La pandémie aura permis au Grand Conseil de la Nation Waban-Aki de démontrer son savoir-faire un peu partout au Québec. Découvrez comment nous y sommes parvenus en lisant cet article du quotidien Le Nouvelliste.
La MRC des Sources rouvrira les sentiers du Parc régional du Mont-Ham le samedi 16 mai prochain. Les amateurs de plein air pourront à nouveau profiter des 18 km de sentiers balisés qui sillonnent la montagne.
Afin d’assurer la sécurité des citoyens, le Parc régional du Mont-Ham a temporairement fermé pour répondre aux exigences du gouvernement sur la COVID-19. Cette brève fermeture a permis à la montagne de se reposer et de bien sécher afin d’éviter l’érosion accrue lors de la fonte des neiges.
« Dans les dernières semaines, nous nous sommes assurés de former notre équipe et d’adapter l’environnement d’accueil et de randonnée au parc. Nous étions impatients de rouvrir aux visiteurs, mais on ne voulait pas le faire sans être totalement prêt », informe Jean Roy, président de la Corporation de développement du Mont-Ham.
Plusieurs mesures sanitaires ont été mises en place visant à limiter les contacts entre les randonneurs et le personnel. Il est important de respecter la distance recommandée de deux mètres entre chaque randonneur. Des affichettes ont d’ailleurs été installées pour rappeler les consignes. Il est à noter que le non-respect des mesures de distanciation entraînera automatiquement une expulsion des installations. De plus l’administration du parc incite les utilisateurs à faire l’achat de billets en ligne à l’avance sur le site web www.montham.ca.
« C’est en suivant les recommandations de la Santé publique de l’Estrie et en nous assurant de la sécurité des usagers que nous avons décidé de rouvrir tranquillement nos espaces récréatifs en plein air. Le parc régional est un équipement récréotouristique majeur pour notre région et nous souhaitions en redonner l’accès aux citoyens le plus tôt possible », affirme Hugues Grimard, préfet de la MRC des Sources et maire d’Asbestos.
Les randonneurs qui visiteront le Mont-Ham profiteront de la vue panoramique de 360 degrés sur l’Estrie ainsi que des 18 km de sentiers en forêt. À cause de la situation exceptionnelle actuelle, l’aire de restauration, l’espace d’interprétation de la culture abénakise ainsi que les zones d’hébergement resteront fermés jusqu’à nouvel ordre.
Le Musée des Abénakis est fier de présenter sa programmation d’expositions pour l’année 2020.
Les Mondes de la nuit – jusqu’au 8 janvier 2021
Les plus belles histoires se racontent la nuit, alors que l’atmosphère est chargée de mystères et que votre esprit est prêt à vivre une gamme d’émotions. Errez dans l’ambiance claire obscure de l’exposition Les mondes de la nuit et découvrez ce qui se passe dans votre cerveau et à l’extérieur, alors que le soleil est couché. Assurément, vous ne fermerez pas l’œil de la nuit!
Les mondes de la nuit, produite par le Musée de la nature et des sciences de Sherbrooke, mise sur l’ambiance claire obscure pour faire vivre une expérience amusante et enrichissante. Les enfants pourront enfin passer la nuit debout, faire du camping sous les étoiles, jouer à cache-cache dans le labyrinthe et s’amuser avec des peluches d’animaux du désert.
Tolakonutome. Elle raconte une histoire – jusqu’au 11 décembre 2020
À travers 20 œuvres qui regroupent des peintures et des œuvres sur papier, l’artiste malécite, Ginette Kakakos Aubin, nous guide à travers sa propre histoire. Cette exposition est fondée sur l’exploration des origines autochtones de l’artiste — une véritable recherche de ses racines culturelles et de leur actualisation. Ses œuvres sont inspirées des arts primitifs, des objets, des vêtements et de la broderie de ses ancêtres qui lui servent également de catalyseurs de création.
Forte de ses nombreuses participations à des expositions solos et collectives, au Canada, aux États-Unis et en Europe Ginette Kakakos Aubin a su se démarquer grâce à la qualité et l’authenticité de ses œuvres et à sa présence active au sein du milieu artistique québécois.
It is with great pleasure that Kiuna College launched Skamon Childhood Services on January 20, 2020.
Established by the First Nations Education Council in 2011, the Kiuna Institution aims to improve educational success and to increase higher educational levels by providing a stimulating learning environment that respects the values and traditions of First Nations.
In keeping with Kiuna’s mission and with the instrumental support of their partners, they have established Skamon Childhood Services. The word Skamon means corn in the Abenaki language. Echoing the traditional use of corn plants by the Abenaki, Skamon Services are intended to be an enabler of growth and resilience for the children as well as the accompanying student-parents.
More specifically, the children of their students will now have access to specialized services such as:
Assessments and support measures for learning disabilities
- Neuropsychological assessments
- Affective assessments
- Multidisciplinary meetings with schools
Psychotherapeutic follow-ups for emotional difficulties
- Therapy for children
- Therapy for parents
- Therapy for parents & children
Follow-ups in psychoeducation and special education
- Social abilities
- Psychomotor stimulation
- Stress management
- Homework support
- Language workshops
- Parental abilities
- Zootherapy (to come)
L’équipe Niona, constituée de jeunes des communautés d’Odanak et de Wôlinak, est présentement en territoire abénakis, dans le Maine, pour partir à la découverte de traditions ancestrales.
Ce projet de recherche collaboratif entre Niona et le Bureau du Ndakina du GCNWA se nomme « La route des paniers ».
Ils se pencheront sur la production de paniers de frêne. Un élément très important de la culture abénakise, tant d’un point de vue historique qu’archéologique.
Apprenez-en davantage sur le sujet en écoutant l’entrevue qu’a offert la responsable du projet, Valérie Laforce, à VIA 90,5 en CLIQUANT ICI.
An unusual construction in Odanak
Archaeologist Geneviève Treyvaud with Vicky Desfossés-Bégin of the Musée des Abénakis d’Odanak. Behind, we can see the structure of the traditional house and some workers. (Photo) (Photo: Marie-Eve Veillette)
A traditional 19th century Abenaki house is about to open its doors on the grounds of the Abenaki Museum in Odanak.
Last week, the structure was taking shape. It is made up of piles cut from spruce logs from the public forests of the ancestral Abenaki territory (the Ndakinna). In the following days, it was planned to cover the walls, which will be made of synthetic bark made of recycled plastic.
“It is a traditional house, yes, but built according to the constraints and realities of the 21st century,” says archaeologist Geneviève Treyvaud, a member of the work team. In the past, the Abenaki people changed the bark of their homes every year, which is unthinkable today because of the regulations surrounding the protection of forests.”
“It is a contemporary adaptation of the dwelling that we are making,” adds Vicky Desfossés-Bégin of the Musée des Abénakis. It is reproduced with today’s material for a question of sustainability as well.”
A project rich in history
This building is being built on the site itself, where archaeological excavations, carried out from 2010 to last year, have uncovered traces of this type of dwelling. These researches, it should be recalled, focused on the fortified mission of the Abenaki fort, dating from 1680 to 1759.
“When the excavations were conducted, several traces of posts, pickets and piles were found,” says Ms. Treyvaud, noting that these traces were left when they were burned, after Major Robert Rogers’ troops attacked the Abenaki fort and set fire to the village and chapel in 1759.
The original idea was to reproduce a house from that period. However, the project has been reviewed according to the wood available to carry it out. “We expected to receive wooden poles… but we were delivered trees,” laughs Mrs. Treyvaud. First Nations were very strong in adapting to their environment and available resources, so we are continuing in the same vein!”
In the end, it’s a bad thing for a good,” says Vicky Desfossés-Bégin, “since the traditional house of the early 19th century is not a type of housing presented elsewhere in Quebec. Indeed, it is rather prehistoric prehistoric pre-colonial dwellings that can usually be visited; a little like the one planned at the beginning of the project. “We thought that with[the material received], we would be able to build on a less well-known period in First Nations history,” says Treyvaud.
It is therefore a house representing the period of contact with Europeans and the beginning of the colony that the Museum will offer to its visitors. “This is a time when the Aboriginal house is very mixed because of the two cultures that coexist. Each takes a little from the other. On the one hand, the first settlers adapted to the Native people’s food and ways of fishing and hunting; on the other hand, the First Nations adapted their tools with European materials, such as ceramics and copper pots.”
Welcome to Kwigw8mna!
The house will be fully equipped with reproductions of artifacts. We’ll feel like we’re entering someone’s home.
To recreate this past living environment, the team behind the project conducted extensive research on traditional Abenaki houses throughout the Ndakinna, which includes not only much of southern Quebec to the Chaudière River, but also Maine and New Hampshire. “We consulted all kinds of historical sources to get a realistic picture of both the inside and outside of these homes,” says Treyvaud.
The archaeological data collected during the eight years of excavations in Odanak were also valuable allies in the implementation of the project.
Despite everything, the work team does not claim to affirm that its construction will be an authentic house. “It will not necessarily have the same shape. We think the houses may have been rounder. On the other hand, there may have been other forms as well.”
Construction began on June 25. We plan to finish it this week, if all goes well. The Montreal-based company Aboriginal Technologies is carrying out the work, with the help of three residents of Odanak.
Once the structure and cladding are completed, the interior and exterior layout will be completed. “All around the house, we want to create a vegetable garden of medicinal and traditional plants, with seeds indigenous to the time,” says Vicky Desfossés-Bégin.
Finally, it should be noted that the project was funded by Canadian Heritage. He also received support from the Band Council, Grand Council and the Ndakinna office. The new attraction will be called Kwigw8mna, which means “our home” in Abenaki.
Minister Jean Boulet confirms more than $13 million to support First Nations and Inuit in their efforts to find employment
In order to enable First Nations and Inuit members to take their place in the labour market, the Minister of Labour, Employment and Social Solidarity and Minister responsible for the Mauricie region, Jean Boulet, has confirmed an investment of more than $13 million through the Alliances for Solidarity and the First Nations and Inuit Employment Integration Assistance Program (FNIHAP).
Funded with $4.8 million, FNIHAP aims to help 500 First Nations and Inuit people enter the labour market by 2023. Directly related to the Great Tasks 2.0, this program is designed to help First Nations and Inuit people gain meaningful first work experience and help them stay employed.
PAIPNI makes it possible to finance up to 80% of the gross salary of the person receiving it and to cover up to 100% of the direct costs related to training. It also provides support measures for new hires and funding to adapt the workplace or human resources tools for successful integration. The implementation of the PAIPNI is done in collaboration with members of the communities concerned to effectively meet the needs of workers.
The Alliances for Solidarity enable the Aboriginal organizations that signed these agreements, in collaboration with their partners in their territories, to address the fight against poverty and social exclusion according to regionally agreed priorities, including school retention and professional integration. Total investments in this regard amount to $8.3 million.
“I encourage First Nations and Inuit people to apply for available jobs, as it is through access to the labour market that they will be able to bring their talents and expertise to their respective communities. Thus, through PAIPNI and the Alliances pour la solidarité, we are mobilizing an available workforce, reducing the effects of labour scarcity on the Quebec economy. »
Jean Boulet, Minister of Labour, Employment and Social Solidarity and Minister responsible for the Mauricie region
“I am delighted with this announcement that will allow First Nations and Inuit to enter the labour market. First Nations and Inuit represent a dynamic young workforce whose strengths and talents must be highlighted. By working together, we will help to address the challenge of labour shortage. »
Sylvie D’Amours, Minister responsible for Aboriginal Affairs and Minister responsible for the Laurentian region
- On May 13, Minister Boulet launched the second phase of the Grande corvée: the Grande corvée 2.0. It is aimed directly at workers, while the first phase aims to anticipate the needs of companies to help them cope with labour shortages.
- Since the beginning of the Great Hardship 2.0, measures have been announced to bring different under-represented groups closer to the labour market: experienced workers (May 13), people with disabilities (June 5) and members of Aboriginal communities (June 28).
- Until 2023, the government is continuing the Alliances for Solidarity through three agreements to fight poverty and social exclusion signed with the Kativik Regional Government, the Cree Nation Government and the First Nations of Quebec and Labrador Health and Social Services Commission, which receive $2 million, $2.2 million and $4.1 million respectively.
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Alanis Obomsawin, visual artist, by Caroline Montpetit – Le Devoir
Illustration: Alanis Obomsawin Alanis Obomsawin, “The Great Visit”, 2007
Caroline Montpetit, Le Devoir, June 8, 2019 – After the 1990 Oka crisis, Wabanaki artist Alanis Obomsawin, known mainly as a documentary filmmaker, felt the need to express herself through the visual arts. She then created a monotype on plexiglass representing a horse’s head and called it Cheval vert. This green horse, she’s already met him in a dream. In this dream, the horse chased her every day. One day, to avoid it, she enters a house where a man sleeps, which she must not wake up otherwise she will be raped. She comes into contact with the horse and promises to visit him every day in exchange for his freedom.
At the age of 86, Alanis Obomsawin presented her first solo exhibition of her work, mainly drypoint prints, at the Montreal Museum of Fine Arts. The works presented were all made after 1990, although the artist began working on engraving in the 1970s. There are themes dear to the artist’s heart, several engravings related to the animal world, Amerindian history and motherhood. A series of engravings, showing mothers with their children, is entitled Mother of So Many Children. That is the name Alanis Obomsawin gave to a film she made in 1975. “It was the Year of the Woman,” he recalls. God, that was hard to achieve. Today, it’s easier, I don’t need to fight anymore,” she says in an interview. In general, she is very optimistic about the situation of Aboriginal people in Canada. She is happy to see Aboriginal youth getting up and fighting rather than thinking about suicide. Nevertheless, his work reflects some of the misery endured by indigenous communities, and Wabanaki in particular, over the decades.
“In Aboriginal culture, women kept children with them at all times. They wore them to work until they were four or five years old. It was a very important aspect of culture,” she says. However, one of his engravings, entitled Qu’est devenu mon enfant, illustrates the drama experienced by mothers whose children were forced to be taken to residential school. Some of these mothers never saw their children again, and never knew what had happened to them.
Braided baskets The exhibition also presents elements of Wabanaki culture, including the fabulous baskets that have made the reputation of its people. “At one time,” says Alanis Obomsawin, “everyone made baskets. “She says she misses the sweetgrass that dried in front of every house in Odanak. One of his works is dedicated to Agnès Panadis, a basket weaver known in the village. The museum room dedicated to the exhibition also offers magnificent specimens of these baskets. A wedding basket, designed by Emilia M’Sadoqies, is decorated with a multitude of small baskets, and a bird carrying one in its beak. And you have to hear Alanis Obomsawin talk about how her mother ran away to avoid selling the baskets to tourists. The exhibition also features an embroidered collar and bag from Alanis Obomsawin’s grandmother, Marie-Anne Nagajoie. “My grandmother, Marie-Anne Nagajoie, said, “Mariah will have a difficult life because she refuses to make baskets,” she says.
Another engraving refers to Ozonkhiline, the Waban-Aki who walked the rails from Odanak to Dartmouth College in New Hampshire in 1823. “It was a time when we were losing all the land,” she says. Dartmouth University was built on Aboriginal land. For this reason, Aboriginal people had the right to attend classes free of charge. “It was education that Ozonkhilin had gone to look for on foot. Upon his return to the village, Ozonkhilin became a Methodist pastor and introduced Protestantism to the village.
The importance of dreams Dreams, very important in Native American culture, have always been of great help to Alanis Obomsawin, who found peace in sleep. She remembers that in one of them, foreigners living in Odanak wanted to bury her alive because she was different. In her dream, she emerged from the cemetery, topped with animal woods. From that moment on, she was able to move around the village comfortably because she had become invisible.
Yet Alanis Obomsawin is anything but invisible or buried. On Friday, she gave interviews dressed in red, in honour of murdered or missing Aboriginal women and girls. This is the colour that the museum gave to the walls of the exhibition, for the same reason.
Alanis Obomsawin, engraved works. An artist and her nation: the waban-akis basket makers of Odanak Montreal Museum of Fine Arts, June 7 to August 25, 2019
FOUR ABORIGINAL NATIONS UNITE TO ASSERT THEIR TERRITORIAL AUTONOMY
Chiefs and elected representatives of the Innu, Maliseet, Abenaki and Atikamekw Nations gathered Thursday in Quebec City to seal an international alliance based on the affirmation of their right to self-determination and their inherent right to self-government. Through this Declaration, the signatory First Nations provide themselves with the means to affirm and strengthen their relationship, in particular by concluding agreements or arrangements that promote harmonious coexistence on the territory;
“That the relationship between us, the signatory First Nations, be based on the recognition and respect of our respective rights, needs and culture, while promoting mutual assistance, collaboration, exchange and partnership, as our ancestors would have done. […] […] That we, the signatory First Nations, be the guardians of these commitments and ensure their implementation” – Extract from the Declaration.
This unprecedented approach is in line with the desire of the First Nations concerned to send a clear message to governments that no form of political interference can be tolerated when it comes to agreements or measures likely to have an impact on our never-transferred territories. As the ancestral territories of Ndakinna, Nitaskinan, Nitassinan and Wolastokuk were never ceded, the Nations thus affirm their legitimate rights to decide autonomously on the future, use and management of the respective ancestral territories. They agree that it is their responsibility to establish agreements concerning them according to their values and customs.
“Since time immemorial, and long before the arrival of European settlers, the Innu, Maliseet, Abenaki and Atikamekw First Nations have lived continuously on the territories of their ancestors. Historically, when it comes to overlapping areas, we have always been able to share and manage land use harmoniously. It is up to us to decide what we want or do not want on our territories,” the elected representatives said.
This alliance, sealed on the basis of the right to self-determination and the inherent right of self-government, demonstrates a clear commitment to take the necessary steps to affirm and strengthen relations between nations. It links the Innu First Nations of Pekuakamiulnuatsh (Mashteuiatsh), Essipit, Pessamit, Abenaki of Wôlinak and Odanak, Maliseet of Viger as well as Atikamekw of Manawan and Wemotaci.
STUDENTS FROM THE KIUNA INSTITUTION PARTICIPATED IN THE NEW ALBUM OF THE COWBOYS FOUNDATION DASHING
With the help of lyricist Jonathan Harnois, students from Kiuna Institution wrote the song Mémoire pour Elisapie.
There is a tremendous energy in this room in honour of Magtogoek, the river of great waters. Major chords, undulating pulsations, poetry of the text; here everything conspires to highlight a deep indigenous voice.
Here are the details of the project:
The St. Lawrence is a strong symbol of our identity geography; the relationship we have with it is multiple and complex. With the brand new project LE SAINT-LAURENT CHANTÉ, powered by the COWBOYS FRINGANTS FOUNDATION, in collaboration with the DAVID SUZUKI FOUNDATION, 11 exceptional creators wanted to explore the link that unites us to this majestic waterway: Alex Nevsky, Patrice Michaud, Marie-Pierre Arthur, Maude Audet, Antoine Corriveau, Elisapie, Salomé Leclerc, Jérôme Minière, Galaxie, Saratoga, as well as songwriter Jonathan Harnois.
To achieve this, the collective asked Quebec youth to lend a hand by inviting them to share their vision of the river they encounter on a daily basis. Students from Kiuna Institution proudly participated in this project!
Three meetings with each group allowed the author Jonathan Harnois to discover the relationship that these young people have with the river. It was also an opportunity to include them in a reflection and to invite them to tame their creativity through writing. Inspired by this in-depth contact, the author wrote the texts for the album, which were then set to music and performed by 10 renowned artists.
It is therefore at the end of a great collective effort that the 10 songs of this superb album are born!