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The power of Aboriginal women: the experience of Stephen Ilnu Marjolaine, an example to follow


Here is a text (below) which should inspire all Aboriginal Peoples in Quebec, and particularly Métis communities who are engaged in reconstruction work unprecedented in the history of the Aboriginality of the three Americas. I can not say it enough: Métis communities in Quebec must absolutely be structured on the political level, building on the indigenous tradition, or there is no need for them to emerge. What

leaders, who tend to want to eradicate all disputes in their own community, understand that they will never be there all the time and they have them too, interest in ensure that political power which they are guardians never belong to a few individuals who mingle their personal ambitions to those of the group.

In this sense, the exceptional work of the Council of Women of Mashteuiatsh be taken into consideration. This success story that I personally welcome, should make us reflect on the work that remains to do to win, as Metis (her) respect for all others who do not share our identity memory, our struggles and our dreams.

Russel-A. Bouchard

Photo above: Eagle Feather and Red Road, Native symbols of the power of unity and love.
Photo below: Martine Moissette, Council of Women of the Métis Borealie



Text by Marie-Eve Maheu
Published in Le Devoir, 7 and 8 March 2009 Book
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A historic first for Marjolaine Etienne, Mashteuiatsh

Deputy Head of Council of the Montagnais of Lac-Saint-Jean, Marjorie Etienne is one of 86 women elected to band council of Quebec and Labrador. She sits on their behalf since 2006 Women's Council of the Association of First Nations (AFN). Although she admits that lip, Marjorie Etienne is changing the face Aboriginal women of power, one step at a time.

When she was chosen to serve on the Council of Women of the NPC, Marjorie Etienne soon realized she could not accurately represent all women in Quebec and Labrador. "I had nobody behind me," she recalls. There was no support structure to enable me to disseminate information that I received or exchange on national issues with other elected women. "

She expressed this problem to the table Chiefs of the Assembly of First Nations of Quebec and Labrador (AFNQL). They agreed then to create a working group to find solutions and ensure that women are better represented.

"As women, we must take the opportunity offered to us to be present so strong and articulate, defend Marjolaine Etienne. By our ideas and views, one can have an impact on the future of First Nations. "This speech is that of a woman who, seven years ago, never thought to do politics.

Before the jump, she has worked as a teacher and youth recreation in the community of Mashteuiatsh. "In 2002, my father came to me and said it was time for me to go politics. I told him I knew nothing. He told me that I learn and that's what I did. Maybe he thought it was time for women to take their place? "

Gradually, she gained confidence. "I did not trust me at first, but people voted for me. I realized that I had something to contribute in decision-making spheres. I have a vision of woman and grandmother too. I hope to improve the lives of my community. "

Step

Last fall, the working group of seven women elected - represented by Marjorie Etienne - organized a rally involving all the women elected in Quebec and Labrador. "A historic first!" Said Mrs. Stephen enthusiastically. "It helped us realize that we are not alone in our corner to work. There are other women like us who have an interest in politics, and we're certainly stronger together! "

This two-day meeting has identified the major concerns of women elected to the AFNQL. Among these concerns is particularly the underfunding of education, the critical shortage of housing on reserves, the loss of culture Aboriginal and future of young people who have an important demographic in communities.

Another major concern raised at the rally is on the amendment of the Law on Protection of Youth, noted Ms. Stephen. Now, a child under two years who is placed for a year outside his family should remain until his majority. "As the elected women and women first, it means the loss of the culture of our children, identity, language and intergenerational relationships and family. We believe it deserves to be discussed and amended. Surely there are actions that can be envisaged to bring our children in our communities. "

For Ms. Etienne, gathering held last fall was also an opportunity to promote networking among women elected to the various communities. "We can share our expertise, to put our ideas together and share our good and bad shots."

Moreover, the working group of women elected to the AFNQL wishes to offer more support to women in politics. They want to maintain and even increase their numbers. To accomplish this, the group board on a particular training that would be aimed at those who wish to develop their leadership skills or who are thinking to engage in politics. This training is offered in collaboration with the Centre for Women Development and Governance. "We must prepare the next generation," said Marjorie Etienne.

A Man's World?

Mrs. Stephen refuses to perceive the political system as an Aboriginal man's world. "Of 250 elected representatives, there are still 86 women, which is good," she argues. It should be noted that on the 86, only one holds the position of chief.

"There is a path that is since 2001 with the creation of a council of women nationally, allowing us to convey our concerns," she continues. There is also an opening of the chiefs of the AFNQL to give a place for women elected. "

As evidence, the working group of seven women on board now creating a women's council of the AFNQL with the blessing of the leaders.

"After taking the pulse of women elected, the council may provide guidance and target priorities. It is important to unite our efforts on issues that concern us to better defend them, "says Mrs. Stephen. Women's Council of the AFNQL should come in fall 2009.

***

Associate Duty

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The berdache dance, choreography by Kent Monkman Museum of Fine Arts in Montreal

Oil eponymous George Catlin (1796-1872), Smithsonian, Washington.

Berdashe, remember that word that all indigenous peoples of the three Americas (Indians, Metis, Inuit) are now back to the agenda, and not without having rejuvenated the best manner . It was invented by the French to designate these particular beings who identified with the gender opposite to their biological sex, which took their clothes and living according to their social codes. Among the three indigenous Americas (Indians, Metis and Inuit), it should rather speak of creatures with two minds (2 spirited people). And there were not only men, since this phenomenon of civilization was also reflected in women, but in smaller proportion.

Today indiscriminately come under the category of berdache and two-spirited people, transgender, transgender (s), transvestites, intersex social, hermaphrodites and homosexuals of both sexes.

For those interested in this little-known aspect of Native culture of the three Americas and who are lucky to be in Montreal this summer, it is imperative to visit the Museum of Fine Arts of Montreal, 1380 Sherbrooke Street West. The show runs until October 4, 2009

Russel-A. Bouchard




Chronicle:
JEROME DELGADO
Le Devoir, 30-31 May 2009

Captivating, even dancing. Enchanting, bewitching. And intriguing, high-dose mixing sources and references, eras and styles. With five screens and my frenzied rhythmic, video installation Dance Berdashe Kent Monkman what sow turmoil. From

powwow in air

is a show we attended, a choreography for five dancers, well mounted and finicky by piped music, narrative crescendo. It begins with the Rite of Spring, Stravinsky, and slightly remixed songs steeped in Native American and instruments, it continues with techno and it ends with the bombast of a very cinematic music.

The work that is rooted at the Museum of Fine Arts (MBA) for the next four months against risk by keeping its secret well communicative trance. In the basement where she is, visitors are rare. Between

ritual and artistic expression, between tradition and spectacle, between homage and critique, the work depicts the Berdashe, an ambivalent character admired among Aboriginal peoples - a transvestite [sic *], In our everyday vocabulary. The dance celebrates the most prevalent was in Sauk and Fox nations. Staging, and space, breathes Monkman party. There's pow-wow in the air.

But the artist born in Ontario, himself of Cree, does more than make today and what multimedia ancestral ritual. He revisits the look that whites have the Berdashe and cultures. As often with him, his comment is based on what we have inherited a large piece of romantic painting in North America.

Her Dance Berdashe originated from an oil eponymous George Catlin (1796-1872), preserved at the Smithsonian in Washington. The painter was certainly struck by the scene, but it had also inspired this note: "One of the most disgusting habits and most inexplicable that I have ever seen in Indian country ... and it would be desirable that it goes off before we can attest to that even more. "We only regret that the MBA has not borrowed the table.

Indian-white confrontation against a backdrop of homophobia is central to art criticism and cynical Kent Monkman. Work very fragmented (paintings, films, performances ...), based on the story and referring to the news, but loses the opportunity tone. In Salon Indien, a projection on a teepee that was part of the Biennale de Montréal in 2007, homo-eroticism is supported too.

Sacrifice

Dance Berdashe does not fall into this trap. Even the screens in the shape of buffalo skins, are subtle. While the Berdashe, waddling on the center screen, is gendered, with its transparent red dress and high heels. Unless he gives, and it is very clear in the show.

The mixture of genres, and references such, has meaning, more than ever. The warrior dance with an umbrella today or on Stravinsky's reality shows: it is both friendly tradition and soaked in the culture of others. By giving a new context, very current in its bill contemporary art, Berdashe, Monkman insinuates that the issues specific to the epoch of Catlin were not necessarily buried.

rhythms and choreography, the dislocation of Berdashe, the device of all screens and translucent texture, everything is done to get us into the dance. We will type only may not walk, there will be no excess, the museum imposing restraint, but somewhere, we are called to move. But we can remain impassive, passive spectator in the back of the room dark. And that's where is as simple as it is, the strength of the work. Or is this going to George Catlin, curious and loving witness of Ethnology, but refuses to pass the course of his first interpretation, or the central character is celebrated, almost more spiritual than carnal. The Sauk and Fox admired this travesty because it was a sign of respect for the female figure. The abandonment of masculinity as it became a sacrifice of the most honored.

There is a choice: to remain confined to our gaze from abroad or be seduced by the culture of the Other. If the colonized do, why not the settlers?