SAY Magazine - Back2School 2018 - Indigenous Lifestyle by SAY Magazine

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ISSUE 91 – 2018

SINCE 2002

The 7 lessons of the medicine wheel Traditional Teaching Tool

An Intimate Look into the Life of an Indigenous Icon

Buffy Sainte-Marie

Interview with Acclaimed Author and Music Critic, Andrea Warner New Exchange Program will build Indigenous Curriculum across Borders

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15 Cover Story – Using the Medicine Wheel in Teachings

CONTENTS ISSUE 91 BACK2SCHOOL 2018

SAY MAGAZINE Volume 17, Issue 6 SAY Magazine publishes eight times a year: Winter, Spring, Summer and Fall, as well as Made in Manitoba, Back2School, Economic Development and Education Guide issues. SAY Magazine is published by Spirit of Aboriginal Youth Inc. Mailing Address: Kildonan Place, RPO Box 43084 Winnipeg, MB Canada R2C 5G7 E: info@saymag.com www.saymag.com Publishers Dominick Blais and Kent Brown

responsibility for submitted material. SAY Magazine assumes no responsibility for statements made by advertisers or in submitted material. Graphics, photographs, editorial content and other printed material are the property of SAY Magazine and may not be used without the written permission of SAY Magazine. ISSN: 1707-3049 All copy copyright 2018 by SAY Magazine GST: 856627534RT0001

Editor-in-Chief/Sales Manager Danielle Vienneau editor@saymag.com Editor/Writer Sarah Vaage

Printed on recycled paper using vegetable based inks.

Feature – Candid Interview with Author Andrea Warner

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Laurier-Syracuse Exchange Program Emerging Inuk Artist Update on Bonnie Butlin

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Music Career Development Setting Goals and Staying Motivated

Subscriptions subscriptions@saymag.com Art Director Orli Gelfat - Orli G. Design Printed in Canada Website and Social Media Sphere Media Agency info@spheremediaagency.com Submissions are welcome. Articles, letters, queries etc. should be sent by email to the editor at editor@saymag.com. SAY Magazine assumes no

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Patrick Mitsuing: World Champion Pow Wow Dancer

Two and a half years of archival research uncovers history of the Regina Indian Industrial School BACK2SCHOOL | 3

PUBLISHER’S MESSAGE

t’s almost that time of year (again) – where does the summer go? You may be gearing up to re-establish a routine and get organized as the promise of back to school lingers. However, we sincerely hope you make the most of these last few weeks of summer and enjoy all the pleasures this season has to offer.

In this Back2School issue we are honoured to share recent research on the Medicine Wheel, complete with traditional teaching methods and lessons that can be applied in schools and communities. We also have the remarkable opportunity to highlight the life and career of one of the most beloved artists and Indigenous activists of all time, Buffy Sainte-Marie. We had the pleasure of speaking with the author of Sainte-Marie’s biography Andrea Warner, who gifted us with personal stories of the time she spent interviewing and touring with Sainte-Marie.

Additionally, and in keeping with the theme, you will find informative articles about developing Indigenous curricula and on setting goals and staying motivated throughout the year.

Dominick Blais and Kent Brown Co-Publishers, SAY Magazine

This issue also marks the one-year anniversary for us as co-publishers of SAY Magazine. We’ve experienced an incredible year of learning and challenges and we thank all those who continue to support the work of SAY and all those who contribute their stories, talents and voices to make SAY a valued resource for Indigenous and non-Indigenous people across North America.

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CALENDAR OF EVENTS 2018 SEPT 15

2018 Native American Trade Feast Museum of the American Indian, Miwok Park Novato, California, USA www.marinindian.com

SEPT 17-20

The 20th Annual American Indian Tourism Conference Albuquerque, New Mexico, USA www.aitc2018.com

SEPT 18-20

Third Annual Wellness in the Workplace Training Institute The Native Wellness Institute Kauai, Hawaii, USA www.nativewellness.com

SEPT 28-30

Kauai Pow Wow Kauai, Hawaii, USA www.kauaipowwow.com

OCT 4-6

Annual AISES National Conference Oklahoma City, Oklahoma, USA http://conference.aises.org

OCT 9-12

World Indigenous Business Forum 2018 (WIBF 2018) Rotorua, New Zealand www.wibf.ca

NOV 5-8

19th Annual TribalNet Conference Hard Rock Hotel & Casino Las Vegas, Nevada, USA www.tribalhub.com

FEB 5-7, 2019

2nd Annual Seminole Tribe of Florida Renewable Energy & Sustainability Conference Native Learning Center Hollywood, Florida, USA

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PROFILE

Patrick Mitsuing Loon Lake, Saskatchewan, Canada

Teaching the world about Indigenous culture, song and dance

Mitsuing is a well-known name on the pow wow trail - he is a world champion pow wow dancer known for his athleticism and endurance. He has achieved a number of accolades during his 18 years of dancing, travelling all over North America and winning numerous championships, including placing in the Gathering of Nations Powwow (Canada) and qualifying in the Indian National Finals Powwow (United States). Just last month Mitsuing earned the title of 1st Place Champion of the Nelson “Sugarbear” Shognosh Memorial Showdown at the Grand River Champion of Champions Pow Wow held at Chiefswood Park, Six Nations, Ontario, Canada. He might not admit it if you ask him, but Mitsuing has won almost every major pow wow title in Canada and regularly places in world champion events.

Mitsuing was raised by his aunties and uncles on the reservation and was first introduced to pow wow dancing when he was 13 years old by his uncle Roy. From then on, Mitsuing was hooked. “I love the challenge and thrill of this very tough dance,” said Mitsuing. “Fancy dancing has gifted me with a lot. I travel to places I would have never been otherwise, I’ve met very cool people from all over the world, and when I have younger ones excited to meet me, I know I’m affecting people in a good way.” Dance is a positive way of life “I love to for Mitsuing and his family. “It keeps us healthy and learning our culture.” dance for a

few reasons. One of them is the challenge and thrill of this very tough dance – the Men’s Fancy Feather.”

MARMAR Photography

atrick Mitsuing is Cree from Makwa Sahgaiehcan First Nations in Treaty 6 Territory. He is a proud husband to Marrisa Mitsuing and a father of four children.

They say that every dancer tells a story and you can tell by their dancing where they’ve come from. As a youth Mitsuing excelled in track and field and loved to breakdance. Mostly known for dancing the Fancy War Dance, evidence of Mitsuing’s athletic background can be seen in his dancing, from cartwheels to flips and other moves found only in breakdancing.

Mitsuing is also an entrepreneur, a public speaker and a youth role model. A few years ago, he created a non-profit media company called Powwow Times with the goal of revitalizing Indigenous language and promoting healthy living through Indigenous culture and decolonization. Mitsuing now dedicates much of his time to sharing culture and dance with communities all over western Canada. BACK2SCHOOL | 7

Laurier-Syracuse Exchange Program:

Building Indigenous Curricula across Borders In Winter 2019, three Indigenous students from Wilfrid Laurier University (Ontario, Canada) and three Indigenous students from Syracuse University (New York, USA) will exchange places and work together to develop Indigenous curriculum content. “This program will be an exciting and unusual opportunity for Indigenous students to influence and have input into curriculum development,” says Jean Becker, Senior Advisor of Indigenous Initiatives. Through funding from Santander Bank through the 100,000 Strong in the Americas Innovation Fund, Laurier developed the Indigenous Mobility and Curriculum Across Borders program in partnership with three American universities and two Indigenous partner organizations.

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Laurier associate professors Kevin Spooner (North American Studies and History) and Lucy Luccisano (Sociology) heard about the grant competition for innovative study abroad partnerships and collaboration from the U.S. Consulate in Toronto. Spooner and Luccisano were immediately interested in doing something to fill the gaps left by typical exchange programs. “We hadn’t in the past seen many Indigenous students applying to go on exchange,” says Luccisano. “Also, usually students go on their own and it’s a very individual experience. We wanted to do something different.” To refine their idea, Spooner and Luccisano worked with Becker; Erin Hodson (Indigenous Curriculum Specialist); Lianne Leddy (Assistant Professor of Indigenous

Studies) and Phyllis Power (Manager of Global Engagement Programming). The team developed the vision of a curriculum development project that would see students working with academic and community mentors. Syracuse University became the primary partner, with the University of Buffalo, Cornell University, Woodland Cultural Centre and Skä•noñh - Great Law of Peace Center also coming on board. The majority of costs to the students will be covered through the one-time Santander grant, as well as other funding and inkind support from the partners and several Laurier departments. The partners are working on ways to make the exchange sustainable for the future. Continued on page 9

ART

Emerging Artist

Jade Nasogaluak Carpenter Credit:Ian McCausland

ade Nasogaluak Carpenter is an Inuvialuk artist and curator based in Calgary/ Banff, Alberta, Canada. She was born in Yellowknife, Northwest Territories, and was raised in Edmonton, Alberta. She currently holds the Indigenous Curatorial Research Practicum at Banff Centre for Arts and Creativity. In June 2018 it was announced that Carpenter is the recipient of the inaugural Primary Colours/Couleurs primaires Emerging Artist Award. This $2,000 award is given annually to an emerging artist who is Indigenous or of colour. The Emerging Artist Award is funded exclusively from donations to Primary

Continued from page 8

DEVELOPING INDIGENOUS CURRICULUM The three Laurier students will be in Syracuse, while the three Syracuse students may go to the Laurier Brantford or Waterloo campus depending on their majors. All six participating students will maintain close contact as they work on their curriculum development projects. At the end of the term, all students will present their work at a one-day symposium hosted by Laurier in Waterloo. The envisioned end result is six online curriculum modules that can be used as resources and incorporated into courses at any of the partner institutions. Students will also be able to access the content for research purposes. Hodson hopes the student-developed content will result in non-Indigenous students learning more about Indigenous issues and future Indigenous students seeing themselves better reflected and valued in class.

MAKING INDIGENOUS SPACES IN AND OUT OF CLASS When the Syracuse students arrive, Hodson hopes their professors will reach out to her so she can suggest ways to better incorporate Indigenous voices, culture and knowledge into their classes. However, Hodson’s work goes well beyond one exchange program. She already works extensively with willing instructors across the university to improve the representation of Indigenous people in curricula. She sometimes makes knowledge-related suggestions, such as readings or guest speakers, and/or process-related suggestions, such as allowing students to incorporate lived experience into assignments. Hodson says there is room to make space for Indigenous people and ways of knowing without sacrificing academic rigour, regardless the field of study.

“Indigenous students go to school to help our people in ways that we can, so whether that’s through physics, social work or music, there’s a place for their culture within that study,” says Hodson. Laurier offers a variety of Indigenous Initiatives and Services on the Brantford and Waterloo campuses, including academic and personal counselling, visiting elders, Indigenous peer mentors, community gardens, and access to smudging and traditional medicines. Syracuse also has resources and services in place to help support Indigenous students. Indigenous students from any faculty interested in applying for the exchange program should contact Kevin Spooner at kspooner@wlu.ca or Lucy Luccisano at lluccisano@wlu.ca for more information.

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ART Colours/Couleurs primaires by artists and others who work in the Canadian art system. Chris Creighton-Kelly, co-director of Primary Colours/Couleurs primaires, said, “We are genuinely delighted to offer this award to Jade - an artist who is just beginning to be recognized for her important contributions, both as an artist and as a curator.” Carpenter is very active in Calgary’s art scene. She is a core member of Ociciwan Contemporary Art Collective and sits on the board of directors for Stride Gallery. She holds a diploma in Fine Art from Grant MacEwan University and earned a Bachelor in Fine Arts from the Alberta College of Art and Design in 2016. In 2017, she was awarded the Alberta Foundation for the Arts Young Artist Prize and was featured in the Summer 2017 issue of Inuit Art Quarterly. In autumn 2018 Carpenter will be part

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of the curatorial team for the Winnipeg Art Gallery’s new Inuit Art Centre. She will begin administrating and curating in preparation for the centre’s opening in 2020.

“I feel the pressure of the responsibility to maintain my art practice alongside my various curatorial projects. And so I feel incredibly honoured to be supported in this way.” - Jade Nasogaluak Carpenter Carpenter uses art and humour as a coping mechanism to subtly address cultural displacement and to openly address mental illness; the lighthearted nature of her practice extends gestures of empathy and solidarity. These interests invite a reconsideration of the perceptions of con-

temporary Indigeneity and counter the stigmatism surrounding mental health. “Jade is an outstanding figure among a new generation of talented and prolific Indigenous artists. Both in her visual art practice and her writing, Jade exhibits critical insight combined with an inspired wit,” said France Trépanier, co-director of Primary Colours/Couleurs primaires. Primary Colours/Couleurs primaires (PC/Cp) is a national, bilingual, intergenerational 3-year initiative designed to place Indigenous arts at the center of the Canadian art system. PC/Cp also asserts that art practices by people of colour play a critical role in imagining Canada’s future(s). In September 2017, PC/Cp hosted a gathering on Lekwungen territory near Victoria, BC. This initiative is co-directed by Chris Creighton-Kelly and France Trépanier. For more information visit primary-colours.ca.

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time for my interests time for my learning

Our world-class, accredited programs oﬀer you the ﬂexibility to learn at your own pace, on a schedule that suits your lifestyle.

open. online. everywhere. go.athabascau.ca/indigenous BACK2SCHOOL | 11

FEATURE A first-hand look at the life of a folk hero and living legend

BUFFY SAINTE-MARIE:

The Authorized Biography

“As a journalist I want to provide space for other people’s stories – that’s what my purpose is.” – Andrea Warner The first and only authorized biography about Buffy Sainte-Marie is coming out this September, and SAY Magazine was one of the first to interview author Andrea Warner in anticipation of its release. Warner is an acclaimed author, pop culture writer and music critic who shares a close bond with Sainte-Marie. Warner joined Sainte-Marie on tour and spent more than 60 hours interviewing the musician to write this book. In this interview, Warner offers a more intimate, personal look at Sainte-Marie’s remarkable life and career, including her commitment to Indigenous advocacy and activism, her leadership and her unparalleled talent as a songwriter, artist and entertainer.

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FEATURE SAY: Why was it important to write this biography? Warner: There has never been this close unpacking of Buffy Sainte-Marie’s famous and creative life - that angle has never really been told.

I also started digging into and unpacking what it means to be a Canadian musician. I started to listen, appreciate and understand more what “Canadian” has often meant and why that might in itself be a barrier for some people. The history of colonization in this country is devastating and damaging. I started to think a lot about what I was seeing on the best Canadian musician list, who qualified, who sprang to the top, and whose stories were not being represented. I’m a settler, I was born here in Vancouver and I’m white. As a country we have forced people to identify and be a part of the mythology of Canada, and we continue to erase Indigenous voices and immigrant settler voices. I spent more time thinking about what it meant to be a Canadian musician and who was not represented or purposely erased by using the term “Canadian musician”. By default, people constantly talk about Neil Young and Joni Mitchell, who I love and appreciate, yet, the more I listened to Buffy’s music, the more I started to wonder why she was not being counted in the same way. She is a very celebrated artist, especially in Canada; however, I feel like she never gets the same level of acknowledgement or appreciation for how truly innovative she is. Buffy is a brilliant songwriter and activist and she writes about things

SAY: What was it like meeting Buffy Sainte-Marie for the first time? Warner: I was writing a lot about Buffy’s music and we happened to be following each other on Twitter. I interviewed Buffy for Power in the Blood, which I think is the most important record of 2015, and we got along so brilliantly - neither of us wanted to get off the phone. We had such a great connection and I thought, ‘if I can write her biography and have her be the one telling her story, I can help make space for it because her story belongs in this world’. I felt that up until now, her story had not fully been told. When I asked whether she would be interested in this idea, I was so excited and honoured that she said yes. When we met to start the process, we clicked immediately. She had said no to others before, but she said yes to me. I am incredibly lucky. SAY: What is one of the things you admire most about Buffy Sainte-Marie? Warner: I love her curiosity about everything. Her brain is never really quiet, even if her body is enjoying the quiet and the solitude, her brain is always racing. I really appreciate and love that level of engagement - it’s such an exhilarating thing to be in conversation with her. SAY: The two of you put in a lot of time together to create this book; what was your experience like touring with Buffy and her band? Warner: Prior to the tour, we had formed such a nice bond over the phone. We spoke twice a week for two hours at a time and created a kind of space where we built trust that deepened with each passing conversation. After two months of phone calls, I spent three full days on tour with her, in and out of a van with her and her band.

BUFFY SAINTE-MARIE

I remember digging deeper into the folk movement and the protest movement. It’s My Way! is such an important album and utterly critical to the protest movement, the peace movement and the folk movement. What’s crazy is that I could only find one book that had been written about Buffy Sainte-Marie, but I could find 70 books written about Bob Dylan (who’s great and I get it). Dylan and the myth of Dylan takes up all the space and that is seriously compromising the folk movement’s glorious history and erasing women, particularly women of colour, from a critical time in our world.

that are truly important and crucial to the human experience.

I sat next to Buffy in the van and we listened to audiobooks, she showed me pictures of her vacations and we talked about different things happening in the world. We also discovered we both share a love of pinball! I didn’t record the whole time because I BACK2SCHOOL | 13

FEATURE

BUFFY SAINTE-MARIE

didn’t want to create any kind of intrusion; I wanted things to continue to flow and happen around me. Buffy and I would hang out after shows and do our interviews, and that’s when I would take out the tape recorder. It was such an incredible experience. When it was done, I didn’t want to go home. SAY: What is one of your most memorable experiences touring with Buffy? Warner: Getting a chance to see Buffy and her band do sound check every day and just being a part of it all. They invited me into their smudging ceremony before they went on stage which was such a beautiful experience. The whole team was such an inviting, accepting and loving group – they were so kind and generous. I really enjoyed witnessing what their collaboration looks likes. Now I know all the words to all the songs, and I sing along to them all – I’m one of those people in the audience now! I never get tired of hearing/listening to their songs because she [Buffy] has such a unique way of bringing them to life. I thought about what it is to perform a song you wrote more than 50 years ago and when the world is still very difficult and increasingly difficult - to go out there and still believe in its power and its message. The word “tireless” is used a lot in reference to Buffy, and I understand why. She is not someone whose message has ever faded or been compromised. She has had a strong belief system centered in her—probably since birth—and she has always been able to listen to and cultivate it and share it with the world. It’s extraordinary to witness. SAY: Was there anything that surprised you or shocked you throughout the interview process? Warner: I was not aware of the extent of the intimate partner violence and the childhood trauma that she experienced. I cried many times. She hadn’t really talked about it or gone on record about it before. I am grateful to her for trusting me with this part of her life. I know that people are going to read this and feel seen and validated in their experiences. I think people will see a part of themselves in this book that they didn’t anticipate.

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The way in which she frames the relationship between colonialism and pedophilia is going to allow people to better examine the real costs of colonialism. If people haven’t been able to make it real through understanding residential schools, I think this is another way people can confront colonialism and understand why decolonization is so important. People will further understand why movements like “Me Too” and “Time’s Up” are so prevalent. Our cultural history is so rooted in exploitation that I think this will be an emotional and eye opening read for a lot of people. SAY: What did you learn about yourself along the way? Warner: I was very privileged and welcomed into cultural ceremonies and traditions which was a beautiful and emotional experience for me. I really valued that. Buffy has such a capacity for creation – she talks a lot about creation and the creator, and I think that’s part of how she maintains her energy and her momentum – she’s very much an optimist. She has helped reframe things for me and helped me think about things from more positive viewpoints - I need to be part of a solution. I hope that stays with me forever. SAY: Is there anything else you would like to share with our readers - with young people reading SAY? Warner: Buffy has an incredible love of learning - she truly values education and learning. She’s looking at ways to further digitize and revitalize the Cradleboard Teaching Project (www.cradleboard.org); making it relevant to Canada and to the United States. I think she would be excited if young people checked it out and thought about how it could be useful in modern society because it’s an interesting way of approaching education. Edited in collaboration with Sainte-Marie herself, no book, article or interview has offered as powerful or intimate of a look at the amazing artist’s life, and Warner takes the reader on a brilliantly emotional and engaging journey. Buffy Sainte-Marie: The Authorized Biography by Andrea Warner, foreword by Joni Mitchell. Available September 25, 2018, from Greystone Books.

COVER STORY

The Seven Lessons of the Medicine Wheel The Science of the Medicine Wheel

Many cultures have attempted to track the movements of the sun, the moon and the stars and have used these celestial bodies to measure time, to follow specific geographic routes using cardinal directions and to relate to the physical and spiritual world they live in. There are numerous examples of ancient sites around the world where ancient cultures and ancestors laid out stones in patterns that relate very closely to the movements of the sun and can be used as calendars showing accurate sunrises and sunsets on the solstices and observed equinoxes. The Medicine Wheel, sometimes known as the Sacred Hoop or Sacred Circle, has been used by generations of various Native American tribes and First Nations in Canada for health and healing and as a tool for learning and teaching. There are many interpretations of the Medicine Wheel by many people and cultures, and no one is wrong. Depending on the teachings they received, many Elders, including SAY Magazine’s consulting Elder Norman “Redsky” Monkman, refer to the Medicine Wheel as the Medicine Circle. In fact, “Medicine Wheel” is not an Indigenous term this term was given to the structures by the first Europeans and is not the way the first peoples referred to their

rock structures. In fact, a wheel was a foreign concept to the ancient first peoples, but this is how they are commonly referred to in present time. For the purpose of this article we will use the more widely recognized term Medicine Wheel. There are seven common teachings associated with the medicine wheel in many First Nations’ cultures. These teachings vary by tribal custom and by the elders relating their own heritage and stories. However, there are a lot of common themes that can be taught and discussed that are very relevant to modern life and can be proudly taught as evidence of the high level of knowledge in cosmic things, in the changing of seasons, in timekeeping, in the use and respect for animals, in plants and in the elements. There is no right or wrong way to use the medicine wheel as a teaching tool. It is both a universal symbol and a personal mnemonic tool for various cultures. Inviting elders to relate their associated learnings about the medicine wheel is an important way of preserving and passing on culturally important knowledge. The knowledge vested in elders should be honoured and respected.

Using the Medicine Wheel in Teachings The Circle The circle, or wheel, is a common symbol in many cultures and represents several elements to the First Nations. The circle acknowledges the connectedness of everything in life, such as the four seasons, the four stages of life and the four winds, and it represents the continuous cycle and relationship of the seen and unseen, the physical and spiritual, birth and death, and the daily sunrise and sunset. The circle is divided into four coloured quadrants. The colours can vary, but the symbolism remains similar amongst the first peoples. The wheel moves in a clockwise direction, with the teachings always beginning at the yellow, or eastern, quadrant. These colours relate to teachings of the directions, seasons, elements, animals, plants, heavenly bodies and the stages of life. Question you can pose to students: Many things in the world are round. Can you name some? Possible answers: The moon, the sun, the sacred hoop, the connections of all things, etc. BACK2SCHOOL | 15

COVER STORY Lesson #1:

The Four Directions

The four colour quadrants on the medicine wheel can represent the four directions: north, south, east and west. The teachings of the four directions start with the east, or yellow, quadrant and run clockwise around the circle. Red symbolizes the south, black the west and white the north. How to teach the four directions: Here is a game you can play to help your students remember the directions. The teacher stands facing due north and holds out her arms. Pointing first with her right arm, she tells the students that this is east. The teacher then lowers her right arm and points with her left, showing where due west is when facing north. Then, the teacher can indicate that south is behind her, directly opposite of north. Practice with your students: have someone call out directions at random, and everyone must move or point in that direction as quickly as possible.

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Lesson #2:

The Four Seasons

The four seasons (spring, summer, fall and winter) are also represented in the medicine wheel’s colours. Yellow symbolizes spring. We start the wheel with yellow the same way we start the seasons with spring when life is renewed; it is a time of planting and birth. Red represents summer and is a time of abundance when ripe red berries are picked and fresh food is preserved. Black represents fall; this is when plants mature and harvests take place. White symbolizes the winter season when there is death and completion of the life cycle. How to teach the four seasons: Students can name the seasons and talk about why each colour represents that specific season. Start with yellow and spring. Can they name some of the first yellow flowers that appear in early spring? What colour are most of the berries when ripened? Why would the colour white represent winter, and so on.

Lesson #3:

The Four Elements

The four elements, fire, earth, water and wind, can be taught through the medicine wheel. In the teaching of the elements, the yellow quadrant represents fire, since from fire we receive warmth and light. Red represents earth, as it is from the earth we receive the food we eat and the medicine we need to live; it is our life blood. Black symbolizes water. It is essential to our bodies, flowing to all the plants and animals on the earth. Wind is represented by the white quadrant. It is the air we need to breathe; it is the life-giving force we cannot see. How to teach the four elements: An elder or teacher can discuss how the four elements are necessary to our existence and to the role we play in the world. It is important to note the teachings in lessons 4 through 7 require an elder with special knowledge of the customs of the nation to discuss and teach to the youth of their community and heritage.

COVER STORY

Lesson #4:

Animals

There are no firm rules about what animals are associated with the medicine wheel or in which quadrant they must be shown. This is a matter of choice and tradition. However, there are some common spirit animals that are associated with the wheel: the eagle, the buffalo, the wolf or coyote and the bear. The eagle is most often shown in the yellow section and represents the eagle’s vision, power and ability to see the bigger picture of the world from above. The eagle is the bird that flies closest to the creator and is the messenger between people and the creator. The buffalo is frequently represented in the red quadrant. The buffalo is a provider, a strong spirit with great endurance and emotional courage. In some cases, red also symbolizes the mouse or rabbit, spirit animals that are associated with abundance and busy working. The wolf or coyote is normally shown in the black quadrant. The coyote is a spirit animal that is playful, adaptable and is often characterized as a “jokester”. The wolf spirit animal is intelligent, has strong instincts and demonstrates freedom as an essential way of life. The wolf at times can also represent distrust and fear of being threatened. The white, or northern, quadrant is frequently associated with the bear, a brother to people. The bear is strong, confident and is a powerful image of healing for both the physical and emotional. The white section is also often associated with the white buffalo calf, which is a sacred animal to the first nations.

ed with the yellow/eastern section of the medicine wheel is tobacco. Tobacco is a sacred plant used to honour the creator. It was the first medicinal plant given to the people, and it is often offered as a gift to other medicinal plants, to honour the spirits or to begin a personal conversation with the creator. The plant associated with the southern section is sage. Sage is often used in ceremonies as a smudge to remove negative energies, to cleanse the mind, and to ready for the ceremonies and teachings. Sweetgrass is associated with the black/ western quadrant. It is a calming smudge and is used for purification prior to important ceremonies. Cedar is represented by the white/northern part of the medicine wheel, and it is a plant that can be used to purify an area such as a home or sweat lodge. It is often considered a guardian to keep away evil.

Lesson #6:

Heavenly Bodies

The alignment of the medicine wheel on the ground is placed in relation to the heavenly bodies and how they move through our lives. The sun rises in the east, and so it is represented in the yellow section, the beginning of the medicine wheel. The rising sun signals a new day, and this section is also seen as morning in some teachings. The sun represents new beginnings and a renewal of the rhythms of life.

Lesson #5:

The earth is represented in the south, which is directly below the stars, or heavens. The earth is the sacred home of the people and is the giver of the essentials of life. It is a living system in which people are integrally bound from birth until death.

The medicinal plants associated with the medicine wheel are all plants that can be used to smudge. The plant associat-

The moon is represented by the west or the blackness of night. The moon helps to guide times of planting and is a way to record time and events.

Plants

The stars are represented in the northern section. They mirror what is below and represent those that have gone before. They also represent ways of understanding and of navigating at night using constellations.

Lesson #7:

Stages of Life The four sections of the medicine wheel also symbolize the four stages of human life.

The eastern section represents the beginning of life, birth and early childhood. It is a time of innocence and purity. The east is where people come from. The east represents new life being brought into the world. The southern section represents youth and adolescence, a time of growth and the beginning of knowledge. It is a time of learning and represents the mental development of self. The west is the time of adulthood and parenthood, when responsibilities and nurturing are one’s main occupations. The west represents the emotional self and meeting the fulfilment of life as we find our meaning and place. Finally, the northern section of the wheel represents elders, grandparents and death. The white symbolizes the hair of the elders and their years of learning. This is the place of wisdom and of imparting the knowledge gained from a lifetime of living in the physical world to the younger generations. It is a time of reflection, rest and increased understanding of the aspects of the spiritual world. By: Kelly J. Beaulieu, B.A., BSc Ag To find out more about the author, see page 18. BACK2SCHOOL | 17

PROFILE

Kelly Beaulieu Kelly Beaulieu, author of The 7 Lessons of the Medicine Wheel (seen on page 15), is an Ojibway woman from the Sandy Bay First Nation, which is situated on the shores of Lake Manitoba. Beaulieu was raised on a farm and has a passion for agriculture, agribusiness and food processing technology innovation. She is a writer, public speaker and journalist. Beaulieu is a passionate entrepreneur who was recently honoured by the University of Manitoba with a Certificate of Merit for her contributions to agriculture in Canada.

18 | BACK2SCHOOL

PROFILE

BONNIE BUTLIN

Deemed “Canada’s First Lady of Security” by SecurityInfoWatch back in 2015 and most recently in SOVEREIGN Magazine, Butlin continues to make her mark on the world of security (a largely male-dominated field) through her exemplary leadership and determination. Butlin’s reputation in the security sector continues to catch the attention of prominent media outlets. She was just named a Top Influencer in SC Magazine’s Women in IT Security 2018, and Butlin’s showing no signs of slowing down. In March 2018 and in honour of International Women’s Day, Butlin announced the official launch of the African Women in Security Network (AFSWN). The purpose of the AFWSN is to encourage the advancement and capacity of women involved in all aspects of the African security sector through the exchange of information and the cultivation of productive relationships. Butlin, along with numerous female security professionals from across Africa, continue to work diligently to establish this network, including the development of a governing Council. Other participating groups and associations that served as inspiration for the AFSWN include the Australian Women in Security Network, the Women’s Security Society, Women in Security and Privacy, and the Women’s Society of Cyberjutsu, to name only a few. After The Women Economic Forum in Birmingham, Butlin was invited to speak

Credit: j.mcneelyphotography

AY first introduced you to Bonnie Butlin in our Winter 2018 issue when it was announced that Butlin (member of the Métis Nation of Ontario, Canada) was a finalist for the Women in IT Awards 2018 – “Global Leader of the Year” and a recipient of the “Women of the Decade Award” which was presented at the 2018 Women Economic Forum (WEF) in Birmingham, UK, in June of this year.

at the Economic Club of Canada on June 25th, the leading speaking platform in Canada – a platform typically reserved for senior politicians and notable dignitaries. She also recently wrote the feature editorial for the upcoming special “Women in Cybersecurity” edition of the Cybersecurity Journal and is currently drafting a book review for The Security Journal, the leading peer-reviewed publication in the security field.

are interested in the security disciplines (including cyber security), Butlin recommends being prepared to keep learning after graduation and to learn from experienced security professionals; to stay imaginative and persistent since security will change quickly and will take unexpected directions; and to support each other and promote excellence in order to enhance everyone’s capacity as security professionals in a balanced and interconnected way.

Cybersecurity services are growing in Canada and one of the biggest challenges the industry and the Canadian Government faces is finding effective staffing. For soonto-be university or college graduates who

Butlin truly walks the talk as she continues to educate herself by working towards the completion of a Micro-Master’s programme in International Law from the Université Catholique de Louvain. BACK2SCHOOL | 19

MUSIC Photo credit: Jayli Wolf

ONCE A TREE Jayli Wolf and Hayden Wolf make up Once A Tree, an electronic music duo hailing from British Columbia, Canada. With heartfelt lyrics forged from their personal experiences, the couple released their debut album Phoenix in November 2017. Phoenix won Best Electronic Music Album at the 2018 Indigenous Music Awards. The EP produced standout tracks “Fine”, “Coming Down” and “Breakdown” - a raw, honest look at depression that raises mental health awareness.

The two met when leaving the doomsday religion they were both raised in. Excommunicated by their community, they decided to raise their voices through music. They fell in love and began writing folk music in a small valley town near the Canadian Rockies. When Jayli, who is of Saulteaux heritage, won a songwriting competition, the two were flown to Toronto, Ontario, Canada, to shoot a music video. They arrived in the city with two suitcases and a guitar, looking for a fresh start and determined to pursue their dreams. After relocating to Toronto, Hayden was accepted into The Remix Project (a youth led arts organization in Toronto, Ontario, Canada, for at-risk youth), where he was able to hone his music production skills. Paired with Jayli’s powerful vocals the two began to evolve their sound, infusing mellow beats with dream pop melodies. Once A Tree was born.

Continuous Learning is Key

hen Jayli first moved to Toronto, she was accepted into a 6-month business course at Miziwe Biik Aboriginal Employment and Training. It taught her a broad spectrum of skills, such as how to set business goals, manage finances, create a marketing plan, find grants and navigate the business side of the arts. “It is so beneficial for artists who wish to be self-employed to understand how to sell their art, track their progress and hit target goals,” said Jayli. Not only did Jayli learn these much needed skills, but she also connected with like-minded Indigenous entrepreneurs. “School is an amazing place to build friendships and find community,” said Jayli.

20 | BACK2SCHOOL

“Having mentors and people to look up to is important for your growth in developing your passions and skills.” - Hayden Wolf The Remix Project was the place where Hayden found his mentors and support system. “Being consistent and pushing yourself outside of your comfort zone is where you will make the most advancement,” said Hayden. The Remix Project offered that environment for him. Regularly, they would have people who were excelling at their artistic endeavours come speak to

the students about their own struggles and how a persistent attitude is key in any practice in order to reach one’s full potential. “Learning that failure is the greatest teacher and that even the biggest artists had to fight their way to the top was inspiring. In an age where social media usually only boasts our successes in life it was comforting to know that even the most successful amongst us have struggles,” said Hayden. “It’s how we navigate through the let downs and difficult situations in life that propels us in the right direction. Stay focused and resilient. And always follow your passions. They are the wings to your soul.”

MUSIC

The Eagle and The Raven band Jazz Legend - Percussionist - Alex Acuña. Acuña’s first CD-EP Poets Ocean was released in 2012.

Indigenous Taino members came together in February of 2016 to form Puerto Rican rock band, The Eagle and The Raven Band. Guided by singer and songwriter Blanca Iris Acuña, the band set out to create original rock songs with Indigenous sounds. Acuña is a Taino Native Puerto Rican poet, songwriter, singer and painter. Raised in Puerto Rico Acuña sought to learn more about her Indigenous heritage, and in her twenties she moved to the United States to follow her passion for music, art and poetry. Along her journey she found her people – the Native American Cherokee and Chippewa. She devoted many years to living with her Native American family, learning the ancient teachings

and ceremonies, and was blessed with the Native name “White Rainbow Eagle”. In 2007 she was discovered by Cucco Peña - Latin superstar Marc Anthony’s producer - and in 2009 she began recording with local musicians as well as with internationally recognized artists such as Manuel Calzada and Indigenous Peruvian

The Eagle and The Raven Band’s most recent EP, The Good Red Road, has gained international recognition and delivers a mix of Indigenous rock, featuring the songs “Father Time”, “The Raven Song”, “Meant to be” and “Medicine Woman”. The band features an array of musical talent and consists of bandmates Sigfredo Auli Rodriguez (producer and bass player), Blanca Iris Acuña (lead singer and songwriter), Adolfo “Fito” Rodriguez (bass player), Richard Rosado (drummer) and Ismael Sanchez (lead guitar).

BACK2SCHOOL | 21

MUSIC

K.A.S.P

Motivational Speaker, Facilitator, Hip Hop Artist Rob Sawan, a.k.a. K.A.S.P, is an 11time award winning and 7-time nominated Cree hip hop artist, DJ, motivational speaker and workshop facilitator from British Columbia, Canada. Currently residing in Kamloops, British Columbia, K.A.S.P grew up in the rougher areas of East Vancouver where he was first introduced to hip hop music. K.A.S.P grew up listening to hip hop music in the 90s, characterized as the “golden age of hip hop”, and rappers like Nas and Tupac inspired the music he makes today. “I really loved the culture - what hip hop music was all about,” says K.A.S.P. “Hip hop music was my medicine, and it just brought me back to who I’m at in being Indigenous.” Today, K.A.S.P says his music is inspired by his traditions, family, life and just being able to celebrate with music. K.A.S.P started his music career in 2000 with the hip hop group 7th Generation, and in 2010 made the decision to branch out as a solo artist. Most recently, K.A.S.P won West Coast Rap Album of the Year at the 2015 Canadian Hip

Hop Awards and the Aboriginal Arts Excellence Award at the 2016 BC Arts Awards. His latest single “Thank You” from his upcoming album is on the Top 25 Indigenous Music Countdown. In 2013 K.A.S.P took some time off from his music career to focus on his other passion: motivational speaking. K.A.S.P has spoken all across Canada, and in some parts of the United States. He has worked with youth organizations, bands, health centers, ministries, Ministry of Children and Family Development and delegated agencies, jails and prison settings, conferences and family events. K.A.S.P has two year-round tours, the “Reach our Native Youth” and “Addictions Awareness” tours, and has also recently teamed up with North of 60’s Dakota House and Comedian Aboriginal Hypnotist Scott Ward for the “Going M.I.L.E.S” tour. K.A.S.P’s goal is to reach as many Indigenous communities as possible in order to inspire and motivate people to better themselves.

Aug 27

| Gary Sappier

Sept 3

| Once A Tree

Sept 10 | The Eagle and the Raven 22 | BACK2SCHOOL

Sept 17 | K.A.S.P

MUSIC

THE GARY SAPPIER BLUES BAND

Rising from the block parties of Tobique First Nation in New Brunswick, Canada, The Gary Sappier Blues Band blew up the blues scene of 2003 with their album The Gary Sappier Experience.

The band’s latest album Volume Two has taken the band touring from the United Arab Emirates and the Netherlands, to the United States and the far west of Manitoba, Canada, appearing on MTS Centre Live TV Broadcast. The band has performed for Canadian and Afghanistan Ambassadors and has opened for the likes of Buffy Sainte-Marie and Songwriter Hall of Fame inductee Lou Gramm. Stand-out tracks like “Wanted Man”, “Mama Do Ya Think” and “Money for You” will appeal to blues fans and non-blues fans alike. The group has just released a brand new album titled Party Time! which is being played on several different radio and satellite stations worldwide.

BACK2SCHOOL | 23

CAREER DEVELOPMENT

Amber Abou Kwadacha First Nation

The program was offered at the Native Education College, an Indigenous Institute in Vancouver, British Columbia. Through her sister Abou discovered that ACCESS sponsors a variety of programs – Office Administration, trades training and apprenticeship opportunities, the BladeRunners program for at-risk-youth, health programs and even an upcoming Introduction to Film bootcamp. ACCESS also offers individual seat purchases for eligible applicants of Indigenous heritage.

24 | BACK2SCHOOL

Photo Credit: Darko Sikman

Growing up, Amber Abou, a member of the Kwadacha First Nation (British Columbia, Canada), was often told, ‘Believe that you can succeed’. This phrase inspired her to enroll in the Aboriginal Community Career Employment Services Society (ACCESS) funded Office Administration Certificate program. “I knew that with the Office Administration Certificate program I’d be able to get steady employment with an organization that I had a connection to,” said Abou.

Abou discovered that being in a smaller classroom operated and owned by the Aboriginal community created the setting she wanted and where she knew she could succeed. “You feel like you have a place, and everyone knows each other,” said Abou. She found that ACCESS offered

ongoing support with funding for course materials and supplies, study and tutor support, computer lab access, skill assessments, and pre-employment and career counselling. After graduation ACCESS helped Abou secure a one-month practicum placement as an Office Assistant at the Vancouver Aboriginal Child and Family Services Society (VACFSS). “I wanted to give back to the place and people where I felt I belonged,” she explained. She was already familiar with VACFSS and its importance to the urban Aboriginal community from the eight years she had volunteered on their Youth Advisory Committee for Kids in Foster Care. The work practicum successfully led to ongoing casual employment with the organization. She has since applied for a permanent position.

CAREER DEVELOPMENT

Brittani Russell

Photo Credit: Darko Sikman

Tahltan-Tlingit

rittani Russell’s future changed when she decided to leave a camp job after becoming a single parent of very young children. On a whim Russell took an interview her brother could not make with the Aboriginal Community Career Employment Services Society (ACCESS) for a seat in the Metal Fabrication program. It resulted in her acceptance into the course. “When I thought the future didn’t look so great, a lot of good stuff started happening,” Russell said. Russell already knew of ACCESS Trades. She had heard of its partnership with Seaspan, an association of Canadian companies primarily involved in coastal marine transportation, and wanted to explore a career in the field. “When I was a kid I was a Sea Cadet, and always wanted to

work in the shipyards and with metal. My great grandfather was a Silversmith and my father was a Sheet Metal Worker in HVAC.” Once accepted, ACCESS conducted Essential Skills testing to assess Russell’s competencies, then designed a support system for skills upgrading to help Russell during her training. It would be several months before the British Columbia Institute of Technology (BCIT) program started. While waiting for it, Russell completed the BladeRunners 16 safety and industry-recognized certifications. She said, “When the BCIT Metal Fabrication program began, I felt more than ready to succeed.” Throughout the program ACCESS offered ongoing support through tutoring, study groups and aid from the Trades Program Training and Employment Coach-

es. “They also helped me connect with my Aboriginal heritage. It was the Aboriginal support and connections that enabled me to excel at BCIT.” Russell was not only successful in the program, but she also won scholarships, grants and bursaries. Resume support and interview coaching helped her win a position as an apprentice Fabrication Specialist, which then led to her current job working with an earlier employer, Wellons, as a Machine Operator, and with Iron Workers 712. Russell said, “Less than two years ago, I was on Social Assistance and couldn’t make ends meet. Today, I am completely debt-free with perfect credit, life insurance, a pension, RRSPs and other benefits. I’m now able to make a better future for my kids and me.” BACK2SCHOOL | 25

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THE REGINA INDIAN INDUSTRIAL SCHOOL (1891-1910): HISTORICAL OVERVIEW AND CHRONOLOGICAL NARRATIVE Douglas Stewart, the author of The Regina Indian Industrial School (1891-1910): Historical Overview and Chronological Narrative was recently recognized with the Academic Book Prize from the PCC Committee on History

n this book the author, Douglas Stewart, draws on a wide expanse of archival material to present a history of a relatively large, but little-known, residential school that was operated by the Presbyterian Church in Canada (PCC) just outside Regina from the end of the 19th and into the early 20th Century. The Regina Indian Industrial School operated for nearly two decades, with First Nations’ children from Alberta, Saskatchewan and Manitoba being brought to the school to learn trades, with the misguided goal of “Christianizing and civilizing” Indigenous children. “In other words, to strip them or divorce them from their cultural homes, their backgrounds, their beliefs and practices,” said Stewart. In the 1990s, Stewart - a now-retired Professor of Education at the University of Regina - introduced residential schooling in Canada to his curriculum. “I felt that the Faculty of Education wasn’t really dealing with that subject in the 1990s,” said Stewart. While preparing to teach the unit, Stewart learned there had been a residential school just outside Regina that operated from 1891 to 1910, but it wasn’t until only a few years ago Stewart really began delving into the school’s history. When Stewart was approached by the RIIS Commemorative Association - an organization of Indigenous and non-Indigenous members dedicated to the restoration and preservation of the school’s cemetery - Stewart knew he wanted to help and contribute his knowledge. “[I thought] it would help if the people involved knew something about the history of the school and its workings, and where the children came from, how they were treated in the school, and so on.” This sparked Stewart’s research into the school’s history, and

led to the writing of his book. The book took 2-1/2 years of intense research. Stewart combed through records from the Library and Archives Canada in Ottawa, the archives of the United Church of Canada, the PCC Archives in Toronto, and the Provincial Archives of Saskatchewan in Regina to learn as much as he could about the Regina Indian Industrial School. Through his research, Stewart was able to uncover valuable photos and admissions registers for the school, giving names and faces to the students who were brought to the school throughout its operation. But, unfortunately Stewart was unable to give them their voices. “During all the archival research I did, I was always on the lookout for a letter, a comment or an impression written by some of the students, but I didn’t find a single thing,” said Stewart. Approximately 500 students in total attended the school during its operation, 150 at any given time. Stewart’s book has already started being used as a textbook in several classes at the University of Regina, and several copies are being used in both public and separate schools in Regina. Stewart and the RIIS Commemorative Association also gifted one copy to each of the roughly 40 First Nation communities from which children had been recruited; a gift that was very important to Stewart, and that he said he felt needed to be done. Stewart is continuing his research on the school. He hopes to create an expanded version if the book goes to print for a second time. The Regina Indian Industrial School (1891-1910): Historical Overview and Chronological Narrative is available at http://www.benchmarkpress.ca and select retailers. BACK2SCHOOL | 27

SHORT TAKE

Setting Goals Staying Motivated

With the new school year approaching, you may be setting goals for what you want to accomplish throughout the year, and that’s great! But, as the year goes on we often find ourselves losing sight of our goals, or not meeting our goals the way we wanted, but don’t let that stop you. Goal setting is an important practice in all points of life. Here are some tips on setting goals and staying motivated as you try to reach them. (While this article focuses on academic goals, these tips can be applied to all goal types).

2 1 Tip #1) Visualize your goals. Don’t only picture your goals, but picture yourself achieving your goals. Figure out what steps you need to take to reach your goal. The goal you are picturing can likely be broken down into smaller goals that are more manageable and will lead to achieving your main goal. Take time to break down your end goal into smaller attainable goals, and then visualize the steps you will need to take to meet those smaller goals. If your large goal is passing a class, then your smaller goals would be passing each assignment or test that is part of that class. Those assignments can also be broken down into small goals to help you better succeed.

Tip #2) Manage your time. If scheduling is not one of your strong suits, get into the habit of planning when 28 | BACK2SCHOOL

3 and where you will make time for assignments and studying. Use the easily accessible resources available to you, like the calendar in your phone or an “old school” paper calendar. Build in the time and identify the space you need; you will save time and be less stressed. Ultimately, you will be setting yourself up to accomplish your tasks.

Tip #3) Find a support system. A support system can be your friends, family, teachers, anyone who will encourage you in achieving your goals. Find your support system and share your goals (big and small) with them, as well as your plans on how you will achieve them. Ask for encouragement and guidance to stay on track. You may also be able to reciprocate the support, holding each of you accountable. It’s great to have a cheerleader on your side, and just as rewarding to cheer on someone else.

Tip #4) Be kind to yourself. Don’t forget to celebrate the small victories and accomplishments. Lose the “New Year’s Resolution” mindset where slipping up one time is reason enough to abandon the goal completely. You probably won’t ace every paper or assignment. In fact, you may even fail some completely, but that’s okay. Learn to accept mistakes and unforeseen circumstances. Reset, analyze what went wrong and what you can do differently the next time, and continue to reach for your goals.

Tip #5) Remember why you are doing this. Never let yourself forget the big picture goal - the whole reason you are writing that paper or preparing for that test in the first place. While it may seem far off at times, you are constantly moving towards accomplishing that end goal with each smaller goal you tackle, and remembering this will help you stay motivated and moving forward.

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