, and Doig River First Nation.
Mould hopes the celebration will serve as a memorable occasion for the community by instilling a sense of pride in its rich history and Indigenous identity.
Manavpreet Singh, Local Journalism Initiative Reporter, Energeticcity.ca
Newfoundland and Labrador
CBC
Tue, August 15, 2023
The Sheshatshiu Innu First Nation's first winter culture camp was held at Gabriel Lake in Labrador's interior.
(Heidi Atter/CBC - image credit)
The Innu Nation has elected a new grand chief, deputy grand chief and board of directors.
Simon Pokue has been elected as the organization's newest grand chief, taking over from Etienne Rich, who had held the position since 2020. Rich was running for deputy grand chief.
Pokue has a long candidacy history with Innu Nation: he ran in the 2012 general election, losing by only 99 votes. He's also a former chief of the Mushuau Innu First Nation and sat on council.
Christopher Rich, who previously sat on Sheshatshiu's board of directors, is the new deputy grand chief.
Shirley Penashue and Seraphine Rich are new names on the Sheshatshiu board of directors, with Agathe Pone — a board member of 15 years — retaining her seat. Of the male seats, Gervais Penashue and Clarence Snow are newcomers while Pien Selma won back his seat.
Natuashish stuck with all previous members of the board, with Katie Pasteen, Virginia Collins, Nora Pasteen, Clarence Nui, Leon Tshakapesh and Peter Pasteen elected for another term.
All elected members assumed their duties as of Tuesday's announcement.
The Innu Nation has elected a new grand chief, deputy grand chief and board of directors.
Simon Pokue has been elected as the organization's newest grand chief, taking over from Etienne Rich, who had held the position since 2020. Rich was running for deputy grand chief.
Pokue has a long candidacy history with Innu Nation: he ran in the 2012 general election, losing by only 99 votes. He's also a former chief of the Mushuau Innu First Nation and sat on council.
Christopher Rich, who previously sat on Sheshatshiu's board of directors, is the new deputy grand chief.
Shirley Penashue and Seraphine Rich are new names on the Sheshatshiu board of directors, with Agathe Pone — a board member of 15 years — retaining her seat. Of the male seats, Gervais Penashue and Clarence Snow are newcomers while Pien Selma won back his seat.
Natuashish stuck with all previous members of the board, with Katie Pasteen, Virginia Collins, Nora Pasteen, Clarence Nui, Leon Tshakapesh and Peter Pasteen elected for another term.
All elected members assumed their duties as of Tuesday's announcement.
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