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UBC Okanagan’s Summer Indigenous Art Intensive offers an educational series of courses, lectures, art shows, and opportunities to create art. It features a series of world-renowned speakers, a variety of related undergraduate and graduate credit courses, and a group of resident artists who will be working to create a new body of work.
The 2021 Summer Indigenous Art Intensive is being planned as a hybrid model. Stay tuned for more information on the visiting artists and events for this year.
Courses offered as part of the intensive are listed below.
The Summer Indigenous Art Intensive features a series of world-renowned speakers, a variety of related undergraduate and graduate credit courses, and a group of resident artists who will be working to create new works. The 2021 Intensive broadly engages the theme Site/ation, connecting to place through Indigenous territoriality, being grounded in land, voice and language, reconnecting to/nurturing traditions, and beyond.
The Summer Indigenous Art Intensive is a unique program that brings international and national Indigenous scholars, curators and artists together on campus to interact with students in a residency context. Visiting artists will participated in a series of keynote presentations and artist panels once a week throughout May and June.
Kite is an Oglala Lakota performance artist, visual artist, and composer, a PhD candidate at Concordia University, Research Assistant for the Initiative for Indigenous Futures, a 2019 Trudeau Scholar, a 2020 Tulsa Artist Fellow, and a 2020 Women at Sundance x Adobe Fellow. Her research is concerned with contemporary Lakota ontologies through research-creation, computational media, and performance practice.
Camille Georgeson-Usher is a Coast Salish / Sahtu Dene / Scottish scholar, artist, and writer from Galiano Island, British Columbia which is the land of the Penelakut Nation. Usher completed her MA in Art History at Concordia University and is currently a PhD candidate at Queen’s University. In addition to her academic work, she is the Executive Director of the Indigenous Curatorial Collective and has worked as an arts programmer in a variety of arts institutions in both Quebec and Ontario. She has artwork currently exhibited in Soundings: An Exhibition in Five Parts; is on the curatorial team for MOMENTA 2021; sits on the boards of Artspace in Peterborough and the Toronto Biennial of Art; and finally, is a teaching fellow at Queen’s University.
Christine Howard Sandoval is an interdisciplinary artist of Obispeño Chumash and Hispanic ancestry. Her work challenges the boundaries of representation, access, and habitation through the use of performance, video, and sculpture. Howard Sandoval makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado.
Inuvialuk artist Maureen Gruben employs intimate materiality as she disassembles and re-combines disparate organic and industrial elements. Polar bear fur, beluga intestines, and seal skins encounter resins, vinyl, and bubble wrap, forging critical links between life in the Western Arctic and global environmental and cultural concerns. Gruben holds a BFA from the University of Victoria. She has exhibited regularly across Canada and internationally and her work is held in national and private collections. Born and raised in Tuktoyaktuk, she has a tacit knowledge of Arctic land and the rich but increasingly precarious resources it offers for both survival and creation.
Scott Benesiinaabandan is an Anishinaabe( Obishikokaang First Nations) intermedia artist that currently works in experimental image-making and sonic materials. Scott’s current research interests are intersections of artificial intelligence and Anishinaabemowin, Scott has completed international residencies at Parramatta Artist Studios in Australia, Context Gallery in Derry, North of Ireland, and University Lethbridge/Royal Institute of Technology iAIR. Scott has completed residencies with Initiative for Indigenous Futures and AbTec in Montreal. Benesiinaabandan has completed an MFA in photography at Concordia University and is currently working out of his hometown of Winnipeg where he is an artist-in-residence at Abijijiwan New Media Lab (2021).
Madeline Terbasket (they/them) is a two-spirit Syilx, Ho-Chunk, Anishinaabe performing artist that explores themes of cultural identity and mental health in their work. Madeline began making films as a teenager in their home territory of the Similkameen Valley in the South Okanagan. They attended six summer sessions at the Gulf Island Film and Television School. Madeline was in the Acting for Stage and Screen program at Capilano University. They discovered a passion for clowning and stand-up. They express their comedy by telling traditional Okanagan coyote stories. In 2017, Madeline was in šxʷʔam̓ət (home) with Theatre for Living, directed by David Diamond. In 2018, they toured BC and Alberta with the production. In 2019, Madeline was awarded a STORYHIVE Indigenous Storyteller Edition grant to make their film “q’sapi times”. They were also selected to be a TEDx speaker at Kelowna’s TEDxYouth @ DoyleAve. Madeline Terbasket is reimagining traditional stories with their physical comedy and vulnerability.
Peter Morin is a grandson of Tahltan ancestor artists. He has now lived away from his home territory for most of his life, but like his ancestors who have walked on the land, he carries Tahltan knowledge, ideas and history with him wherever he is. Every step along the way, Tahltan knowledge has guided his researching, dreaming, learning, making of the past twenty years of artistic and curatorial practice. Morin began art school in 1997, completing his Bachelor of Fine Arts at Emily Carr Institute of Art and Design in Vancouver in 2001 and his Masters in Fine Arts in 2010 at the University of British Columbia-Okanagan. Initially trained in lithography, Morin’s artistic practice moves from printmaking to poetry to drum making to button blanket making to installation to beadwork to performance art.
Jordan Abel is a Nisga’a writer from Vancouver. He is the author of The Place of Scraps (winner of the Dorothy Livesay Poetry Prize), Un/inhabited, and Injun (winner of the Griffin Poetry Prize).
Siku Allooloo is an Inuk/Haitian Taino writer, artist, and land-based educator from Denendeh (NWT) and Pond Inlet, NU. She also belongs to a Dené Sųłine family and a strong lineage of storytellers/leaders on all three sides who have raised her to be close to the land.
Mariel Belanger , MFA alumna from UBCO, is dedicated to contributing in the growth of interdisciplinary performance arts as a method to engage Indigenous community, language, culture and act as a bridge to society telling stories of our time.
Lacie Burning is a Kanien’kehá:ka (Mohawk) multi-disciplinary artist and curator raised on Six Nations of the Grand River located in Southern Ontario. They work in photography, video, installation, and sculpture.
RYAN! Elizabeth Feddersen b.1984 Confederated Tribes of the Colville (Okanogan /Arrow Lakes /German /English) is a mixed-media installation artist who specializes in interactive and immersive artworks that invite audience engagement.
Whess Harman (they/them pronouns) is mixed race, trans/non-binary queer/2SQ artist from the Carrier Wit’at Nation. Their on-going work includes beadwork and DIY strategies around punk aesthetics creating the “Potlatch Punk” series.
Eli Hirtle is a nêhiyaw(Cree)/British/German filmmaker, beadworker, and curator born and raised on Lekwungen territory (Victoria, BC). His practice involves documenting and creating work about Indigenous cultural resurgence, language revitalization, and identity.
Candice Hopkins is a writer, a curator and a citizen of Carcross/Tagish First Nation. Her practice explores the intersections of history, contemporary art and indigeneity.
Jaimie Isaac is a Winnipeg-based curator and interdisciplinary artist, member of Sagkeeng First Nation in Treaty 1 territory of Anishinaabe and British heritage. Her research focus is on Indigenous Curatorial Praxis, and methodologies in decolonizing and Indigenizing.
Dr. Michelle Jack is syilx/Okanagan of the communities snpintktn (Penticton, BC) and nisɬpícaʔ (Omak, WA). An Abstract Image Maker/Scholar who investigates the physical, mental, spiritual, and material.
Pekuakamiulnuatsh originally from Mashteuiatsh on the border of lake pekuakami, Soleil Launière lives and work in Tiöhtià:ke (Montréal). Multidisciplinary artist combining voice, movement and theatre through performance art.
Tanya Lukin Linklater’s work centres knowledge production in and through orality, conversation, and embodied practices, including dance.
Peter Morin is a Tahltan Nation artist, curator, and educator. Morin’s practice-based research investigates the impact zones that occur when Indigenous culture-based practices and Western settler-colonialism collide.
Suzanne Morrissette is a Métis artist, curator, and writer from Winnipeg. Her research takes an interdisciplinary approach to investigate the historical lineage behind contemporary perceptions of Indigenous political knowledge in mainstream North American society, particularly those which characterize resistance to state powers as aggressive or anti-progress.
Audie Murray is a multi-disciplinary artist that works with various material including beadwork, textiles, repurposed objects, drawing, performance and video. She is Métis from Regina, Saskatchewan, treaty 4 territory.
Marianne Nicolson is an artist activist of Musgamakw Dzawada’enuxw First Nations and Scottish descent. he is trained in traditional Kwakwaka’wakw forms and culture and contemporary gallery and museum based practice.
Lindsay Nixon is a Cree-Métis-Saulteaux curator, award-nominated editor, award-nominated writer, SSHRC doctoral scholarship recipient and McGill Art History Ph.D. student.
Sheldon Pierre Louis, a member of the Syilx Nation, is a multi-disciplinary Syilx Artist. Sheldon’s ancestral roots have influenced his works in painting, drawing, carving, and sculpting.
Anne Riley is an Indigiqueer multidisciplinary artist living as an uninvited Slavey Dene/Cree/German guest from Fort Nelson First Nation on the unceceded Territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) and səlí̓lwətaʔɬ (Tsleil-waututh) Nations.
Erin Sutherland works as an Assistant Professor of Cultural Studies at the University of Alberta, Augustana. Her P.h.D. in Cultural Studies from Queens University focuses on Indigenous curatorial methodologies and Indigenous performance art.
Arielle Twist is a Nehiyaw, Two-Spirit, Trans Woman that creating to reclaim and harness ancestral magic and memories. She is an author and multidisciplinary artist.
Billy-Ray Belcourt (he/him) is a writer and academic from the Driftpile Cree Nation. He is a PhD student in the Department of English & Film Studies at the University of Alberta. He is a 2016 Rhodes Scholar and holds an MSt in Women’s Studies from the University of Oxford and Wadham College. His research interests stretch from queer, trans, and feminist studies to ethics to decolonization.
Carlos Colín was born in Guadalajara, Mexico. As a Latin American artist, one of Colín’s primary focuses are the concepts of baroque in the Latin American region, mostly in Mexico, how this is reflected and affected by elements and patterns since colonial times, and how we can see these baroque manifestations in the XXI century in Mexico and abroad.
Ryan Feddersen Confederated Tribes of the Colville (Okanogan /Arrow Lakes /German /English) is a mixed-media installation artist who specializes in interactive and immersive artworks that invite audience engagement. She was born and raised in Wenatchee, WA.
Tarah Hogue is a curator, writer, and uninvited guest on xʷməθkʷəy̓əm (Musqueam), Skwxwu7mesh (Squamish), and səl̓ilwətaɁɬ (Tsleil-Waututh) territories/Vancouver, B.C. where she has lived since 2008. Her work engages collaborative methodologies and a careful attentiveness to place in order to decentre colonial modes of perception within institutional spaces.
Liz Howard was born and raised on Treaty 9 territory in northern Ontario and is of mixed European and Anishinaabe descent. She received an Honours Bachelor of Science with High Distinction from the University of Toronto and an MFA in Creative Writing through the University of Guelph.
Jaimie Isaac is of Anishinaabe and British descent and is member of Sagkeeng First Nation. She holds a Master’s degree from the University of British Columbia and a BA in Art History with an Arts and Cultural Management Certificate from the University of Winnipeg. Her MA thesis was titled, “Decolonizing curatorial practice: acknowledging Indigenous cultural praxis, mapping its agency, recognizing its aesthetic within contemporary Canadian art.”
Steven Loft is Mohawk of the Six Nations with Jewish heritage and is a curator, scholar, writer and media artist. He is the Director, Indigenous Arts at the Canada Council for the Arts. His research focus is in Indigenous art and aesthetics.
Dylan Miner is a Wiisaakodewinini (Métis) artist, activist, and scholar. He is currently Director of American Indian and Indigenous Studies and Associate Professor in the Residential College in the Arts and Humanities at Michigan State University.
Caroline Monnet is a multidisciplinary artist from Outaouais, Quebec. Her work has been programmed in exhibitions and festivals internationally.
Julie Nagam is the Chair in the History of Indigenous Art in North America this is a joint appointment with the University of Winnipeg and the Winnipeg Art Gallery.
Meghann O’Brien is a Northwest Coast weaver from the community of Alert Bay, BC. Her innovative approach to the traditional artforms of basketry, Yeil Koowu (Raven’s Tail) and Naaxiin (Chilkat) textiles connects to the rhythms and patterns of the natural world and creates a continuity between herself and her ancestors.
taisha paggett is a dance artist whose individual and collaborative interdisciplinary works re-articulate and collide specific western choreographic practices with the politics of daily life in order to interrogate fixed notions of queer black embodiment and survival.
Ryan Rice is a Mohawk of Kahnawake, Quebec received a MA in Curatorial Studies from the Center for Curatorial Studies, Bard College, New York, graduated from Concordia University with a BFA and received an Associate of Fine Arts from the Institute of American Indian Arts, Santa Fe, New Mexico. He has worked for the past 18 years within the museum/art gallery milieu at various centers including the Iroquois Indian Museum, Indian Art Centre, Carleton University Art Gallery, and the Walter Phillips Art Gallery.
Natalie Robertson (Ngāti Porou, Clann Dhònnchaidh) is a photographic and moving image artist and Senior Lecturer at AUT University, Tāmaki Makaurau (Auckland). Much of Robertson’s practice is based in Te Tai Rawhiti, her East Coast Ngati Porou homelands. Here, her focus is on her ancestral Waiapu River and the protracted catastrophic impacts of colonization, deforestation, and agriculture.
Sarah Shamash is a Vancouver based media artist and PhD candidate in the Interdisciplinary Studies program at UBC. Influenced by cinema, her experimental projects typically explore identities and geographies as personal, political, feminine, and dynamic, while critiquing and subverting fixed, colonial, and hegemonic demarcations of the body, territory, and space.
Richard Van Camp is a proud member of the Tłı̨chǫ Dene from Fort Smith, Northwest Territories. He is author of a number of books including children’s books, short fiction, novels and graphic novels.
Olivia Whetung is anishinaabekwe and a member of Curve Lake First Nation. She completed her BFA with a minor in anishinaabemowin at Algoma University in 2013, and her MFA at the University of British Columbia in 2016. Whetung works in various media including beadwork, printmaking, and digital media.
T’uy’t’tanat-Cease Wyss’ diverse heritage includes Skwxwu7mesh, Sto:lo, Irish-Métis, Hawaiian, and Swiss. An artist, she has extensive experience producing various formats of media art for almost 30 years and works as an ethnobotanist with traditional training by Indigenous elders.
Indigenous Tattoo School
Other visiting artists, curators, researchers
Alongside the intensive residency, FCCS is offering additional courses in visual art, creative writing, and art history. These will run in conjunction with the Indigenous Summer Intensive with varying degrees of crossover, providing students the opportunity to connect with the keynote speakers and the resident artists. Courses are offered in Term 1, May 10 to Jun 17, 2021.
CRWR 470 | Portfolio (online). Instructor: Kim Senklip Harvey
Intensive manuscript production in one or two major genres: fiction, poetry, drama, or creative non-fiction.
ENGL 387/CULT 350 | Indigenous Literature: Intellectual Traditions. Instructor: Kerrie Charnley
Approaches to Indigenous literary and cultural studies in North America. Consideration will be given to a range of literary movements, intellectual traditions, and critical approaches.
INDG 100 | Introduction to Decolonization. Instructor: Evan Habkirk
Provides students with an overview of the discipline of Indigenous studies including the history, cultures, and experiences of Indigenous people.
THTR 302 | Indigenous Performance (online with option for socially distanced group and/or individual field work). Instructor: Mariel Belanger
Indigenous performance training methods in movement, dance, singing, and storytelling that connect Indigenous Peoples to their homelands and ancestral territories. The interrelation of community, ecology, language, and culture will be explored under the expert guidance of an Indigenous instructor and the mentorship of guest Indigenous artists and Elders.
VISA 206 | Sound Art (online with option for socially distanced group). Instructor: Raven Chacon
Introduction to the art of listening, acoustic communication, sound making, sound technology and interaction. The course covers the basic principles and properties of sound and its applications in digital media creation.
VISA 460/520 | Indigenous Praxis (online with option for socially distanced group). Instructor: Tania Willard
Multidisciplinary seminar dealing with various approaches and issues in contemporary creative praxis as relating to the disciplines of Visual Arts, Indigenous Studies, Media Arts, Creative Writing, and Performance. Students will be expected to develop creative work and/or a written reflective text or performance.
Kim Senklip Harvey is a proud Syilx and Tsilhqot’in Nation member with Ancestral ties to the Dakelh, Secwepemc and Ktunaxa communities. She is a Indigenous Theorist, Cultural Evolutionist and storyteller whose work focuses on the ignition of Indigenous power and innovating methodological processes with artistic sovereignty to create narratives that nourish the spirits of peoples oppressed by the imperial state. Kim is currently working on a tv adaptation of her award winning playKamloopa, she is completing her first prose and poetry book entitled Interiors: Love Stories from a Salish Plateau Dirtbag, she is developing an Indigenous love tv series On The Plateau and is in pre-production for her next artistic ceremony Break Horizons: A Rocking Indigenous Justice Ceremony. Kim is in her final year of her Masters in Creative Writing at the University of Victoria and all of her work is with respect to her Ancestors and the future generations, to whom we owe so much.
“Following in my Syilx grandmothers footsteps, using ethnographic historical recordings to map the archives for family specific Syilx song and story, I encounter, capture and create my own understanding of these texts, sound bites and visual recordings of the important knowledge my grandmother left behind re-constructing her story-world as methodology of contemporary cultural engagement, transferring my community-driven and land-based artistic knowledge and practice into a trans-media research creation project that carries a story of caring for the land and maintaining matrilineal relationships. My research is guided by important family and land based cultural teachings that seek to strengthen land sensitive self-governance through song and storytelling while re-constructing ancestral ways of being and knowing through village construction of a tule mat lodge, demonstrating the ingenuity of Syilx people cultivating a sense of cultural pride and as an Indigenous engagement/ visitor protocol-based pedagogy.” – Mariel Belanger
Raven Chacon is a composer, performer and installation artist from Fort Defiance, Navajo Nation. As a solo artist, collaborator, or with Postcommodity, Chacon has exhibited or performed at Whitney Biennial, documenta 14, REDCAT, Musée d’art Contemporain de Montréal, San Francisco Electronic Music Festival, Chaco Canyon, Ende Tymes Festival, 18th Biennale of Sydney, and The Kennedy Center. Every year, he teaches 20 students to write string quartets for the Native American Composer Apprenticeship Project (NACAP). He is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, and the American Academy’s Berlin Prize for Music Composition. He lives in Albuquerque, NM.
“I grew up in the West End, along English Bay, by Stanley Park in Vancouver with my single mother, and in the country on two acres surrounded on three sides by a forest, above Mission City overlooking the Fraser Valley, with my English Blackburnian grandfather and my Katzie Coast Salish grandmother. Both my grandparents were fluent in our Hən̓q̓əmin̓əm̓ language. Throughout my childhood, my extended family, including my aunt, two uncles and cousins, would convoy in two vehicles to the Okanagan in the summertime. We’d travel up and down the Okanagan, visit family and friends, camp or stay in a motel, and most excitingly, go horseback riding up and down the sage brushed hills, receive rejuvenation from the beautiful Lakes, and bring home flats of tomatoes and peaches. My grandmother told stories during the drive. These are fond childhood memories that continue to sustain me today.” – Kerrie Charnley
“I am a settler scholar and lecturer in the Indigenous Studies program on the unceded lands of the Syilx peoples. Working with Indigenous communities, my research and teaching in Indigenous studies is wide ranging, exploring Indigenous history, archives, military and militarism, education, public history, residential schools, and historical and contemporary conceptions of Indigenous warriorship. I look forward to bringing my research to UBCO and working with the university and the Syilx peoples in mutually beneficial community based projects.” – Evan Habkirk
Tania Willard, of Secwépemc and settler heritage, works within the shifting ideas around contemporary and traditional, often working with bodies of knowledge and skills that are conceptually linked to her interest in intersections between Aboriginal and other cultures. Public Art projects include, Rule of the Trees, a public art project at Commercial Broadway sky train station, in Vancouver BC and If the Drumming Stops, with artist Peter Morin, on the lands of the Papaschase First Nation in Edmonton, AB. Willard’s ongoing collaborative project BUSH gallery, is a conceptual land-based gallery grounded in Indigenous knowledges and relational art practices. Willard is an assistant professor at UBCO, her current research constructs a land rights aesthetic through intuitive archival acts.
The program is open to UBC students, students from other universities and those who have a previous university degree.
The Intensive offers an immersive experience of undergraduate and graduate courses in Visual Arts, Creative Writing, Art History and Visual Culture, and Indigenous Studies, along with panel conversations, keynote addresses, art exhibitions and performances, readings, and various additional events and fieldtrips throughout – some planned, some impromptu.
For more information on the keynote presentations, panel discussions and other events, please visit our events calendar on the Summer Intensive Blog.