Tuesday 14 September 2010

W.A.V.E. 2010 Private View World Art College Vision Exchange





W.A.V.E.(World Art College Vision Exchange) has been celebrating excellence in art & design by administering a number of exhibitions, conferences, and worshops to exchange Visual Art and Culture experiences and thoughts of Art & design students and professors in Korea and England since 2005. W.A.V.E. is now into its 6th year, providing a showcase of work from students and staff from four participating institutions, EWHA Woman's University, Seoul, Cardiff School of Art & Design, University of Alberta, Canada and Camberwell,Chelsea Wimbledon Colleges (CCW), University of the Arts London. This year will see CCW hosting the exhibition to be held at Wimbledon space in September 2010. The exhibition will include work from all four particicpating institutions. The theme for WAVE 2010 is Borders and Edges.

This picture 'Greed' was rescued from the bin I originally made it for the Red Road exhibition and not liking it threw it onto the scrap heap. My friend came round picked it up and said how much she liked it convinced me to keep it. I did reluctantly, and put it in an out of the way obscure place in the exhibit. It is now on it's fourth exhibition and is the most talked about and admired piece from all of my pictures.......just shows you don't through your crap out. I find also when making costumes it is always the costume that I dislike making the most that turns into my best work. This has made me think about the outtake concept all the stuff that gets thrown.... has a life of it's own.


Transitional Identity (Daytime)






Doing Transitional Identity in the daylight was a very different experience. It seemed to work much better in the night, more atmosphere especially in the gateway lodge the darkness enveloped you and made it feel more cosy. One comment on the night was that I had created a moment for people to experience. People's experience in the day was that the wind added to the audio of a native legend being played inside. Made them feel like they were really in the forest.

Transitional Identity






Transitional Identity was an ettempt at exploring by bringing people's attention to their daily cultural influences around them. That struggle with the delicate balance of crossing influences from one culture to another, without misrepresentation, creating a unique fusion of transitional identity within my own creative practice.

The audience became the performance by merely being in the space. Being exposed to different cultures simultaneously from different foods, snacks, smells of cooking. And then watching clips on dvd of other goings on from previous days.

Then finally having an experience within the gateway lodge, transporting them to another time and place.

Wednesday 1 September 2010

John Trudell


"We must go beyond the arrogance of human rights. We must go beyond the ignorance of civil rights. We must step into the reality of natural rights because all of the natural world has a right to existence and we are only a small part of it. There can be no trade-off."
-John Trudell

Saturday 28 August 2010

Johann Hari: How much proof do the global warming deniers need?

http://www.independent.co.uk/opinion/commentators/johann-hari/johann-hari-how-much-proof-do-the-global-warming-deniers-need-2063077.html

Friday 27 August 2010

Some pics of progression for 'Transitional Identity'

This is my back kitchen, and these are the happening that have gone on in the last few days, thought I would document a few as part of my performance and also the starting of another project.....well it's a bit like Euston station my house the amount of people that pass through on a daily basis, is phanominal, all rich with knowledge. Some not realising what knowledge they posess until you highlight it by showing interest and bringing it out. Others like Longmore who is overflowing with a lifetime of knowledge and happy to pass on the traditions he's learned...thats what it's all about for me, that interaction between people on a basic level. Learning about what is around you and appreciating it. We all have these grand ideas when we are young, we're going to do this and that and tend to forget, not appreciate what is at hand, at the end of the day its about your family & friends, that's what counts and they are the memories you'll keep for the rest of your life and cherish.



Sunday 22 August 2010

Batchewana remains return home




Batchewana First Nation Chief Dean Sayers (right) carries a box containing remains of six Anishinabek who were returned by the Smithsonian Institute, onto the shore at Bellevue Park on Thursday.Michael Purvis Sault StarThe remains of six Batchewana First Nation ancestors returned home Thursday after a 135-year absence.

Chief Dean Sayers said the return of the remains from the United States marked a "moving forward," for Batchewana.


"We want our kids to have good memories," said Sayers. "This is one of those good memories that they're going to be able to tell their children and their grandchildren and their grandchildren."
A crowd lined the St. Mary's River as a box containing the remains of three men and three women was paddled from Sault Ste. Marie, Mich., to Bellevue Park in a 20-foot birch bark canoe. The remains were then loaded in a vehicle for transport to a traditional burial ground at Batchewana's Goulais Mission reserve.

Thursday was the first time the Smithsonian Institution has been involved in transferring human remains back to Canada.

The unidentified Anishnabek as well as four associated funerary objects, had been unearthed from unknown cemetery sites at or near Sault Ste. Marie in 1875 by the U.S. Army surgeon at nearby Fort Brady for the purpose of scientific research.

The skeletal remains, believed to have been buried 50 to 100 years prior to being unearthed, were forwarded to the U.S. Army Medical Museum in 1875 then transferred to the Smithsonian Institution in 1898 – where they were stored and forgotten for over a century.

The Smithsonian, as well as all American museums and institutions, as a result of federal legislation over a decade ago were mandated to take an inventory of their Native American cultural items and human remains for return to their respective peoples.

Cultural and other items have been returned to tribes in Canada in the past, but never human remains, said Eric Hollinger, an archaeologist at the Natural Museum of Natural History, where the remains were housed.

"We have worked with cross-border situations like this before, but this is the first time human remains have been transferred in this way," said Hollinger.

The existence of the Batchewana remains was discovered during a transfer of remains to the Sault Tribe of Chippewa Indians on the Michigan side of the border. Sault Tribe learned of additional Anishinabek remains and contacted Batchewana.

"The United States, unfortunately, doesn't recognize Canadian tribes, they only recognize Native American tribes in the States, so the Sault Tribe was instrumental in helping us, in sponsoring us, in supporting us through this whole process," said Sayers.

Sayers said it was important that the remains be conveyed across the river in a traditional birch bark canoe, and that they be properly received on the north side.

He said the First Nation took great care in preparing for the burial ceremony at a traditional Batchewana burial ground in Goulais Bay.

"The elders wanted to make sure that our ancestors stayed as close to the earth as they could throughout this whole trip home," said Sayers. "There's comfort with our mother, the Earth, and they feel that and they want to return there and they want to feel that support."

The significance of Thursday's repatriation was not lost on Verna Sewell, who made sure to usher her grandchildren to the river's edge, where they could witness the event first hand.

"It was pretty emotional, it brought back memories – not that I would have had, but of my father and my fathers before that," said Sewell, 54.

She said the river crossing and its symbolism were important nods to a past when her ancestors would have freely travelled the St. Mary's in canoes like the one used Thursday.

The birch bark canoe used to transport the remains from the U.S. to Canada was specially commissioned for the repatriation.

"An elder from the Sault Tribe of Chippewas built it and taught a whole group of our youth," said Sayers. "Our day camps, our men and some of our women learned how to make the birch bark canoe right from scratch, how to pick the birch bark, where to pick it, how big the sheets are, the cedar, the spruce roots."

Hollinger said no DNA or other destructive testing has been conducted on these remains.

What is known about the individuals comes from what was written at the time of their exhumation, the remains themselves, and from four objects – three nails, believed to be from coffins, and a lead ornament that may have been a pendant or other adornment of one of the individuals – which stayed with the remains.

One of the individuals was said to have been killed at Batchewana, and the others likely came from the Whitefish Island burial ground.

"We aren't sure exactly where they were exhumed, except that they were near Sault Ste. Marie or in Sault Ste. Marie," said Hollinger.

Article ID# 2720479

Friday 20 August 2010

Four Directions


Four Directions UK undertakes research and works with indigenous people to locate human remains, funerary objects, sacred objects, and objects of cultural patrimony in museum and private collections and, where requested, to assist with their disposition or repatriation. For more information go to www.fourdirections.org.uk
This is a group that I have recently become involved with. They are doing great things and I'm really excited about being involved.

Monday 16 August 2010

Sunday 15 August 2010

Gateway Lodge Progression




My willow lodge is coming along nicely. It's been growing for a few months now. We haven't had alot of rain or sun this year so it doesn't seem to be growing as much as I thought it would. Hope it's filled in by performance time....lol. Even at this stage it is so tranquil sitting in there. I am so glad that I decided to make it, my little sancuary. Deciding to do my performance in my own house & garden has been a good thing it has made me do all those little jobs I've been ignoring because of lack of time so the jobs I would usually do over summer break are still getting done. Feels like I'm killing two birds with one stone, like my mother used to always say. But it also has the worry of I'm taking one step forward and then two back. As all the little jobs I'm crossing off my list are quickly getting undone by my children and their mates. So I've started delegating and making them all pitch in. :)

Saturday 14 August 2010

Buffalo Robe update

After the initial performance to make the robe with my fellow MA VLP class. Unfortunately it fell apart in places when I boiled it...lol...so had to felt it some more. Hard work on your own and once it was wet, was like trying to move a dead body the wieght of it....Found out after the fact that yellow wool is the hardest to felt takes much longer, typical, you learn by your mistakes!!!


Yurok Indians exult at return of sacred cache


http://www.sfgate.com/cgi-bin/article.cgi?f=%2Fc%2Fa%2F2010%2F08%2F13%2FMN0O1ET3EI.
Yurok Indians exult at return of sacred cache Peter Fimrite, Chronicle Staff Writer San Francisco Chronicle. Friday, August 13, 2010

The Smithsonian Institution has returned a trove of precious artifacts to the Yurok Indians in California in what is one of the largest repatriations of Native American ceremonial artifacts in U.S. history.

The Yurok, who have lived for centuries along California's Klamath River, received 217 sacred items that had been stored on museum shelves for nearly 100 years. The necklaces, headdresses, arrows, hides and other regalia from the Smithsonian's National Museum of the American Indian are believed to be hundreds, if not thousands, of years old. "It's awesome. It's a big thing with our people," said Thomas O'Rourke, chairman of the Yurok, a tribe that lived next to the Klamath River in far Northern California for 10,000 years before Europeans arrived. "These are our prayer items. They are not only symbols, but their spirit stays with them. They are alive. Bringing them home is like bringing home prisoners of war."To celebrate the return of the items, the Yurok will hold a Kwom-Shlen-ik, or "Object Coming Back," ceremony today in the town of Klamath. The returned artifacts were sold to the museum in the 1920s by Grace Nicholson, a renowned collector of Indian art, who owned a curio shop in Pasadena in the early 20th century. Ceremonial Indian regalia was in vogue among wealthy Americans at the time.The sacred cache is part of an ongoing effort around the country to return Native American burial artifacts, ceremonial items and remains taken by white settlers from Indian villages and indigenous sites. Repatriating belongingsThe 1989 National Museum of the American Indian Act transferred stewardship of more than 800,000 Indian artifacts to the Smithsonian and required the institute to consider repatriating them to federally recognized tribes. Among the items claimed by the Yurok were finely woven baskets, wolf headdresses, eagle and California condor feathers, head rolls made from pileated woodpecker scalps, white deer skins, obsidian blades and flint, all of which have been used for centuries in sacred rituals and dances. "If we were to study or use scientific methods for testing we could probably come up with some rough dates, but generally they are made of materials that aren't readily available anymore," said Buffy McQuillen, the repatriation coordinator for the Yurok. Many of the items, for instance, are woven together using fibers from iris, a local plant that is now rare in the area. Also difficult, if not impossible, to find today are woodpecker scalps, condor feathers and white deer skin, apparently from rare albino-type deer, McQuillen said. "They are definitely old," she said. "They were acquired in the early 1900s, but they were in use and practice many years before that." O'Rourke said the items will be used beginning Aug. 27 in the tribe's White Deerskin Dance, a ceremony designed to give thanks for what nature has provided to the people. They will also be used starting Sept. 24 in the Jump Dance, another traditional ceremony that asks the creator for balance and renewal. The dancers perform nine abreast in full regalia for 10 days, primarily inside a traditional redwood plank house."We are getting (the returned items) ready to dance. They are going to work," O'Rourke said. "It's been a long time since they've heard their native voices and native songs."Largest tribeThe Yurok is the largest tribe in California, with 5,600 members. O'Rourke said most of the tribe members live within 50 miles of the reservation, which encompasses 57,000 acres, including 44 miles of the Klamath.At one time there were more than 50 villages in the tribe's ancestral territory, which covered about 500,000 acres and 50 miles of coastline. The Yurok, who called themselves Oohl, or Indian people, were renowned for fishing, canoe making, basket weaving, story telling and dancing. The Yurok were first visited by the Spanish in the 1500s and later by American fur traders and trappers, including Jedediah Smith, who raved about the abundant wildlife in the area. In 1850, gold miners moved in, bringing with them disease and violence. The Yurok population declined by 75 percent, and the remaining Indians were forcibly relocated to a reservation in 1855.Javier Kinney, a tribal leader who was one of four Yurok selected to go to Washington, D.C., to pick up the ceremonial regalia, said the returned items signify a new beginning."Our responsibilities are to preserve our culture, our language and our religious beliefs not only for us, but for our children and their children," Kinney said. "This signifies a new day for the Yurok. We're not a people of the past that are only in history books."The returned items make up 30 percent of the National Museum's Yurok holdings. E-mail Peter Fimrite at pfimrite@sfchronicle.com.

Tuesday 22 June 2010

ABSENCE OF BODY


Allan Kaprow
Household, women licking jam off of a car, 1964

Happenings, a term coined by Allan Kaprow in the late 1950s, define an art form in which an action is extracted from the environment, replacing the traditional art object with a performative gesture rooted in the movements of everyday life. No spectators, only participants.

As Kaprow writes in his essay, '"Happenings" in the New York Scene', "Visitors to a Happening are now and then not sure what has taken place, when it has ended, even when things have gone 'wrong'. For when something goes 'wrong', something far more 'right,' more revelatory, has many times emerged"(New Media Reader, pg. 86).

The art defines itself by the fact that it is a unique, one-time experience that depends on audience response. While it includes everyone present in the making of the art, the form of the art depends on the engagement of the audience, for they are a key factor in where the performers' spontaneity leads

In my own performances I have been bringing different peoples together ie the audience which then become the performers & performance. Does this then mean that there is no audience once the performance starts as they are involved and engrossed and to some point unaware that they are the performance. Completely unrehearsed, improvised, only prompted to start a discussion about culture & self.

They are participating in a communal task & discussion and the aim is to realise an end communal based product, they have all contributed to, so the atmosphere is more relaxed and the audience feels I hope that they own part of the end product.

If the audience becomes the performance, is it still a performance or does it just become a work shop? Does the mere fact that I am filming it make it a performance the audience/perfomers are at first aware they are being filmed but once they are engrossed in the task they forget about the camera.

Is the camera and documentation the key point that validates it as a performance because without the eye of the camera does it just become a workshop? Or a documentation of a workshop?

The eye of the camera, the documentation of the happening, is that what is validating it is actually a performance, or once the documentation is viewed by another audience is that when it finally becomes a performance?

This art aspect to happenings eliminates the boundary between the artwork and its viewer. Henceforth, the interactions between the audience and the artwork makes the audience, in a sense, part of the art.

Monday 29 March 2010

Felting Buffalo Robe








I'm putting together a performance which will create the robe for the costume of my performer in my final show 'Transitional Identity'. Using an age old technique of felting. I plan to make a large scale peice so will need a number of people to participate as you have to roll and kneed the raw wool between plastic, to make it felt. So I'm thinking of getting the participants to walk and tread maybe to dance or hold a disccussion on cultural fusion whilst making the robe. Documenting the process. So the result of this will be a communal piece of work that everyone has collaborated to make, I am meerly the orchastrater.

Sunday 28 March 2010

Lab Report 3 Buffalo Robe



Toile of Buffalo Robe

Venue - WCA MA Courtyard 29.03.10

Budget
4kilo of wool - £112
5m Habotai silk - £17.50
Soap Flakes - £1.81
7m bubble wrap - £7.70
5x9m taupalin - £9.99
Total - £149.00

Equipment

Camera/Video & Tripod
Extension lead
Kettle
Plastic Bowl

Gateway Lodge







Using the worldwide concept of the sweat lodge, which is, practiced the world over by many different cultures in North America, Ireland, Scotland, Sweden, Australia, and Iceland. I decided to make my own version not wanting to blaspheme tradition by doing it wrong. I decided not to make it a sweat, but to make it a quiet space somewhere I could go to get away from the hectic path of life, for some me time. Using the English tradition of fedging (live willow fencing) and historically in Neolithic times willows were used to make the walls of houses.
I have made my lodge by weaving live willows in a textile fashion and bringing them together at the top to create an enclosure making a doorway to the east.

Willows are cheap and easy to establish and maintain, needing no fertiliser or other input. They build fertility in poor and depleted soil and are great value to birds, insects and other wildlife. They provide a sustainable source of material for a wide variety of uses. Used as a diving rod for finding water, the bark, produces a component of the drug aspirin and has been used for its pain relieving qualities for at least 2000yrs. The bark can also be used for tanning animal hides as it contains tannin.

The willow is the tree of enchantment, sacred to the Moon and the Goddess in her aspect of death leading to spiritual rebirth. It has powerful feminine ‘yin’ energy and helps a person to get in touch with their subconscious feelings and desires.

It is believed that in the past every living person could connect with Spirit, the Creator, God, or whatever name you feel represents the Infinite Power.
Since this link was broken, Medicine people, healers and Shamans have kept the connection alive. The Sweat Lodge has been passed down through generations as a doorway to this ancient birthright and a way home to the heart of Spirit