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An image from the artist's Concrete Indians series puts the Indigenous urban experience front and centre on the downtown campus

Courtesy of Nadya Kwandibens

Nadya Kwandibens's 2010 photo of Tee Lyn Duke at Spadina Station is on display at Ryerson University over the library's west entrance.

Students returning to Ryerson University's campus will be greeted by a photograph of Tee Lyn Duke towering above the library's west entrance.

Shot by artist Nadya Kwandibens in 2010, the black-and-white portrait shows Duke, a member of an Anishinaabe dance troupe, standing firm in traditional regalia as ghostly rush-hour commuters whiz by in the long pedestrian tunnel connecting subway lines at Spadina station.

The image is from Kwandibens' portrait series Concrete Indians, which explores the ways urban spaces affect Indigenous identity. School officials chose the photo to commemorate Ryerson's participation in the Native American Indigenous Studies Association conference, which was supposed to take place at the University of Toronto this past May. Like everything else, it was cancelled due to COVID-19.

Ryerson proceeded with the photo installation and unveiled the work last week. The many students learning remotely this fall will have plenty of time to see the photo in real life: the 10 x 15.7-foot portrait is on display for five years.

It's a fitting photograph for a school with a reputation as a commuter campus, but also given recent attention on a statue of the school's founder, Egerton Ryerson.

Ryerson was an integral figure in the implementation of the residential school system that sought to systematically wipe out Indigenous culture in Canada. In mid-July, police arrested three people after activists covered the statue in pink paint during a Black Lives Matter-led protest calling for the statue to be removed.

Kwandibens' photo of Duke now stands as a counterpoint to that statue. Her work is part of a long process of Indigenous reclamation that is gaining higher profile in the country's mainstream art institutions and pop culture.

Through her company Red Works Photography, Kwandibens creates images that combat colonial representations while evoking the emotional lives of Indigenous people living in cities today. It's a theme that springs from the artist's own desires and longing after leaving home in the Animakee Wa Zhing First Nation in northwestern Ontario and moving to cities to to build her career as a photographer.
What do you like about this specific photo for this specific location?
I like the vibe of it and how it was shot. It was photographed at that long corridor at Spadina station. We went there at rush hour in 2010. I wanted it to be a long exposure and specifically during rush hour because people are rushing home after a long day of work. They're tired. I wanted to get a sense of movement at this location. You see this woman in full traditional regalia and she's the only one that's still. It forces you to pause and really take in elements of the portrait. And to realize that those are people walking on each side of her. They almost look like ghosts.

Every time I think about the portrait new concepts come to mind. There she is, just standing perfectly still and it's as if she hasn't moved. As an Anishinaabe woman, she's fully present within this moment and at that location and on this land. And this is all Indigenous land. It's as if she's in two worlds. Especially for myself, there's a pull towards living in the city and going for the job, going for school, for these opportunities. There's always that pull. But then there's another pull that pulls you back home. We belong in both worlds.
Has the way you look at the photo changed in the past 10 years?
The impact that it's had on me has always been empowering as an Anishinaabekwe woman myself. It's hard to be away from home, let's just say that. For Indigenous folks - and I think this happens in any city you go to - if you see another Indigenous person walking down the street, there's always that acknowledgment. You do the head nod. That sense of community and unity is always present if you're Indigenous in the city. You want to see your kin. You want to see yourself.

Artist Nadya Kwandibens (left) with photo subject Tee Lyn Duke at the mural unveiling at Ryerson University.
How did you meet Tee Lyn Duke, the subject of the photo?
We're both from Treaty 3, in and around the Kenora area. But Treaty 3 is much bigger than that area itself. I think we met through mutual friends once I moved to Toronto. The idea for the series came suddenly: What more can my photography and work do to empower the Indigenous community? If I'm feeling disconnected, there's others feeling the same way. That's how the idea for the series came about: To photograph our sense of belonging, even within the city.
Why was it important for you to use black-and-white photography for this series?
I wanted to use black and white as a specific aesthetic for this series as a way to combat the historical uses of that medium. It's in direct opposition to the work of [American photographer] Edward S. Curtis; to bring that black and white medium into a contemporary context. Representation is so important and key in all of the work that I do. To use that black-and-white format in a way so it's not detrimental to how society sees Indigenous people today.

There's so much beauty and power within our people and our culture and our connection to our culture and where we come from. And to see things in black and white, sometimes there are no grey areas when it comes to understanding who we are as Indigenous peoples. Essentially, I'm using the medium to combat those stereotypical views of Indians on a horse, buckskin and headdresses.
This work is going up amid calls to remove the Egerton Ryerson statue and wider conversations around who we choose to memorialize in public space. What's your view of the movement to tear down statues?
I fuckin' love it. It would've been so awesome to be there [in Montreal] when the John A. Macdonald statue came down. I would've been fist pumping the air and photographing the event. One of my friends [Riley Kucheran, associate director of the Saagajiwe Centre for Indigenous Communication & Design] at Ryerson tagged me in one his stories with one of our press photos and said, "As colonial statues are being knocked down, here we have at Ryerson this portrait of an Anishinaabe woman going up."

The gist of his Instagram story was more of this needs to happen to amplify not just women's voices, but Indigenous women. More matriarchy. More of what Indigenous women have to say. More of that presence. I hadn't even really thought of it that way. All of these statues are coming down and to see a portrait like that go up at Ryerson was really powerful.
Reclamation is such a widespread theme in art. Why this moment right now do feel like this theme has become so prevalent?
It's not just now. We've been doing this work, not just as artists, as people across the board in so many different professions. It's been going on for years, this reclamation, this resurgence, this focus on decolonization. Going back home. Reclaiming and revitalizing our languages. Raising our kids with the culture. Going back to the land. Being back on the land. There's so many ways in which this work of reclamation is being exemplified and practiced on a daily basis.

When I look at my news feeds, the native news feeds are all about language, culture and who we are. It's this constant beautiful stream of different projects that people are working on. It's really exciting and meaningful to see that. I'm at an age now where a lot of my friends have kids, they're married, they've bene working in their chosen profession for years. To see their kids getting older is so beautiful. I get really emotional when I see all my friends baby pictures. This work has been going on within the community for so long. It's always been there.
Correction: An earlier version of this story incorrectly stated the NAISA conference was to take place at Ryerson. It was supposed to take place at the University of Toronto. This story has been updated. @KevinRitchie

Kevin Ritchie

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Nadya Kwandibens' mural brings an Indigenous perspective to Ryerson

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An image from the artist's Concrete Indians series puts the Indigenous urban experience front and centre on the downtown campus Courtesy of Nadya Kwandibens Nadya Kwandibens's 2010 photo of Tee Lyn Duke at Spadina Station is on display at Ryerson University over the library's west entrance.

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I created this mixtape to showcase the beauty and resilience of Indigenous culture throughout Canada. The Indigenous people of Canada have contributed greatly to the country's multicultural, friendly, and safe environment. In this collection, I have included a range of artifacts that explore different aspects of Indigenous culture and history. For example, the photo of "Tee Lyn Duke" by Nadya Kwandibens challenges colonial representations of Indigenous people. Another art piece by Norval Morrisseau, called "Androgyny," examines the idea of reconciliation and the importance of joining relations between Indigenous and non-Indigenous people. "Flood," a short film by Amanda Strong, encourages its viewers to "decolonize" and seek cultural, psychological, and economic freedom. Finally, a heart-wrenching poem by Dennis Saddleman highlights the ongoing impact of the residential school system on Indigenous people. Through these artifacts, I hope to give a voice to Indigenous people and help others understand and appreciate their culture. As you go through this presentation, be sure to take notes on the parts you liked most. Enjoy!

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Last week, the Truth and Reconciliation commission began its final hearings in Edmonton. In May of last year Dennis Saddleman spoke at the Commission. The B.C. man performed some of his poetry, something he says has helped him heal.

June 9, 2021 update: After a preliminary report indicated that the remains of around 215 children could be buried on the grounds of Kamloops Indian Residential School, Dennis Saddleman spoke to The Current about his time at the school, and how he discovered a talent for poetry in later life that helped with his healing. Original story below.

In May of 2013, Dennis Saddleman spoke at the Commission. The B.C. man performed some of his poetry, something he says has helped him heal.
"I hate you residential school, I hate you. You're a monster. A huge hungry monster. Built with steel bones. Built with cement flesh. You're a monster."
- Excerpt from Dennis Saddleman's poem, 'Monster'
LISTEN | 'I hate you, residential school'

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'Monster' by poet Dennis Saddleman: 'I hate you residential school, I hate you' | CBC Radio

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Last week, the Truth and Reconciliation commission began its final hearings in Edmonton. In May of last year Dennis Saddleman spoke at the Commission. The B.C. man performed some of his poetry, something he says has helped him heal.

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Art Canada Institute - Institut de l'art canadien

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Androgyny 1983

Norval Morrisseau, Androgyny, 1983
Acrylic on canvas, 366 x 610 cm
Aboriginal Affairs and Northern Development Canada
Aboriginal Art Collection, Gatineau, QC

Androgyny is breathtaking not only because of its intense colours and sheer size but also because of its intent and its complex imagery. The monumental canvas expresses Norval Morrisseau's personal understanding of life's interconnectedness and explores his notions of gender identity. At the centre of this painted cosmic universe is a dome enclosed by the outstretched wings of Thunderbird. The spirit figure is accompanied at the core of this world by other spirit-beings, or , that represent the life force of all living things, including the snake that reaches from the underworld to the spirit world. Surrounding this centre are the turtles, muskrats, frogs, fish, birds, butterflies, trees, and men, women, and children that appear in many of Morrisseau's works.

In Anishinaabe tradition, an offering or a gift is often given to create ties, to honour, or to ask for assistance. Morrisseau may have painted this mural to articulate his vision of a united Canada, and he offered it to the people of Canada as a decolonizing gesture of reconciliation, supporting artist and curator Gerald McMaster's characterization that Morrisseau's "greatest contribution to the art world was giving voice to Anishinaabe art and culture." In a letter to the office of then-Prime Minister Pierre Trudeau explaining his planned gift, Morrisseau wrote: "The theme of the mural is A [ sic] shaman that is Androgyne in four directions, filled with all parts of nature in Canada, thunderbeings, sacred serpents and turtles, flowers, animals, and we children of Mother Earth. PS. Butterflies and Bumble Bees, too!" Morrisseau hoped the acceptance of this offering signalled the government's dedication to making Canada a welcoming and supportive place for all its peoples.

The Right Honourable Michaëlle Jean, twenty-seventh Governor General of Canada (2005-10), flanked by Norval Morrisseau's daughters Lisa and Victoria at the installation of Androgyny, 1983, at Rideau Hall, Ottawa, 2008.

Androgyny was installed in the vast lobby of the Aboriginal Affairs and Northern Development Canada headquarters in Gatineau, Quebec, in April 1983, where it hung, largely forgotten, until 2006, when the National Gallery of Canada chose to include it in a retrospective exhibition of Morrisseau's work. In the retrospective, Androgyny dominated an entire wall, drawing viewers to it and making it a favourite of visitors to the exhibition.

Because of the exposure the painting received during the retrospective, then-Governor General Michaëlle Jean arranged for it to be installed in the ballroom at her official residence, Rideau Hall. While it hung there, Prime Minister Stephen Harper chose the painting as the backdrop for the unveiling of his 2008 Cabinet. The press photos of that event show the prime minister and his Cabinet standing before Morrisseau's offering to the Canadian people. Androgyny, now recognized by critics and art historians as a significant work of Canadian art, reminds Canadians of the enduring bond formed by this important gift exchange.

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Androgyny 1983 Androgyny is breathtaking not only because of its intense colours and sheer size but also because of its intent and its complex imagery. The monumental canvas expresses Norval Morrisseau's personal understanding of life's interconnectedness and explores his notions of gender identity.

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I chose the video "Flood" by Amanda Strong of the First Nations to fit into my mixtape because it emphasizes the crossing of Indigenous communities and climate change, as well as the role of indigenous youth in combating colonial influence. In the short film, Strong uses animation to depict the story of a young indigenous girl who witnesses the destruction caused by a flood in her community. The film effectively conveys the devastating impact of climate change on Indigenous communities, as the flood destroys homes and disrupts the traditional way of life for the girl and her community. For example, the film shows the girl's home being washed away by the flood waters, leaving her and her family with nowhere to go. This scene illustrates the direct and immediate consequences of climate change on indigenous communities, which are often disproportionately affected by environmental disasters. The use of animation in the film also adds to its impact, as it allows Strong to convey the emotions and experiences of the girl and her community in a visually striking and powerful way. In terms of analysis, "Flood" highlights the importance of acknowledging and addressing the impact of climate change on Indigenous communities and the role that Indigenous youth can play in combating colonial influence. The film serves as a reminder that Indigenous people are often on the front lines of the effects of climate change, and that their voices and experiences should be heard and respected in discussions about the environment. It also serves as a call to action for all of us to take initiative for our actions and do our part in addressing and mitigating the impact of climate change. In general, "Flood" is a powerful and touching piece that is sure to leave a lasting impact on its audience and inspire Indigenous youth to stand up against colonial influence.

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I included the art piece, Androgyny, by Norval Morrisseau from the Bingwi Neyaashi Anishinaabek First Nation in my coursework because it addresses issues of gender identity and reconciliation between Canada and the Indigenous community. Throughout the course, I have learned about the history between Indigenous folks and Canadians and how they didn't always have the best relationship. However, Morrisseau wanted to use his painting to promote peace and address important issues like gender equality, non-binary gender identity, and environmental concerns. In the painting, he uses intense colors and black outlines to depict all of Earth's creatures living in harmony, overseen by the central figure of the Thunderbird. The Thunderbird is a sacred symbol in Indigenous culture and represents power, protection, and strength. Morrisseau created the painting as a peace offering to Canada, and I think this gesture is very powerful. It's important for Indigenous and non-Indigenous people to understand each other's perspectives and work towards reconciliation. This painting has helped me understand the importance of living in harmony with one another. Overall, the Androgyny painting by Norval Morrisseau is a powerful and intriguing work that speaks to important issues of gender identity and reconciliation.

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I picked this photo of "Tee Lyn Duke at Spadina Station" by Nadya Kwandibens of the Ojibwe Nation to include in my mixtape because it showcases Indigenous culture and the contrast between traditional and modern society. For example, in the photo, Duke is standing on the platform of a bustling subway station, surrounded by commuters rushing to their destinations. She is dressed in a traditional Indigenous outfit, complete with a beaded headdress, standing out among the crowd of people dressed in modern clothing. Kwandibens's photo captures the juxtaposition between Indigenous culture and contemporary society, highlighting the unique identity of Indigenous people. In my analysis, I believe Kwandibens's photo is important because it offers a different perspective on Indigenous culture. Too often, Indigenous people are portrayed in mainstream media in stereotypical ways that do not accurately reflect their diversity and individuality. Kwandibens's photo challenges these stereotypes by showing a contemporary Indigenous person in a modern urban setting, highlighting their presence and agency in contemporary society. Additionally, Kwandibens's photo encourages viewers to think about the importance of preserving Indigenous culture. The contrast between Duke's traditional clothing and the modern setting of the subway station highlights the tension between Indigenous traditions and modernity. This tension can be seen in the ongoing struggles of Indigenous people to maintain their cultural practices and traditions in the face of ongoing assimilation. Kwandibens's photo encourages viewers to consider the importance of supporting Indigenous people and their culture.

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MLA CITATION

Strong, Amanda. “Animated Short Film Tells Story of Indigenous Youth Combating Colonial Influence.” CBCnews, 11 Dec. 2017, https://www.cbc.ca/news/canada/british-columbia/amanda-strong-flood-short-1.4442248.

Strong, Amanda. “Keep Calm and Decolonize Am: Flood.” YouTube, 27 Nov. 2017, https://www.youtube.com/watch?v=e6pkvYxyvpM&ab_channel=CBCArts.

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MLA CITATION

Ritchie, Kevin. “Nadya Kwandibens' Mural Brings an Indigenous Perspective to Ryerson.” NOW Magazine, 23 Sept. 2020, https://nowtoronto.com/culture/art-and-design/nadya-kwandibens-concrete-indians-ryerson-mural.

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MLA CITATION

Morrisseau, Norval. "Androgyny." National Gallery of Canada, Ottawa 1983. Art Canada Institute, https://www.aci-iac.ca/art-books/norval-morrisseau/key-works/androgyny/

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I selected the poem "Monster" written by Dennis Saddleman of the Gitksan Nation to include in my mixtape as it addresses the theme of intergenerational trauma as we learned in class. For instance, the poem begins with the lines "I hate you residential school I hate you" (Saddleman). These lines immediately grab the reader's attention and set the style for the rest of the poem. Through the use of strong and charged wording, Saddleman expresses the pain and anger that many Indigenous people feel as a result of the residential school system, which forcibly separated Indigenous children from their families and communities and subjected them to physical, emotional, and sexual abuse. In terms of its impact, "Monster" speaks to the ongoing legacy of residential schools and how they have affected Indigenous communities. The poem's use of lucid imagery and emotionally charged language helps to convey the depth of the trauma experienced by Indigenous people as a result of this dark chapter in Canadian history. It also serves as a reminder that the legacy of residential schools continues to be felt today, and that healing and reconciliation are ongoing processes. In my analysis, I found that "Monster" effectively conveys the deep pain and anger that many Indigenous people feel as a result of the residential school system. The poem's use of vivid imagery and strong language helps to bring this pain to life and serves as a powerful reminder of the impact that residential schools have had on Indigenous communities. Additionally, the poem's message is fitting and suitable, as it speaks to the constant need for healing and reconciliation in the face of intergenerational trauma. Overall, "Monster" is a strong and thought-provoking piece that is sure to leave a lasting impact on its readers and encourage them to consider how they can help Indigenous communities in their journey toward healing and reconciliation.

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MLA CITATION

Saddleman, Dennis. “'Monster' by Poet Dennis Saddleman: 'I Hate You Residential School, I Hate You'.” CBCnews, 9 June 2021, https://www.cbc.ca/radio/thecurrent/apr-3-2014-1.2908353/monster-by-poet-dennis-saddleman-i-hate-you-residential-school-i-hate-you-1.2908356.