A social media roundup!
I've been spending the last few weeks working on and off and on and I'm finding a lot of my thinking is being reflected on my social media platforms and I wanted this blog to be a totem of my work, so I'm going to post them here.
Dr. Adrienne Keene talks about social media and blogging is "consenting to public learning" and Dr. Kim TallBear states speaking publicly with your ideas is "being a good feminist" and I want to engage and embody both those ideologies so here goes.
This article was tweeted and I had a response to it:
The intersection I had with the UBC Journalism program was my first experience where the journalists Steph Eva Wood and Hina Imam did not get trapped in the trauma headline.
As an actor for 15 years I eventually hated doing press because of how exploited I felt. They’d talk for 15 mins recognize some semblance of a “sad indian story” and just leverage it.
I’d read it the day it was published and I’d always sink. 😔
I’d feel disrespected & totally unseen and it would cause me so much anxiety because this is my chosen field and journalists would try and expose my families and a peoples history.
They’d try and capture a trauma narrative that was familiar and digestible to their readers and would always miss the full scope of what was occurring.
I am literally working to change the narrative on trauma informed Indigenous stories & here were journalists upholding the oppressive colonial practice.
This would occur all across canada so this is a necessary transformation in the field of journalism. One that will help those refusing to tell trauma informed narratives and amplify the powerful existence that is Indigenous continuance.
Back to school vibes by my sistah Karlene Harvey.
I’m loving this next wave of Indigenous visual artists, saturating us with the full scope of what Indigenous peoples look like.
You can find her on insta as @HolySmoookes
I will always give my time to see a risk en route to innovation vs a status quo holding project.
In fact, that’s how I decide what shows I see.
We can’t be complicit in making a risk averse creation environment otherwise we all become responsible for boring products vs exciting storytelling.
What we can and should critically assess is repeatedly investing in a collections of turds because that’s a generous evaluation of inconsequential artistic decision making.
Art is responsive invention because it keeps us alive. Let’s not award industrial product replication and call it art.
And from my understanding a turd is literally a composition of everything we didn’t need. Art is the erotic elements necessary to be alive. And not the contemporary reductive sexual definition of erotic but Esther Perel’s definition stating “it is about how people connect to this quality of aliveness, of vibrancy, of vitality, of renewal. It is actually a spiritual, mystical experience of life.”
There is a reason I go for joy, resilience, power and dignity with my storytelling.
The time I spent working on the frontlines in child welfare were some of the most resolute examples of the perenniality of Indigenous love. I work in the present to be accountable and with gratitude to the generous gifts those young people bestowed upon me.
I'm outspoken about the urgent need to trouble white supremacist theatrical creative practices because I'm in service to every young person I met and worked with in the system, as well as to the thousands I did not have the privilege of meeting who drastically need our comfort.
I believe that young Indigenous peoples in care and all those intersecting with family services deserve to be saturated in stories that ignite and reflect the dignified transformational power that lives within us.
It's why I want my work to be for my people, right here on these Salish lands. I've met them, I write and work for them, as they are out there battling imperialism, needing nourishment, respite and exultation.
Recently a lot of people have been asking me to facilitate, teach and speak about my creative practice and it's this memory, my time working with young people in care, that has allowed me to make clear decisions.
Methodologically we as artists need to distil and clarify our motivations for creating and for whom we create. Then rigorously explore the ethics on how that impacts the organismal ethnosphere.
This is an ongoing exploration because our presence is impermanent and ever transforming but I believe our humanity hinges on creative practice that strengthens the bonds connecting us.
And I believe the components for that can be found, for me, in Indigenous love and thus I voyage into it.
In humble service to my people,