Adäka Cultural Festival: Meet the artists
In this series of video portraits, artists speak about their techniques and inspiration
The Adäka Cultural Festival wrapped up in Whitehorse July 2. This year was the fifth annual celebration of First Nations' culture, visual art, music and fashion.
During the week CBC's Philippe Morin spoke with artists about their inspiration and techniques.
1. Re-discovering culture
The Adäka Cultural Festival is a place of re-discovery for many artists. Mark Rutledge performs Anishinabe dance though it's not something learned as a child. He is one of many artists who was raised in a non-aboriginal family and reconnected with his First Nations culture later in life.
"I was part of the 60s scoop. I was put into a non-aboriginal family so I lost a lot of that tradition," Rutledge says. "My first pow-wow was when I was 21 so pretty late for most people I guess. But know what I always say it's never too late to start dancing."
The video also includes fellow Southern Wind dancer Ian Angus who speaks of diverse First Nations having plenty in common.
2. Painting light and dark
Mary Caesar is known for her cheerful paintings of people playing traditional games. One painting, called Ahda Cho Stick Gambling at Coffee Lakes, is part of Yukon's permanent collection.
Caesar says her happy paintings aren't ignoring the harsh realities faced by her First Nation, which she describes as still traumatized by the legacy of residential schools and struggling with poverty, alcoholism and drug abuse. She says the paintings represent her wishes. They're a painting of how things should be.
"To me it's important to paint the Kaska Dena people playing the traditional games because our people are a happy people despite all the hardships we endure," she says.
This week Caesar also spoke about her residential school experience and how she expresses herself through art.
3.'Reclamation of our culture'
Blake Lepine is a member of the Carcross-Tagish First Nation in Yukon. He's one of many young artists trying to maintain a continuity of tradition within his work.
"It's really nice to be among other carvers and other artists that are doing what I am doing," he says. "Rediscovering a lot of old skills and a lot of these old trades. A lot of these other artists are veterans in regard to the art form. They've been doing it for 30-plus years. It's nice to see a lot of people here, happy, sharing their stories, sharing their experiences so we can all grow together."
4.'I prefer my work to be worn'
It's a question faced by every artist who makes clothing. Do you allow your masks, your boots or blankets to be worn and risk they be damaged?
Charlene Baker says it's an easy decision for her. She practices raven's tail weaving and emphatically says she wants her work to be worn during drum dances.
Weaving is a slow process which begins when Baker spins her own wool. (The mixture includes cedar bark to ward off moths.) Though her work is fragile and beautiful she says it's not meant for an art gallery.
5. Wood carvers' 'exchange of ideas'
The Adäka Cultural Festival features performances and also workspaces. The carvers' tent is busy during the week with nearly 24-hour sunlight by the Yukon River.
This week young carvers were learning techniques and trading ideas with masters under a canvas tent.
All the carvers were watching the expert hands Dempsey Bob, a Talthan-Tlingit Artist from Terrace B.C. who's considered a master carver.