Jon Corbett is an Associate Professor in Community, Culture and Global Studies at UBC Okanagan and the co-director of the Centre for Social, Spatial and Economic Justice. Jon’s community-based research investigates Cartographic processes and tools that are used by local communities to help express their relationship to, and knowledge of, their land and resources. Jon has worked with Indigenous communities in Australia, Indonesia, the Philippines and since 2004 with several First Nations communities in British Columbia. Recently Jon has been on sabbatical (2012 - 2013) and has been working with Southern Cross University in Australia, the Agta and Aeta Tribes in the Philippines and with the ExCiteS (Extreme Citizen Science) Research Group and Muki Haklay at University College of London. All aspects of his research include a core community element; this means that the research is of tangible benefit for the communities with whom he works and that those communities feel a strong sense of ownership over the research process.
Dr. Aleksandra Dulic is an internationally recognized media artist and scholar working at the intersections of multimedia and live performance with research foci in computational poetics and cross-cultural media performance. She has received a number of awards for her media artwork, which has been exhibited nationally and internationally; she is active as a curator, writer, and educator. Dr. Dulic received BFA in painting form the University of Fine Arts in Belgrade in 1998, MFA in interdisciplinary fine and performing arts from the School for the Contemporary Arts at the Simon Fraser University (SFU) in 2000 and Ph.D. specializing in interactive media art from the School of Interactive Art and Technology at SFU in 2006. Her postdoctoral research focused on interactive music visualization in Media and Graphics Interdisciplinary Centre (MAGIC) at University of British Columbia (UBC), Vancouver. Her current work focuses on intersection of Culture and Technology, Climate Change communication, gaming and interactive art. Dr Dulic is a founder and a Director of CFI funded Centre for Culture and Technology and an Assistant Professor in Computational Art at the Creative Studies at UBC, Okanagan.
Mike Evans (PhD McMaster 1996) taught at the University of Northern BC, the University of Alberta, and then joined Okanagan University College, later UBC Okanagan (2005).
His primary research relationships are with people in the Métis community in Northern BC, the Métis Nation of BC, the Urban Aboriginal Community of the Okanagan Valley, and the Kingdom of Tonga (in the South Pacific). Dr Evans has been involved in several community based research initiatives, and in particular has a long-term relationship with the Prince George Metis Elders Society. Together with Elders and community leaders in Prince George he put together a Metis Studies curriculum for UNBC and a number of publications including What it is to be a Metis (Evans et al 1999), A Brief History, of the Short Life, of the Island Cache (Evans et al 2004). He is currently working with the Elders Society and other colleagues on a participatory video project. He has worked extensively with colleagues at the MNBC on a number of research projects over the last few years. He has supervised graduate students working on urban aboriginal issues and topics related to community based Métis history and geography across Western Canada.
His work with people in Tonga on the impact of globalization and transnationalism has also resulted in numerous papers and presentations such as the monograph Persistence of the Gift: Tonga Tradition in Transnational Context (2001), and a co-edited special issue of Pacific Studies titled Sustainability in the Small Island States of the Pacific (1999), and a co-edited special issue of Human Organization Customs, Commons, Property, and Ecology: Case Studies from Oceania. In addition he has worked with a team of Tongan and Canadian researchers on the health impacts of globalization in Tonga; a number of publications that demonstrate the negative consequences of the trade in health compromising foods have come from this collaboration. (2008)
David Garneau is an Associate Professor at University of Regina and is currently the Head of the Visual Arts Department. His work focuses on painting, drawing, curation and critical writing. He often engages issues of nature, history, masculinity and contemporary Aboriginal identity. His paintings are in the collections of the Canadian Museum of Civilization, The Canadian Parliament, Indian and Inuit Art Centre, the Glenbow Museum, the Mackenzie Art Gallery and many other public and private collections. He curated several large group exhibitions: The End of the World (as we know it); Picture Windows: New Abstraction; Transcendent Squares; Sophisticated Folk; Contested Histories; Making it Like a Man! and Graphic Visions and TEXTiles.
He has recently given talks in Melbourne, Adelaide, New York, San Diego, Sacramento, and key note lectures in Sydney, Toronto, Edmonton and Sault Ste Marie. Garneau is currently working on curatorial and writing projects featuring contemporary Aboriginal art exchanges between Canada and Australia. His teaching responsibilities include Painting, Drawing and Graduate Theory courses. Before joining the faculty at the U of R, he spent five years as a sessional instructor in humanities and studio art at the Alberta College of Art and Design.
Jason Edward Lewis founded Obx Laboratory for Experimental Media, where he directs projects devising new means of creating and reading digital texts, developing systems for creative use of mobile technology, and using virtual environments to assist Aboriginal communities in exploring cultural histories. Lewis’ creative work has been featured at the Ars Electronica Center, ISEA, SIGGRAPH, and FILE as well as in numerous galleries worldwide, his writing about new media has been published in book chapters and presented at conferences, festivals and exhibitions on four continents, and he has mounted performances in Montreal, London, Paris and Buenos Aires. His work has won the inaugural ELO Prize for Electronic Literature, and has also won awards at Ars Electronica and imagineNative. He is a former Carnegie Fellow, presently holds the University Chair in Computational Media and the Indigenous Future Imaginary, and is Professor of Computation Arts at Concordia University in Montreal.
Mathur’s cultural, critical, creative, and academic practice is wide ranging and investigates new models of artistic research and interdisciplinary collaboration, particularly those that pursue a social justice agenda. As a writer, cultural organizer, and interdisciplinary artist his work addresses the intersections of race, indigeneity, and creative and artistic research. His editorial work includes the anthology Cultivating Canada: reconciliation through the lens of cultural diversity (Aboriginal Healing Foundation, 2011), and numerous special volumes of arts and literary journals such as West Coast Line and Prairie Fire. He also edits CiCAC Press which publishes poetry, prose, and creative nonfiction using an alternative author-driven approach to support writers and readers. His novels include A Little Distillery in Nowgong (Arsenal Pulp Press, 2009) which also functioned as a collaborative art installation in Vancouver, Kamloops, and Ottawa; The Short Happy Life of Harry Kumar (Arsenal, 2001); and Once Upon an Elephant (Arsenal, 1998); in addition he has published a poetic novella, Loveruage (Wolsak and Wynn, 1993). As a Canada Research Chair in Cultural and Artistic Inquiry (awarded 2005 at Thompson Rivers University), he has organized and co-ordinated multiple arts-driven initiatives. Most recently he co-ordinated a month-long artist residency, Reconsidering Reconciliation, bringing twelve Aboriginal and non-Aboriginal artists together at the Centre for innovation in Culture and the Arts in Canada (CiCAC). Previously, he has organized other residencies and colloquia in Banff, where he directed the international IntraNation residency in 2004, and Cyprus, where he co-convened the Performing Identity / Crossing Borders performance symposium. Prior to his CRC, Mathur was head of Critical and Cultural Studies at Emily Carr University. As an educator, Mathur works with critical race theory and radical/liberatory pedagogy to develop transformational and student-driven learning models.
Sherry Ferrall Racette is an Associate Professor at the University of Manitoba and is cross-appointed to the Departments of Native Studies and Women and Gender Studies, teaching for both departments and also developing courses that will interest students in both disciplines. Prior to her appointment at the University of Manitoba, She was on faculty in the departments of art history (Concordia, Montreal), secondary First Nations education (First Nations University of Canada), cross-cultural education (University of Regina) and the Saskatchewan Urban Native Teacher Education Program (Gabriel Dumont Institute). Most recently shewas the 2009-2010 Ann Ray Fellow at the School for Advanced Research – a nine month scholar residency in Santa Fe, New Mexico where I worked on my SSHRC funded project: “Material Culture as Encoded Objects and Memory: Painted Hide Coats” and a book manuscript on Metis art and identity: “Sewing Ourselves Together.”
Sherry is an interdisciplinary scholar with an active arts practice. Her broad research interests are Métis and First Nations women's history, particularly indigenous art histories that recontextualize museum collections and reclaim women's voices and lives. She has been moving towards contemporary art history in recent writing and has an emerging curatorial practice. Sherry's arts practice includes painting and multi-media works combining textiles, beadwork and embroidery with images and text. In addition, she illustrates children’s books and has worked with such noted authors as Maria Campbell, Freda Ahenakew and Ruby Slipperjack. Her most recent children’s book, Dancing in My Bones by Wilfred Burton and Anne Patton for the Gabriel Dumont Institute, won three 2009 Saskatchewan Book Awards. Dancing was the second book in a series begun with Fiddle Dancer (2007), the final book in the series is Call of the Fiddle (forthcoming 2011). A new edition of Stories of the Road Allowance People, by Maria Campbell will be coming out this fall.
Margo Tamez (Kónitsąąíí Cúelcahén Ndé), is an enrolled member of the Lipan Apache Band of Texas and the author of critically acclaimed books, Alleys and Allies (1990), Naked Wanting (2003), Raven Eye (2007). She is a contributor to numerous journals, books, anthologies focusing on Indigenous peoples' rights, struggles, arts, cultures, and histories which cross the borders of the U.S., Canada, Mexico, and the Americas. With over 20 years of teaching in universities, colleges, and tribal settings, Tamez is currently an assistant professor and faculty member of the Indigenous Studies Program at the University of British Columbia. She currently weaves her research, teaching, service, and activism between the Syilx Okanagan unceded territory and the Texas-Mexico region. Her research interests are located in Indigenous peoples’ historical perspectives, Indigenous knowledge, memory, Indigenous rights, human rights, and the Poetics of Indigenous movements, and creative artistic resistance by Indigenous women beyond borders.
Tamez is active in the Ndé self-determination movement which foregrounds the intimate Ndé, Nahua and Comanche cultural, historical, and inter-twined social spheres in Nde' customary lands.
She has intervened as an international representative for the Nde' Chief and Council at the UN Permanent Forum on Indigenous Issues, the Inter-American Commission/Organization of American States, the Expert Mechanism on the Rights of Indigenous Peoples (Geneva), and the 3rd Seminar on Treaties, Agreements and other Constructive Arrangements of the UN High Commissioner for Human Rights. Since 2012, she has worked with law partners at the University of Texas School of Law, Human Rights Clinic, addressing Texas Indigenous peoples’ human rights under the International Convention on the Elimination of Racial Discrimination (ICERD).
Her current book project is entitled, Ndé Knowledge: Memory, Necropolitics and Resurgence in the Shadow of the Wall, 1546-2014 . Aside from that, Tamez is currently in early production of a film documentary, entitled, “We are the Big Water People Clan—Our Lands are Unceded” which traces the Ndé emergence and belonging story through the oral tradition and oral history of Ndé Kónitsąąíí gokíyaa and the recovered Nde' matrilineal, decision-making process founded in the Isanaklesh Gotal female initiation ceremony. These have fed her community empowerment project, alongside community elders and lineal chiefs, entitled, "This is Our Land!": Indigenous Peoples, Rights, and Critical Perspectives in the Shadow of the Texas-Mexico Border Wall," an edited volume in progress.
Greg Younging is a Member of Opsakwayak Cree Nation in Nothern Manitoba. He has a Masters of Arts Degree The Institute of Canadian Studies at Carleton University and a Masters of Publishing Degree from the Canadian Centre for Studies in Writing & Publishing at Simon Fraser University, and has a Ph.D. from The Department of Educational Studies at University Of British Columbia. He has worked for The Royal Commission On Aboriginal Peoples, Assembly Of First Nations, Committee Of Inquiry Into Indian Education, Native Women's Association Of Canada, and from 1990-2003 was the Managing Editor of Theytus Books. He is a former Member of the Canada Council Aboriginal Peoples Committee on the Arts (June 1997-June 2001) and the British Columbia Arts Council (July 1999-July 2001). He is the former Assistant Director of Research for the Truth and Reconciliation Commission of Canada (2010-2012) and is currently Indigenous Studies Program Coordinator at University of British Columbia Okanagan.
Ayumi Goto is a performance artist and painter, currently based in Kelowna, Traditional Okanagan Territory. Born in Canada, she draws upon her Japanese heritage to trouble sedimented notions of nation-building, cultural belonging, and political compulsions in her creative work. She has served as the art facilitator at the Downtown Eastside Women’s Centre in Vancouver, Traditional Coast Salish Territory. Ayumi guest co-edited the Summer 2012 issue of West Coast Line, "Reconcile this!", which explores the interconnections between reconciliation, art, and activism, through Indigenous and non-Indigenous perspectives and exchanges. She enjoys working in collaboration with artists, scholars, and communities writ large to explore creatively and critically reconciliation discourses. Ayumi is currently pursuing her Ph.D. in Communication Studies at Simon Fraser University. In her thesis, she is exploring notions of radical inclusion and deep collaboration as expressed in the works and practices of Cree Métis artist, Cheryl L’Hirondelle, and Siksika artist, Adrian Stimson.
Skawennati makes art that addresses history, the future, and change. Her pioneering New Media projects, including CyberPowWow (1997-2004), Imagining Indians in the 25th Century (2001), and TimeTraveller™(2008-2013) have been widely presented across Canada, the United States and Australia, and will be included in the 2014 Biennale de Montréal. She has been honored to win imagineNative’s 2009 Best New Media Award as well as a 2011 Eiteljorg Contemporary Art Fellowship. Her work in is included in the collections of the Canada Art Bank, Edd J. Guarino, and the Aboriginal Art Centre at Aboriginal Affairs and Northern Development Canada, among others.
Skawennati holds a BFA from Concordia University in Montreal, where she is based. She has been active in community affairs, especially the peace movement and Indigenous issues, since her youth. A founding member of the First Nations artist collective, Nation to Nation, she currently sits on the board at Galerie Oboro. She is Co-Director, with Jason E. Lewis, of Aboriginal Territories in Cyberspace (AbTeC), a research network of artists, academics and technologists investigating, creating and critiquing Indigenous virtual environments. Please visit www.skawennati.com to see more.
Cheryl L'Hirondelle (waynohtÃªw) [http://www.ndnnrkey.net] is an Alberta-born interdisciplinary artist of mixed ancestry (Cree / Metis / German / Polish). Since the early 1980s, she has created, performed, and presented work in a variety of disciplines (music, storytelling, performance art, theatre, video, and net.art). She has also worked as an arts programmer, cultural strategist/activist, arts consultant, producer, and director - independently and with various artist-run centres, tribal councils, and government agencies.
Recently, she was guest creative consultant for horizon zero's [http://www.horizonzero.ca] edition 17: TELL devoted to aboriginal digital storytelling.
Her net.art database project Treaty Card [http://treatycard.banff.org] is part of Walter Phillips Gallery's [http://www.banffcentre.ca/wpg/] touring Database Imaginary exhibition curated by Sarah Cook, Anthony Kiendl and Steve Dietz. She is currently developing and will be teaching a First Nations net.art course for Emily Carr Institute of Art and Design in Vancouver and was featured in Caught in the Act: An Anthology of Performance Art by Canadian Women, edited by Tanya Mars and Johanna Householder.
Peter Morin is Assistant Professor at Brandon University in the Visual Arts Faculty. Morin is a Tahltan Nation artist, curator and writer currently based in Victoria, BC. Morin studied art at Emily Carr Institute and recently completed his MFA at UBC Okanagan in 2011. In both his artistic practice as well as his curatorial work, Morin explores issues of de-colonization and indigenous identity and language. Morin has participated in numerous group and solo exhibitions and live events including Team Diversity Bannock and the World’s Largest Bannock attempt, 7 Suits for 7 Days of Colonialism, and A return to the place where God outstretched his hand (2007); performative works at the Royal Ontario Museum, Toronto; 12 Making Objects AKA First Nations DADA (12 Indigenous Interventions) (2009) at Open Space, Victoria; Peter Morin's Museum (2011) at Satellite Gallery, Vancouver; and Circle (2011) Urban Shaman, Winnipeg. Morin has curated exhibitions at the Museum of Anthropology, Western Front, The Burnaby Art Gallery and Grunt Gallery among others and in 2011 curated Revisiting the Silence, an exhibition of photographs by Adelaide de Menil, at the Bill Reid Gallery of Northwest Coast Art and Peter Morin’s Museum at Satellite Gallery, both in Vancouver.
In 2010 the artist was awarded the British Columbia Creative Achievement Award for First Nations’ Art. Morin was also recently curator in residence at Open Space Artist Run Centre in Victoria BC.
Jordan is a multi-disciplinary visual artist of Mi’kmaq decent who calls the west coast of Newfoundland home. My work is derived from a combination of popular and traditional cultural reflections, which I portray through my passion for and knowledge of pop culture, traditional craft, and my own cultural practices. Throughout the recent past I have developed an affinity for language, mainly directed towards learning my ancestors native tongue of Mi’kmaq. Currently, through the processes of sculpture, digital media, text based media, installation, painting, and endurance performance, I strive to push boundaries and play with the ideas of re-appropriation, reclamation, participation and the artifact within traditional aboriginal craft, ceremony, and contemporary culture. By this means of remixing artistic practices, storytelling and creating participatory objects and interactive performance spaces, I aim to form an atmosphere where traditional meets contemporary, shifting preconceived notions on an object or an actions original function or intent.
Jaimie Isaac is from Winnipeg, Manitoba, and is of mixed heritage (Ojibwa/European) and member of Sagkeeng First Nation. She is a freelance writer, curator, artist and art administrator. Isaac holds a degree in Art History and an Arts and Cultural Management Certificate from the University of Winnipeg. Currently she’s completing a Masters of Arts at UBC Okanagan with a focus on Indigenous curatorial practices. For 3 years, Isaac was the Aboriginal Programs and Outreach Manager for Arts and Cultural Industries in Manitoba, programming events for artistic professional and economic development. Projects include, visual arts coordination for the inaugural Truth and Reconciliation Commission’s national event in Winnipeg (2010), curating Leah Decter’s (official denial) trade value in progress touring nationally (currently), and co-founding The Ephemerals Collective that produced Trending exhibition at the University of Winnipeg and film, Indian Maiden (2011). Jaimie has contributed essays in exhibition catalogs for Close Encounters: The Next 500 Years, unSacred, The West Coast Line and some press ephemera. She has presented at conferences at Princeton University in New Jersey, the University of British Columbia in Kelowna and Thompson Rivers University in Kamloops. Isaac has been involved with boards, collectives and juries across Canada. She has been a voice and advocate for emerging Aboriginal curators and continues commitment to work with ACC/CCA to create opportunities for those coming forward in the field. Isaac is the secretary for the Aboriginal Curatorial Colelctive and represents Western Aboriginal arts practitioners.
Amy Malbeuf (Canada) is a multi-disciplinary artist who lives and works in Rich Lake, Alberta. She holds a BFA from Alberta College of Art + Design (2010) and a Native Cultural Arts Instructor Certificate from Portage College (2012). Malbeuf utilises performance and installation to convey narratives surrounding notions of identity, place, tradition, spirituality, myth, and consumerism. In 2011, she participated in two residencies Revolution 2012 at The Banff Centre and Emerging Indigenous Voices at Kua`aina Associates and San Francisco State University. She has exhibited and performed at The Works Festival, Edmonton; Toronto Free Gallery, Toronto; Stride Gallery, Calgary; Visualeyez Festival, Edmonton; Art City Festival, Calgary; and The Other Gallery, Banff.