Materializing Photographs of My Anishinabeg Ancestors
As part of my journey inward with historical images of Anishinabeg, I selected several photographs of my own ancestors taken from around the mid 1920s to the late 1960s to materialize into regalia and cultural items that I in turn could give back to my own family members. Prior to this endeavor, I received a dream that I was making regalia out of photographs of my ancestors, and after consultation with my mother and kitchianishinabekwewag (female Elders), accepted the responsibility to carry out this vision.
I approached each image of my ancestor with the question of what can I so for you—what can I do to honour our relationship, to say miigwetch for your struggle and continued guidance? As I proceeded to work with each photograph, it was if I was entering into a conversation with each person. As I actively worked with my materials, taking direction from the smaller details of each photograph that compelled me to act, I let the materials guide my direction. With every contemplative act I stitched together something that embodied my continued commitment to my ancestor’s stories. Each creative act helped propel this conversation forward as I remained attentive to how my body, in relation to the materials, helped reveal and re-inscribe ancestral knowledge. For example, as a created the quilted piece “Ogichidaakwewag” I had to find a way to quilt the outline of their bodies. As I started to place the black applique, I realized how much my work started to resemble a topographic map, where their black appliqued material stood for the vast lake systems in our territory. I then started to think about stories told me to me about how young Anishinabekwe used to receive women’s teachings during long walks towards specific lakes. This reaffirmed knowledges I’ve received around the role of women in protecting or looking after the water in our territory.
As I worked with every material this conversation continued and I was able to strengthen my relationship paying attention to how every material act revealed knowledge related to my ancestors that I would not have learned without this process of making or doing.
Please see the image gallery below to witness my work.... Miigwetch.
I approached each image of my ancestor with the question of what can I so for you—what can I do to honour our relationship, to say miigwetch for your struggle and continued guidance? As I proceeded to work with each photograph, it was if I was entering into a conversation with each person. As I actively worked with my materials, taking direction from the smaller details of each photograph that compelled me to act, I let the materials guide my direction. With every contemplative act I stitched together something that embodied my continued commitment to my ancestor’s stories. Each creative act helped propel this conversation forward as I remained attentive to how my body, in relation to the materials, helped reveal and re-inscribe ancestral knowledge. For example, as a created the quilted piece “Ogichidaakwewag” I had to find a way to quilt the outline of their bodies. As I started to place the black applique, I realized how much my work started to resemble a topographic map, where their black appliqued material stood for the vast lake systems in our territory. I then started to think about stories told me to me about how young Anishinabekwe used to receive women’s teachings during long walks towards specific lakes. This reaffirmed knowledges I’ve received around the role of women in protecting or looking after the water in our territory.
As I worked with every material this conversation continued and I was able to strengthen my relationship paying attention to how every material act revealed knowledge related to my ancestors that I would not have learned without this process of making or doing.
Please see the image gallery below to witness my work.... Miigwetch.