Exhibit at Halifax gallery explores the meaning and evolution of Mi'kmaw regalia
Photos of modern and historic ko'jua dancers on display until next week
A new exhibit exploring Mi'kmaw regalia highlights how dancers maintain cultural integrity while materials and technology evolve.
The exhibit Amalkewinu'k (The Dancers) is on display at Treaty Space Gallery, the Indigenous-led gallery at the Nova Scotia College for Art and Design's Port Campus in Halifax, Feb. 4-15.
It features contemporary photographs of dancers in ko'jua regalia alongside archival photos of traditional dancers. Ko'jua is a traditional Mi'kmaw dance.
The exhibit was created by Aaron Prosper, who is Mi'kmaw from Eskasoni First Nation on Cape Breton Island, and Mackenzie Pardy from Wolfville, N.S.
"With ko'jua dancers, a lot of them are very actively researching, studying and ensuring they maintain the cultural integrity of what it means to have a Mi'kmaw regalia," said Prosper.
The archival photographs, provided by the Nova Scotia Museum and Parks Canada, are meant to juxtapose the modern photos of dancers in their regalia, highlighting the evolution of materials and technology used to create pieces.
Pardy said people's pride in sharing their regalia was something that stood out to her.
"You could really see the thought and care that people put into this, choosing which beadwork pieces they wanted to wear," she said.
"I feel really grateful to have been able to capture that."
Stories of relationships
Descriptions for the photos in the gallery, Prosper said, underscore the collaborative effort behind each piece and the stories told by those relationships.
Michael R. Denny from Eskasoni, one of the dancers featured in the exhibit, wears a ribbon shirt from his aunt Georgina Doucette from Eskasoni, leggings from Madonna Johnson from Eskasoni, moccasins from Nicole Travers from Elmastukwek First Nation in Newfoundland and cuffs and apron from Mary-Jo Isaac in Listuguj Mi'gmaq First Nation in Quebec.
Denny said he feels honoured to carry pieces from people he has close relationships with as part of his regalia.
"It shows you that they trust me in showcasing their art, but also I trust their abilities in making that art," he said.
He said in ko'jua regalia, even with the introduction of modern fabrics and supplies, authentic Mi'kmaw culture endures.
"It has survived despite everything that's happened, centralization, residential school, Sixties Scoop, day schools and even the pan-Indigenous movements from the 1980s with powwows being involved," Denny said.
Beverly "Bubblo" Jeddore, also from Eskasoni and featured in the exhibit, shared how her regalia tells the story of her life and the teachings she carries.
She said in 1998, Annie Cremo, a highly respected Mi'kmaw prayer leader often referred to as the "Queen of Prayers," asked Jeddore to learn the hymns she carried with her.
"She takes her hand and makes a gesture of her throat area, as if she's grabbing something from her neck area, and then she's holding it into her hand and places it on my throat," said Jeddore.
"That's how I was assigned [to learn the hymns], without even any words."
Jeddore wears a peaked cap created by her mother Sarah Denny and a dress featuring Mi'kmaw hieroglyphs representing those hymn teachings she was entrusted to carry, made by Anishinaabe artist Nina Kent.
"When people are dressed in their regalias, they look different; you're not the same person," said Jeddore.
"You're presenting and representing your whole identity when you put that regalia on. You're putting on everything that your people past, present and future represent."
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