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ABOUT

This March 7-10, 2018, we gathered in Nogojiwanong (Peterborough), on Michi Saagiig Anishinaabeg territory, for an exciting symposium and multi-day workshop, Manifesting Resistance: Conversations about Intergenerational Memory Work across ‘the Americas.’ This project came together as a collaboration between Aging Activisms (based at Trent University, led by May Chazan) and Critical MediArtStudio (cMAS, based at Simon Fraser University, led by Gabriela Aceves Sepúlveda).

Over these four days, we came together as a small, intimate group of scholars, artists and activists from across “the Americas” to begin a conversation about intergenerational memory work, resistance, and creative archive-making. We understand “the Americas” as a geographical demarcation constructed through colonialism: we use this imperfect language to acknowledge that participants hail from across Turtle Island and beyond, including from locations outside of the often singular, homogenous, US-centric conception of “America” and indeed outside of the “Global North.”

This gathering unfolded in two interrelated parts. In our opening symposium on March 7th, we grounded our conversations in the land and territory in which we gathered – learning about some of the important activist remembering underway in Michi Saagiig territory and here in Nogojiwanong. We carried forward from this opening the question of how land, place, and territory might shape all of our different memory projects, in varied and possibly unexpected ways. Then, from March 8th to March 10th, we facilitated a collaborative media creation workshop, working as a smaller group to interview and photograph each other, to share in a series of circle conversations, and ultimately to co-create a collection of short media capsules or digital stories about our memory projects. As a research event, our collective meaning-making of this work aims to push the boundaries of how we conceptualize activisms, archives, aging, and the intersections of these.

MANIFESTING RESISTANCE:
Conversations about Intergenerational Memory Work across 'the Americas'
Nogojiwanong (Peterborough), March 7-10, 2018 

Watch videos:

Alice Olsen Williams
10:57

Alice Olsen Williams

A conversation with Alice Olsen Williams, from Manifesting Resistance 2018. Alice was born in Trout Lake, in the traditional territory of her mother’s people. She received her teaching certificate from Lakehead Teacher’s College, Thunder Bay, Ont. Having taught in Thunder Bay and at Pic Mobert First Nation, Alice and Doug, moved to Curve Lake First Nation. While looking after their four children and their home, Alice completed her B.A. from Trent University as well as developing her skills in beadwork and sewing. In 1980 she discovered quilting, mastering the techniques which allow her to create the meticulous hand-quilting in her bed coverings and wall hangings. Gradually Alice formed the concepts which would be the basis for her distinctive style and work. Blending her cultural heritage into a unified whole, she envisions the central motif to depict the symbols and themes of Anishinaabe culture, surrounded by the conventional North American quilting blocks and patterns which were developed and continue to be evolved by those women and their descendants who came to this Land from Europe, the legacy of her father’s people. Through her understanding of the teachings of the Elders, Alice has created her own Life symbol. She continues to grow as an artist, searching for new ways to express the Spirit of Creation in the images of her designs. About Alice’s memory work: The way I live my Life is a memory project and intergenerational work, from raising my children to the social justice work and art in the quilt making that I do. www.pimaatisiwin-quilts.com
Jess Watkin
11:19

Jess Watkin

A conversation with Jess Watkin, from Manifesting Resistance 2018. Jess Watkin is a PhD Student at the University of Toronto’s Centre for Drama, Theatre and Performance Studies. Her research focuses on accessible approaches to creating performance in Canadian theatre for and by artists with disabilities. She has been published in the Canadian Theatre Review, has written and choreographed performance pieces around Toronto, and is a Blind Community Consultant on theatre pieces and Audio Description around Ontario. About Jess' memory work: I have done a lot of work with autoethnography based on nonvisual body memory practices that rely on sensory and body memory both in performance spaces and in life. I have been experiencing braille as a blind person, and have had to challenge my memory in tactility, and am hoping to discover more about the possibilities within tactile and access activism and academia. I spent a bit of time in the Canadian National Institute for the Blind archive, where it is a sensorial and tactile space where braille has changed over the past 100 years, as well as tactile artifacts that inform and challenge current systems in the blind community. Basically, I work through memory as a blind artist-academic-activist, what spatial memory does for me, and how that can inform and affect an archive. I also love dancing and movement-based creation, which, as a blind person, is reliant on memory (yoga moves become more fluid because I cannot watch a teacher) and so I’m interested in exploring the ways in which nonvisual interactions with the space and the body can provide memory.
Mónica Mayer
10:53

Mónica Mayer

A conversation with Mónica Mayer, from Manifesting Resistance 2018. Mónica (Mexico, 1954) has developed an integral focus in her work that, in addition to performance, drawing and interventions, considers writing, teaching and community participation as part of her artistic production. She is considered a pioneer in feminist art, performance and digital graphics in Mexico. In 1983 she founded the group Polvo de Gallina Negra (Black Hen’s Dust) with Maris Bustamante, and in 1989, with Víctor Lerma initiated the project Pinto mi Raya (I Draw the Line) of which the central element is a specialized archive of periodical clippings that has constituted the basis of diverse artistic proposals. Mayer has published several books, including Rosa chillante: mujeres y performance en México (Bright Pink: Women and Performance in Mexico). She is a member of the Sistema Nacional de Creadores (National System of Creators) with a project on art and archives. About Mónica’s memory work: Memory has been an important aspect of my work for the past 25 years, when as part of the Pinto mi Raya project with Victor Lerma, we began compiling an important contemporary art archive which includes, among other things, more than 300,000 newspapers articles published in Mexican newspapers since 1991. Also, since 2011 I have been working on a project called De Archivos y Redes (On Archives and networks) which consists on visiting different public and personal feminist and/or performance archives and based on this research I develop pieces that, like most of my work, cross the borders between art, activism and pedagogy. Since most of my projects are collaborative, I often work with artists and activists from different generations. Full documentation of this project can be found at http://www.pintomiraya.com/redes/
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