May 2007 Edition

North Coast festival’s lineup will “crab” you!

CIT students take part in the Gii-Weh Dah Project

A long, long time ago, the Mi'kmaq people were faced with a dilemma – a situation of great proportion that Kluskap was summoned for a solution. It was at a time in our history when the people told Kluskap that the animals were too big and fierce in the forest. The bear was too big, gigantic in fact, as was the wolf; the beaver; the wild cat. Even the squirrel was too big! The people were in fear of doing what they had to do in the forest – the necessary activities to take care of themselves and their families.

Kluskap recognized the problem and since he so loved the Mi'kmaq people he endeavored to find a solution. Then, the answer came quick. He told the people he would stroke the animals, lovingly pet them until they get to the size his people are comfortable, and safe, with. So he held the bear and petted it until it reached its present size. He had done so, as well, with the wild cat, the wolf, the beaver, and yes – even the squirrel. He had done so until all the animals were brought to their present size. They also received instructions from Kluskap to serve the humans and not to annoy them to cause fear. It was agreed and all was good. Kluskap, the greatest of all problem-solvers made life well again for the Mi'kmaq.

Mi'kmaq Archaeologist Roger Lewis and Eldon George, gathering lithic materials.

To many, the legends of Kluskap are merely flights of historic fancy – a way to tell a story using larger than life characters. The New Englanders had similar stories of Paul Bunyon, a gigantic logger who worked steadily with his giant blue ox aptly named Blue. Surely, people believed that Kluskap shared that same imaginary realm.

However, the stories of Kluskap are so steeped in the oral history of the Mi'kmaq, they can easily be interpreted as metaphors of the truth. Perhaps the Kluskap story referred to in this article best tells the story of evolution in a colorful way – a way that is best told from Elder to adult to youth, generation after generation, for thousands of years.

In fact, an artifact found in Debert, Nova Scotia takes the Mi'kmaq people back to the time of the Megafauna – a time when the bear, the wolf, the wild cat, the squirrel, and other mammals were enormous in size. Scientists named the bear – the Short-faced Bear. They named the ancestor of today's wolf the Dire Wolf. The wild cat – the Sabre-tooth cat. And let’s not forget the Mastodons that roamed even this corner of the planet. These animals started to become extinct with the Ice Age.

The artifact in question, a stone hide scraper, places the Mi'kmaq, to an era when these animals existed and were on the brink of extinction. Is this a sound possibility? Where is the evidence you may ask. It lies within an organic substance found on the implement. Scientists radiocarbon-dated the organic material, caribou blood in fact, to 10,600 radiocarbon years. This can be translated to some 12-14,000 calendar years – a time, when the earth was experiencing rapid change, a natural warming of the planet and the extinction of the Megafauna.

The features of this story are intriguing. The fact that the stone tool not only supports the science expressed in the extinction of the Megafauna, it confirms the truth expressed in a wonderful Kluskap legend. The evidence supports the Mi'kmaq version of events, plus, it supports the Modern Western Scientific version of events as well. It places both a Mi'kmaq and scientific fingerprint on the implement.

Eskasoni Elder, Albert Marshall calls this type of understanding "Two-Eyed Seeing." This means that the person is interpreting the natural world, and events within, with two equal types of understanding. Those being the Modern Western Scientific approach combined with the Traditional Ecological Knowledge of the indigenous peoples. Both perspectives having equal merit and equal interpretations of such events – even the events of our ancestors some 12-14,000 years ago.

The creation of Five Islands is one of the "most recorded" legends of Kluskap. The story evokes images of land change that can still be seen today. Gerald Gloade, Program Development Officer with the Mi'kmawey Debert Project, says that science tells us that this land change took place some 6,000 years ago."If our ancestors were here for 13,000 years, then they were living here when the Bay [of Fundy] opened up. An event of that magnitude would be something that people would record… something that legends are made of,” Gloade offered. “It gives us a reference point to our ‘Cultural Memory Timeline’ and it tells me that Mi’kmaq culture and heritage has been alive, and rich for thousands of years before the arrival of European settlers. Embedded in the Legends of Kluskap are stories of Sacred Places, stones, and Mi’kmaq Traditional Knowledge, and to see these ancient gems of information… you just have to look!”

Just when you thought it couldn’t get any bigger, Crab Fest is boasting its most impressive music lineup yet, as rock stars such as Nazareth and Jeff Healey will perform at the annual summer extravaganza in B.C.’s Nass Valley.

Crab Fest 2007 is slated for the weekend of July 6 and 7 in Gingolx (Kincolith), a community which sits in a rain forest at the mouth of the Nass River and is surrounded by snow-capped mountains. It has only been accessible by road for four years, which is as long as the festival has been running.

The Gitmaxmak'ay dancers will once again be performing at Crab Fest in BC’s Nass Valley.

An immediate success, organizers are expecting this year’s event to be the best one ever.
“It’s becoming so big,” said Christine Barton, a director of the Gingolx Arts Society, which puts on the festival every year. “Last year, we had over 4,000 people.”

That attendance is staggering considering that Gingolx’s population is just one-eighth of that, at 500. With just two bed and breakfasts, most of the people attending camp out, while others stay in homes of Gingolx residents, many of whom generously open their doors to visitors.

“Officially, we have a dozen or so volunteers but, usually, a lot of people help out. We need all the volunteers we can get,” said Barton.

Every year, Crab Fest hosts impressive musical talent, with past performers such as Powder Blues, Honeymoon Suite and George Leach.

This year, the Powder Blues return and will be joined by Kenny Shields and Streetheart, a Legends of Rock and Roll tribute show and the aforementioned juggernauts, Jeff Healey and Nazareth.

Healey, a Grammy nominee and Juno award winner, is one of the most distinctive Canadian guitarists of our time. Having been blind since he was an infant, he plays his guitar flat on his lap and, along with his band, produced such hits as Angel Eyes and How Long Can A Man Be Strong.

Nazareth is, of course, one of the most influential hard rock bands ever, producing all-time hits like This Flight Tonight, Love Hurts and Turn On Your Receiver. They are still led by the unique, raspy vocals of original member Dan McCaferty.

Also in the lineup are Shane Yellowbird, the Wailing Jennys, Green River, The Rightful Ownrz, and Peat Moss and the Fungi. Of course, there is always some local, cultural flavor provided by the renowned Gitmaxmak’ay Dancers.

Besides the great music and dancing, the outdoor summer festival has lots of things going on throughout the streets of Gingolx and along the beautiful seawall.

“There will be lots of food; a lot of crabs of course, but also salmon, hot dogs, baked goods – you name it,” said Barton. “We also hold workshops for youth. Last year, we had the rap group, Red Nation, here and they performed and spoke about not using drugs and alcohol.”

Anyone looking to acquire tickets can contact the Gingolx Arts Society in Kincolith, B.C., Gemmas First Nations store in Terrace, B.C., or by going to www.ticketweb.com.

On March 19, 2007, the Centre For Indigenous Theatre spent a week on the beautiful island of Manitoulin in a culture exchange known as the Gii-Weh Dah Project (Going Home), a first for the school. Since 1974 The Centre has worked toward producing groundbreaking talent in performing arts using

theatrical training informed by traditional artistic expression. This project was exactly that, it broke the mundane daily stress of living and working in the core of “The Big Smoke” and gave us time out to connect to our environment.

It was an intense week long learning experience that brought together seven Odawa Elders and artists with senior students from The Centre in daily activities and discussions to ensure a comprehensive understanding of Manitoulin Island’s diverse history, clans, and dialect particular to that region. The project not only provided us with a glimpse into traditional stories and culture, it also provided that our upcoming production of Gegwah accurately reflects the history of Manitoulin and the nuances of the Odawa language. The play is set in 1600s Manitoulin and performed entirely in Odawa.

The discussions were informed, honest, and fun. Kitty Bell (poet, Midewin member, and playwright) shared stories that kept us laughing and interested in all the mystical influences surrounding the island – from the little people to the great white snake that patrols the waters around the island – and the importance of language in understanding our connection to the land and medicines surrounding us. Ron Wakegijig, Henry Peltier, Steven George shared the history of Manitoulin with us and emphasized the necessity of language to our geography. Gloria Eshkibok and Leland Bell led us on amazing musical discoveries singing traditional songs and contemporary songs in Anishnaabemowin. And Esther Osche shared the history of Birch Island and led a captivating story-telling of Lupi The Great White Wolf that had us on the edge of our seats.

It was Debajehmujig Theatre who had performed Lupi The Great White Wolf in New York at the Brooklyn Academy of Music and proved that a play in Anishnaabemowin could be performed to all audiences and still be accessible. Their theatre groups also facilitated a learning circle that gave us valuable insight into Native theatre.

Gii-Weh Dah taught us the importance of language and history in the play Gegwah, written by Alanis King – a resident of Wikwemikong and an instructor and playwright-in-residence at CIT. A graduate of the National Theatre School, Alanis King is a playwright with numerous credits to her name including: Lovechild, Artshow, Heartdwellers, Manitoulin Incident, Tommy Prince Story, If Jesus Met Nanabush, Storyteller and Step by Step. This piece is performed entirely in Anishnabemowin, specifically the Odawa dialect that is true to the region in which the story is set. Audience members will be provided with a synopsis of the story, but audience feedback has informed us that the play is understood through the movement and voice, and an understanding of the language is not necessary.

It is scheduled to be toured across Ontario: Toronto, Peterborough, Wikwemikong FN, Sault Sainte Marie, Sioux Lookout, Kenora, Kettle Point and Ottawa.