FUSE is seeking visual and/or written critical responses to the racism of the “Occupy movement” (we’re especially but not exclusively focusing on the ways that language of “occupation” obscures the fact that North America is built on stolen land). If you or your colleagues are writing about this and can get us a draft of a 1,000-2,000 word text in the next week for publication in our December issue (final copy due November 7), please get in touch ASAP and let me know what you’ve got on deck. Write to editor AT fusemagazine DOT org and put OCCUPY in the subject heading.
Contributors: Nahed Mansour and Bassam El Baroni (ACAF); Denise Ryner and Babak Radboy (Bidoun Library); Damon Kowarsky; Olive McKeon; Joseph Banh, Moataz Nasreldin (Darb 1718), Mia Jankowicz (CIC) and William Wells (Townhouse); Themba Lewis; Aliza Ma, Rasha Salti and Gabe Klinger; Anna Feigenbaum; Francisco-Fernando Granados; Leila Timmins.
To describe our state as postcolonial is not to say that colonialism is over, a thing of the past, but instead to insist on a certain historical continuity. It is a gesture against willful forgetting, a taking account of particular lineages of subjugation in order to underscore the importance of resistance, sovereignty and solidarity in the present. It acknowledges an extended age of empire…
Excerpted from Memorandum, an artist’s project by Greg Staats (2001) reprinted in “Performing Politics”: “It has been brought to our attention that the number of dogs on Indian Reserves has been increasing at a rate far beyond the capacity of this Department or the Indians to administer them.”
Curated by Christine Conley, Crossings covered a program of performance art and discussion, which included a workshop component in Ottawa. The program sought to bring artists from Belfast together with First Nations artists. The core artists were Bbeyond members Alastair MacLennan, Sandra Johnston and Sinéad Bhreathnach-Cashell, representing three generations of artists based in Belfast, and Aboriginal artists Jackson 2bears (Kanien’kehaka (Mohawk)), Maria Hupfield (Anishnaabe (Ojibway)) and Skeena Reece (Tsimshian/Gitksan and Cree).
500 Years of Resistance, a graphic novel written and illustrated by Gord Hill, celebrates a history of resistance against colonialism from the perspective of Indigenous warriors of the Americas. This past July marked the 20th anniversary of Kanien’kehaka (Mohawk) resistance to the proposed construction of a golf course and resort over their sacred lands and burial sites, known through mainstream media as The Oka Crisis. Thoughts of the summer of 1990 evoke mixed memories of tension, conflict and a coming together as activists on reserves and in urban centres demonstrated in support of the Kanien’kehaka of Kahnesatà:ke.