Jurists of Robson Hall

In 2022, Dean Richard Jochelson created the honour “Jurist of Robson Hall,” to recognize members of the legal community for their extraordinary service and commitment to the University of Manitoba’s Faculty of Law, be it through teaching or other contributions to Manitoba’s law school. This year’s Jurists were:

• The Honourable Marianne Rivoalen, Chief Justice of Manitoba
• The Honourable Glenn D. Joyal, Chief Justice of the Court of King’s Bench of Manitoba
• The Honourable Ryan Rolston, Chief Judge of the Provincial Court of Manitoba [LLB/99]
• Andrew Torbiak [JD/15]
• Heather L. Wadsworth [JD/15]

Learn more about the Jurists of Robson Hall on the Faculty of Law website.

Faculty of Law Alumni Awards

The 2024 Faculty of Law Alumni Award recipients: The Honourable Catherine Carlson, Judge of the Provincial Court of Manitoba [BA/83; LLB/86], Outstanding Alumni Award; and Kevin Sharma [JD/19; LLM/22], Emerging Leader Award

At the annual Spring Reception, the Faculty of Law also presented its 2024 Alumni Awards to two accomplished UM Law graduates in the categories of Outstanding Alumni and Emerging Leader. This year’s recipients were:

• The Honourable Catherine Carlson, Judge of the Provincial Court of Manitoba [BA/83; LLB/86], Outstanding Alumni Award
• Kevin Sharma [JD/19; LLM/22], Emerging Leader Award

Judge Carlson was presented her award by her colleague, Judge Rolston, whose glowing introduction of the President of the American Judges Association gave valuable insights into her many contributions and achievements that make her an Outstanding Alum of the UM Faculty of Law.

Sharma was introduced by his colleague at the Manitoba Financial Services Agency, Leigh Anne Mercier [LLB/94], who perfectly encapsulated Sharma’s exceptional characteristics of always learning, helping, and giving back to community.

Learn more about these two alumni in the Faculty of Law’s announcement regarding the 2024 Alumni Reward recipients.

Clinical Learning and Supervising Awards

Director of Clinics, Elizabeth McCandless [LLB/07; LLM/20] announced two inaugural awards that celebrate excellence in clinical learning and teaching. The Wolseley Law LLP Award for Student Clinical Excellence was presented earlier this spring to third-year law student Mary-Charlet Lathlin, who completed an externship with the University of Manitoba Community Law Centre (UMCLC).

The UM Faculty of Law Clinical Supervisor Award was presented to Shasta Benaim [JD/14], a staff lawyer at Legal Help Centre, one of the Faculty’s externship placements.

Manitoba Law Foundation $4.5M grant announced

Dr. Richard Jochelson, Dean of Law, and Erin Wilcott, Executive Director, Manitoba Law Foundation

Dean Jochelson invited Erin Wilcott, Executive Director of the Manitoba Law Foundation to share the news of three new transformational bursaries created out of a $4.5M grant given to the Faculty.

The bursaries were designed to address systemic barriers in legal education and to support students whose lived experiences have placed them at a disadvantage in pursuing legal education. By prioritizing need and lived experience over conventional academic metrics, these bursaries represent a bold step toward a more inclusive and representative legal profession in Manitoba. Prospective applicants include JD, MHR, LLM, and ITL students who meet the Manitoba residency requirement (as defined by Manitoba Health coverage).

The three bursaries include:

• Truth & Reconciliation Bursary
• Equity & Transformation Bursary
• Northern, Remote & Rural Access to Justice Bursary

The news of the bursaries was announced in the May 14 edition of the Free Press. Prospective applicants are invited to complete a pre-application form between now and July.

Indigenous Law Student and Artist Unveils Inspiring Mural

Indigenous Artist Jessie Canard (2L) with her newly unveiled mural titled “Turtle Island” located at Robson Hall outside the MILSA office.

The last item on the agenda was the introduction of Indigenous artist Jessie Canard (2L) who had recently completed a work of art commissioned by the Faculty of Law and the Manitoba Indigenous Law Students’ Association. Located at the foot of Robson Hall’s west stairwell in front of the MILSA office, the work is a mural titled Turtle Island, which depicts the Turtle from the Seven Sacred Grandfather Teachings. According to the Artist Statement, the mural’s purpose is “to brighten the space and make it feel more welcoming for all those who pass by.”

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Each year, the Spring Reception allows the Faculty of Law the opportunity to celebrate and thank all the practicing professional instructors, volunteers, mentors and coaches who contribute their time, knowledge and effort to educating future members of the legal profession and to helping Manitoba’s law school get the job done.

This year, the program focuses on celebrating the creative process through workshops that encourage participants to explore their interests, strengths, and vision. By engaging in various artistic mediums and processes, the participants will learn not only about art but also about themselves. The initiative underscores the belief that art is a gift for both the present and future generations.

In partnership with Willow Tree Action Therapy, Seeing in a Good Way will invite Indigenous youth involved in action therapy programs to delve into Indigenous ways of seeing and being through art. The program is led by professional Indigenous artists Jaime Black, Jessie Jannuska, Claire Johnston, and Peatr Thomas, and has been developed in close consultation with Elders.

Program Launch:

Opening Celebration: Indigenous-Led Birding Walk and Build-a-Bird Workshop

Seeing in a Good Way will kick off with a public celebration on Thursday, June 27, from 5:00 to 8:30 PM at the School of Art Gallery, University of Manitoba. The event is free and open to all, offering a range of activities that highlight the intersection of nature and art.

The evening will begin with an Indigenous-led birding walk organized by the University of Manitoba Indigenous Birding Club. This will be followed by a Build-a-Bird art-making workshop led by the School of Art Gallery’s Indigenous Art Education team: Dee Barsy, Rosie Beck, and Jory Thomas. Participants will have the chance to learn about birds’ unique vision and reflect on how these qualities resonate with their own creative processes.

Schedule of the Opening Event:

• 5:00-5:45 PM: Birding Walk
• 5:45-6:30 PM: Prairie Wildlife / Wildlife Haven Presentation
• 6:30-7:00 PM: Dinner and Build-a-Bird Introduction
• 7:00-8:30 PM: Build-a-Bird Workshop

The summer program will culminate in open studio sessions at the School of Art Gallery on a date to be announced. These sessions will be open to all, providing an opportunity for new and returning students, participants, families, and friends to learn from and collaborate with the young Indigenous artists who took part in the workshop series. These sessions will also allow participants to continue working on their art in a supportive environment, fostering a sense of community and comfort within the School of Art.

Seeing in a Good Way is more than just an art program; it’s a journey of self-discovery and cultural connection. By creating a safe space for artistic expression, the program aims to build courage and self-understanding in young Indigenous artists, helping them to see themselves and their creative potential in a new light.

Learn more about the program: https://umanitoba.ca/art/seeing-good-way

To read more about this story, please visit Valour FC. 

While this national day has only recently been established, ribbon skirts are a centuries-old symbol of identity, adaptation and survival for Indigenous women, girls and gender-diverse people.

Chantal Daniels, a Cree woman from Misipawistik Cree Nation and the director of Ongomiizwin Education with the Rady Faculty of Health Sciences at the University of Manitoba, has been sewing ribbon skirts for more than 20 years.

“Art has always been there for me,” says Daniels. “I sew almost every day, even if it’s just for half an hour. It’s an emotional release that allows me to debrief my mind and just be in the moment.”

Daniels learned to sew by sitting with her auntie and making star blankets. For her, it was a way to soak up a piece of her family knowledge. She encourages everyone to get traditional teachings about ribbon skirts by presenting tobacco to Elders in their own communities and learning more about them.

For Daniels, learning to sew traditional items gave her a sense of empowerment.

“These are important items that we, as Indigenous people, need in our bundles. It’s not just ribbon skirts – it’s ribbon shirts, pow wow regalia, medicine pouches, tobacco bags, pipe bags – all these things, and I could now make them myself and provide them for my family.”

Daniels says she wanted to give that feeling to others, so she began offering classes.

“Now, I’ll see some of the learners I taught making their own ribbon skirts and selling them, and it just makes my heart happy that there’s more and more of us out there that are able to do this skill,” says Daniels.

Daniels says the evolution of the ribbon skirt over the years means she has skirts she wears only for ceremony, but that she also owns skirts she can wear every day – to work or to the grocery store.

“I absolutely love wearing my ribbon skirt in public,” says Daniels. “Especially here, there are a lot of places that we have never taken up space in before. When I wear my ribbon skirt to work at the university, it’s claiming space within these hallways, within these classrooms.”

When she wears her skirt, Daniels finds people often approach her to ask about it, sparking a conversation about Indigenous culture. For Daniels, the establishment of National Ribbon Skirt Day does the same thing.

“I think it’s nice for mainstream society to start educating themselves and recognizing some of the things that we value as Indigenous people. Part of truth and Reconciliation is educating yourself on our ways and this is another way to do that.”

Daniels says that wearing her ribbon skirt gives her strength.

“Sometimes, I’ll purposely wear my ribbon skirt if I know I’m going to be in a challenging meeting or taking part in something heavy because it reminds me of who I am,” says Daniels. “I am an Indigenous woman, my ancestors who walked before me have laid down the path so I can be here, and it’s my responsibility to continue to lay down that path for my daughters, my daughters’ daughters and all the young women that come behind me.”

National Ribbon Skirt Day originates with the story of Isabella Kulak. A member of Cote First Nation, Saskatchewan, Isabella was shamed for wearing her handmade ribbon skirt to a formal wear day at her elementary school. Isabella’s story shone a light on the enduring injustices, racism and discrimination faced by First Nations, Inuit and Métis people in Canada every day, and on the importance of making sure that what happened never happens again to anyone in Canada.

The ISLIAPP’s goal is to transform the composition of university art collections by adding contemporary Indigenous art each year, selected by a committee of five to seven Indigenous students.

This committee will engage with artists and curators and select works for acquisition. The new additions will receive exhibitions in the School of Art Gallery at the Fort Garry campus.

The ISLIAPP is looking for five to seven committee members who meet the following criteria:

• Current Indigenous students at UM, from any faculty
• Students with knowledge and experience with Indigenous cultures, communities, protocols and practices
• Students with an interest in art and contemporary Indigenous artists; experience in an arts-related field is an asset
• Preference will be given to individuals who are First Nations, Métis or Inuit

Applications are requested in the form of a letter of interest, which should include some biographical information, an explanation of why you want to sit on the committee and some artists you’re excited about.

The deadline to apply is Nov. 9, 2023. For complete information and to apply, please visit the ISLIAPP web page. Students can also fill out the online application form.

August 21 to September 8, 2023

School of Art Gallery, Collections Gallery

Art has long been recognized as a gift that has the power to transcend time, culture, and boundaries. It has the capacity to bridge generations, spark conversations, and cultivate understanding. The art exhibition “Kiskithihta Mīthokwesowin: Discovering our Gifts” embodies this sentiment, showcasing the profound impact of Indigenous art as a means of storytelling, cultural preservation, and empowerment. Curated by Justin Bear L’Arrivee and Jory Thomas, this exhibition takes visitors on a journey into the vibrant world of Indigenous art, with a focus on nurturing the talents of the next generation of Indigenous artists.

Running from August 21 to September 8, 2023, this unique art exhibition is more than just a display of artistic pieces – it’s a testament to the transformative power of art in the context of reconciliation and self-discovery. The exhibition emerges from the Kiskithihta Mīthokwesowin outreach program, which aims to inspire and activate young Indigenous artists, encouraging them to share their perspectives and stories through their artistic creations.

The heart of this exhibition lies in the workshops led by four Indigenous artists: KC Adams, Jaime Black, Jessica Canard, and Sadie Lavoie. These artists lent their expertise and guidance to workshops held at various community organizations, including Ka Ni Kanichihk, Marymound Inc., Rainbow Resource Centre, and Willow Tree Action Therapy Youth Services. These workshops were not only about artistic skill development but also about fostering a sense of community, instilling confidence, and passing down cultural knowledge.

Each workshop was a unique exploration into different aspects of Indigenous culture, creativity, and history. Sadie Lavoie’s workshop at Rainbow Resource Centre delved into the relationship between land, plants, animals, and 2Spirit identity. Jaime Black’s workshop at Action Therapy took participants on a journey through the art-making practices of Indigenous ancestors, connecting contemporary youth with their heritage. KC Adams guided participants from the Summer Program in creating collaborative video art, demonstrating the power of storytelling through visual media. Jessica Canard’s workshop at Ka Ni Kanichihk focused on the intersection of Anishinaabe heritage and urban living, utilizing techniques from graffiti art and muralism.

The resulting artworks displayed in the exhibition stand as a testament to the impact of these workshops. They are not only visually stunning but also deeply meaningful, reflecting the personal journeys, cultural connections, and creative expressions of the young artists who participated.

The success of “Kiskithihta Mīthokwesowin: Discovering our Gifts” is a collective achievement, made possible through the dedication of the participating youth, the guidance of the guest artists, and the support of community partners. The exhibition serves as a reminder that art is a dynamic conduit for cultural transmission, self-discovery, and empowerment. It embodies the spirit of reconciliation, echoing the sentiment that Indigenous art holds the power to pave the way for a more equitable, just, and decolonized future.

The “Kiskithihta Mīthokwesowin: Discovering our Gifts” exhibition is a living testament to the ability of art to transcend boundaries and create bridges between cultures. It reminds us that the act of creation is not only a gift to oneself but a gift to the community and future generations. Through the unique perspectives and narratives woven into the artworks, visitors are invited to engage with the profound stories that art can tell, stories that have the potential to shape a more inclusive and empathetic world.

Learn more: umanitoba.ca/art/exhibition-discovering-our-gifts

As we engage in the process of reconciliation, we recognize that Indigenous art is a particularly valuable gift, transmitting stories and perspectives that will collectively lead us to a more equitable and sustainable decolonial future.  The Gallery has developed this program to inspire and activate the next generation of Indigenous artists by removing barriers, instilling confidence, and providing them with opportunities to explore art-making to tell their stories. 

By partnering with community organizations, we aim to ensure that these workshops reach a wide audience and have a lasting impact on the participating youth. In addition, through these collaborations, we will tap into our partners’ collective knowledge, resources, and networks, creating a supportive and inclusive environment for everyone involved.

The program will offer a series of art workshops focused on cultural themes, led by professional Indigenous artists, and developed in consultation with Elders from the University of Manitoba. Kiskithihta Mīthokwesowin aims to help Indigenous discover and share their gifts through art. Artwork created by workshop participants will be exhibited at the School of Art Gallery, allowing participants to share their gifts with the public.

We extend a warm invitation to join us for the Opening workshop, taking place Wednesday, June 21, from 5-8 pm and will include a Pipe Ceremony, Medicine Walk, A Monoprint Workshop, and free food and drinks! The evening will also feature guest artist Katherine Boyer!

umanitoba.ca/art/event-kiskithihta-mithokwesowin-discovering-our-gifts

Stay tuned for more details on workshop dates and locations, which will be announced in the coming weeks. 

For further inquiries or to express your interest in this program, please contact jory.thomasblanchard@umanitoba.ca or justin.bear@umanitoba.ca

The mural is a visual re-telling of an Indigenous creation story passed down in Ininew (Cree), Anishinaabe and Oyate (Dakota) cultures through oral traditions. Flattery’s interpretation utilizes vibrant colours and references traditional sports such as lacrosse, re-imagining conflict as regenerative, and placing relationships at the core of creation.

This innovative piece centres Indigenous traditions and knowledge systems in the ALC building with the hope that more Indigenous students will see themselves reflected in the space and feel welcome. For all UM students, staff, and community members who use the facilities, the mural offers a holistic understanding of health, focusing on spirituality, relationships, and the environment, aspects of wellness that are often overlooked in Western cultures.

“We wanted to create something that inspired a movement in healthy living for everybody,” explains artist Kristin Flattery. “So, not only was I trying to promote healthy living and insert our traditional knowledge . . . I want (the community) to be motivated toward teamwork and helping each other.”

Inception of the project

The idea for the project developed in 2015, initiated by what Douglas Brown explains were two compounding events. First, the ALC had recently opened that year, and second, the Truth and Reconciliation Commission (TRC) had put their final report out in the public domain.

Brown explains that people were becoming “particularly sensitive to the notion that we needed to do real things to begin the reconciliation process.”

“In that final report there were repetitive calls to action stating that we need to create spaces where Indigenous people can see themselves reflected,” he says.

Through Deborah Young, the former executive lead for Indigenous achievement, the dean met Flattery, who was a UM student pursuing a degree in fine arts with a focus in mural painting.

“I saw it as a way of recognizing a young Indigenous student and her talent and give her an opportunity to build a professional name for herself with a public commission,” says Brown.

Through a collaboration with the School of Art, funding from FKRM, and of course, led by Flattery’s commitment and creative vision, the mural you see today in the ALC across from the customer service desk came into being. It is the result of years of planning, collaboration, and creative effort, and represents the University of Manitoba’s commitment to the TRC’s calls to action.

What makes meaningful change?

Heather McRae, Director of Indigenous Engagement in the Faculty of Kinesiology and Recreation Management, chairs the Indigenous Engagement Circle and says that more representation of Indigenous cultures “is something that a lot of students have been asking for.”

“I don’t think you can underestimate the power of seeing yourself reflected in the spaces that you visit or inhabit,” McRae says.

She notes that “art in and of itself is not enough to signify that the faculty is making a meaningful change. But art in collaboration with several initiatives and work that’s ongoing, is showing that it is an effort to embed it in the fabric of the institution in our faculty.”

Following a curriculum review in 2016 and 2017, FKRM placed an increasing emphasis on developing and partnering on land-based educational programs and courses.

Notably, the faculty has established a certificate program, which the dean explains “aims to provide leaders in remote Indigenous communities with some training to help them program physical activity recreation/physical education in their communities.” The program emphasizes functional training in areas such as Applied Suicide Intervention, gun safety, first aid, and land-based education and has been delivered once to a cohort of 15 First Nations students from eight different communities. The program is set to run again this summer to another 15 students from rural and remote communities.

Additionally, the faculty has been supporting the Rec and Read mentorship program, a culturally affirming healthy living program. Rec and Read partners university and community mentors with high school mentors who work together to develop and implement afterschool activities for early years students in the areas of physical education and nutrition. The program started with a focus on engaging Indigenous youth in these activities but is applicable to all underserved youth in our communities.

FKRM also offers a Pow Wow club and a jigging club. “And we’re always looking for more to do,” adds Brown.

Welcoming spaces are crucial

Though more clubs and services sensitive to the needs of Indigenous communities are appearing across the faculty and the university there is still more to be done when it comes to making the ALC facilities welcoming to all.

Indigenous people and minorities have traditionally faced barriers when accessing health and fitness services, with racism and social ostracization persisting as significant deterrents for those considering getting gym memberships or joining organized sports.

Flattery says she knows many Indigenous people who won’t go to the gym because they’re scared. “They’re afraid of how they’re going to be treated in the changeroom,” she explains, “they’re afraid of how they’re going to be treated in the facilities.”

Now more than ever it is critical that gyms and athletics facilities make it clear that they are welcoming to Indigenous people, Flattery says. “The diabetic rise in the Indigenous population is astronomical,” she notes, “Although we are the youngest and fastest growing population in Canada, our people are dying at a phenomenal rate. We need to get those people being active again, that’s what’s really important to me.”

Expanding our understanding of health

For Flattery and the team that has worked on this project, making the ALC more inclusive also involves developing an understanding that health and wellness that goes beyond the often-limiting principles of Western fitness practices.

“I think we have a very narrow understanding of health and wellbeing,” explains McRae, “it seems like you have to have your physical body moving in an aerobic capacity, but what about other expressions of well-being that might not be tied to the physical movement of the body? It’s important to recognize that there are different cultural understandings of health and well-being.”

For example, in many Indigenous cultures, spirituality, relationships, and environmental health are considered critical components of holistic wellness. Flattery’s mural draws on all of these.

She explains that she paints with bright colours, such as yellows, blues and oranges because of their positive mental health benefits and their cultural significance. “When I look at these bright happy colours it elevates my mood, so I feel like it would elevate others’ as well.”

Being intentional with her use of colour has allowed her to get in touch with the spiritual aspect of her artistic process, she says. “I remember when I learned about colour theory, and the more I learned about my culture—both sides of the culture and what the colours meant, it’s spiritual,” she explains. “In our culture, certain colours mean things.”

Flattery recalls knowledge passed down to her by Grandfather Wanbdi , who told her that “part of your spirit goes into the artwork that you’re making and lives on in that artwork.”

“That’s why those paintings have to be so respected,” explains Flattery, “because there is spirit and intent in those paintings.”

Flattery’s mural draws on a creation myth that has been passed down through oral tradition in Ininew, Oyate, and Anishinaabe cultures. It is the tale of a great flood, like the biblical story of Noah’s Ark, she explains. But it differs greatly from the Christian story insofar as in Indigenous mythology, the world is constructed from a tiny piece of earth through the combined efforts of several different animals, foregrounding the importance of relationships in the process of creation.

The emphasis placed on the natural world and relationships in the mural suggests that community and environmental health are key components of personal wellness. In Indigenous cultures, “the land is not an object that is separate from you,” explains McRae, “the health of the planet is also the health of you and your community.”

Relationships and Reconciliation

Relationships also played a critical role in the creation of the mural itself—from early conversations between Flattery, Brown and Young, to Flattery’s creative approach, which involved both her children.

“I believe in creating things with other people,” Flattery says, recalling the process fondly. “My youngest son Jordan actually painted a lot of that mural. The borders on the bottom, the one with the canoe, and the sunset, my sun did that all. He’s nine. . . . Gavin always helped me build the stretchers.”

Flattery’s son Jordan helps paint the border

She mentions that the borders are parflêche, which is a type of traditional Oyate bag made from raw hide.

“I put it on the border . . . . to show that these cultures are interwoven together,” she explains.

“I wanted a Dakota-type border because the university is on Dakota land,” she adds, explaining that she hoped to highlight the uniqueness of each culture, as well as the ways they are interconnected.

Brown says that to him the project represents the importance of relationships. “It represents my relationship to Deborah Young, it represents my relationship with Carl Stone who smudged the building at the opening, and it certainly represents my relationship with Kristin.”

He adds that it was “a big project, and so is reconciliation.”

“The fact that we’ve actually got it finished makes me think of the relationship, creation, building and cultivation that was required to see it to completion.”

Like relationships, reconciliation is a process that requires dedication, honestly, dialogue, and time, and the installation of this mural represents the FKRM’s commitment to be a part of that process.

The dean says that the project is a step in the right direction. “It’s given us a sense of what’s possible,” he says. “There are sometimes things that are right in front of us that we can do to create spaces that are more inviting to the Indigenous community, and I’m eager to look at what’s next.”

Visit the new webpage to learn more about Flattery’s process, inspiration, and about the artist herself.

Mending Wounds

“As I took the class, I realized that it goes into great depth with what happened within the residential schools,” said Arij Al Khafagi, second year science student. “High schools really didn’t say what was going on, as well as the trauma that Indigenous people faced and still face today because of it. I had no idea, because we were never taught it.”

When Al Khafagi was looking for inspiration for her final project, she came across the health section of the ‘Truth and Reconciliation Commission of Canada’s 94 Calls to Action’.

“The 94 Calls to Action say that Aboriginal people should have a right to a Healing Center so that they have a place where they’re able to go and ask for the help that they need,” said Al Khafagi. “I decided to do my project on this idea because I feel that hospitals do need to have something like that.”

Al Khafagi’s project is a replica of a hospital that has a Healing Center and a sweat lodge. The hospital has a cross and a Medicine Wheel to represent both traditional western medicine and Indigenous knowledges working together.

“As an aspiring physician, I want everyone to have an equal opportunity to receive the best healthcare that depicts cultural competency, which will demonstrate and promote holism as well as reconciliation in our healthcare systems,” said Al Khafagi.

Ashes Rising

Patricia Eschuk, a student of the class, had been interested in Indigenous art for many years before she enrolled.

“I thought the experience would be beneficial both on a personal level and influential in my work,” said Eschuk. “After taking the class, I have a much deeper appreciation for the symbology and history that informs the work. I also am better able to see the work through an Indigenous lens versus a Western/European lens.”

Eschuk’s art piece, titled ‘Ashes Rising’ was created in response to learning about the Canadian Indigenous Peoples historical legacy.

“Charcoal was used to signify the destruction and loss of Indigenous ways of life,” said Eschuk. “Anishinaabe Animal symbolism combined with the Seven Teaching portrays the emotional release of conciliation and reconciliation. Oil landscape plays and important role within this art piece that expresses restoration through art that promotes holism.”

An ethical space that promotes reconciliation

Leah Fontaine, Indigenous Initiatives Educator and instructor of ‘The Art of the North American Aboriginal Peoples’ hopes that her students have enjoyed her class and have gained a greater understanding of the Indigenous lens.

“I hope they take away an understanding of the issues and perspective of Indigenous ontology and the resiliency Indigenous people have,” explains Fontaine. “An understanding, awareness and empathy of the Canadian Indigenous historical legacy and how art creates dialogue.”

“In class Leah often said, ‘Go beyond the lines of the western style,” explains Al Khafagi. “You have to look through another lens. That’s another reason why this show is called ‘Lenses’.”

While many have gathered to see the artistic impressions of conciliation and reconciliation of the students, the colourful art pieces now adorning the walls of 65 Dafoe Road are also reaching people through contemplation and conversation.

“The Centre has created an ethical space that promotes reconciliation for students, professors and community,” said Fontaine. “Art work, inspired by the narratives of Indigenous peoples, has contributed within this space that promotes holistic learning.”

The mural title ‘Hoops for now’ brings forward the ideas of unlearning and relearning Indigenous student experience at the University of Manitoba’s Fort Garry campus.

Desiring to tell a story with lines

“The concept for the mural came from our own ideas of what learning can be like on campus when we tie in Indigenous ideas and knowledge, such as using storytelling as teaching, and how that method is utilized in indigenous cultures,” explained Annie Beach, artist and third year Bachelor of Arts student with the School of Art.

“I was looking for something on campus that represented a learning and unlearning, which I personally tied to indigenization of institutions,” said Katherine Boyer, artist and Graduate student with the School of Art. “I was watching green spaces, and the Duckworth quad in the center of campus specifically, for the desire lines that form from people walking through that space.”  

Desire lines are created by people walking a path that was not prescribed by an architect, a concrete sidewalk, or anything that has already being pre-established.

“I really saw desire lines as being a good metaphor for both student-led initiatives and individual lead initiatives,” said Boyer.

“We came up with integrating the ideas that, everyone has a story to tell and their experiences here on campus tell that story with the lines that you see,” said Beach.

Bringing worlds together

“I think one of the main goals of Sebastian’s residency was to connect people across campus,” said Boyer. “I think his intention was to bring all these different forces together and Sebastian was a really good communicator between all these forces.”

In bringing together those forces, Sebastian also introduced both Beach and Boyer to each other, as neither artist had worked with the other before the mural project at The Centre.

“I think this worked well with each of us having our individual components and overlaying that,” said Beach. “But I think having that common theme started us off; it very naturally connected both our ideas.”

“Annie’s component is really good at bringing attention to the negative space, so the actual segments of color are the negative spaces in the hoops,” said Boyer. “I think we really played well with each other back and forth, because the Duckworth quad is kind of the negative space of the pre-established path. The actual desire lines that are created by people walking through there play with that space. That’s where both of our worlds came together”

Hoops for now’… another vision for tomorrow

“The mural is design in a way that’s not overdone,” said Beach. “That it’s temporary, then in the future, if they should continue this project then a couple of new students can represent their own vision.”  

“I think that the nature of Indigenization will be changing as it moves forward, so I think that the mural’s temporary nature lends itself to that,” said Boyer. “To represent these ideas in public forums is something that we have intrinsically signed up for by just being artists. It is what we are both graduating to do. As a fundamental principle of being an artist, that’s exactly what we should be doing. The ability to implement it on such a scale is important. And is exactly how institutions should approach artists and Indigenous people.”