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CTV News
28-05-2025
- Lifestyle
- CTV News
Mi'kmaq artist uses mythical inspiration for Halifax exhibit
For Diane Langevin, art is a way to bridge cultural gaps for the younger generation, which is why her exhibit 'Hunting the Jipijka'm' at Treaty Space Gallery is focused on a mythical Mi'kmaq sea serpent. 'Art and culture, they are very important. They go together and I have an opportunity to work in Indigenous exhibitions with art and understand the importance of, how art ties so closely to identity,' she said. 'I think that was something that just sparked in me, and it was a way for me to also express my own identity.' Langevin came up with the idea because of her grandson. 'I was raising my grandson Link at the time from about 16 months to almost four years,' she explained. 'And I realized that there was a gap in cultural toys, and especially in the toys that can teach through play. 'I think that when children see themselves represented in this way and their stories represented in this way, it becomes an easier way for to foster cultural pride. And it also lends to or maybe fosters a greater amount of respect.' Diane Langevin exhibit Diane Langevin's exhibit is on display at the Trinity Space Gallery. (Source: Brianne Foley/CTV News Atlantic) As the story goes, the mythical sea serpent can appear at any time. 'It's a shapeshifter, and it will randomly appear to bring you to the world underneath the water if it gets you,' said Langevin. 'Honestly, we're not really certain what goes on in the world underneath the water. But that's the whole point of this, I think it's got a lot to do with transformation.' The Jipijka'm exhibit allows people to touch, smell, see and hear the creatures created by Langevin and other artists. 'You'll see different designs on the sides and they all sort of look different. And that's because other artists and makers have worked on them as well in order to bring forward, their knowledge and their stories,' she said. 'People can add their own story. And I think that's also an important part, that people have a sense of shared story and it gives them some agency.' Sharing stories and traditions is how Indigenous culture survives, according to Langevin. 'Indigenous knowledge is cumulative. It happens across time, it happens through repetition. And it's important to be able to have that access,' she said. 'And sometimes when you're affected by colonialism in this way, that I am, for instance, when you're not in community, I was raised in Springfield, it becomes more difficult. 'And I think that within the urban center, it's especially difficult. And we need that knowledge to come through so that we can continue. And that was one of my main points behind this was to be able to offer that in, in a way that educates, other children, especially in urban centres.' Langevin reached out to the Millbrook First Nation, her band, and found others interested in her project and telling their stories. Her love of toys and representing her culture are at the root of why this was important to her. 'This was a way for me to do something that mattered, give back in that way. Story is a very important cultural vessel, for continuance of Indigenous people. I really wanted to make sure that I was adhering to those community needs.' Sea serpent "Hunting the Jipijka'm" is on display in Halifax. (Source: Brianne Foley/CTV News Atlantic) Treaty Space Gallery was happy to have this particular exhibit. 'Treaty Space is also a gathering space. We're also trying to make it more into an Indigenous student centre where we have a back area where people can come and have tea and hang out,' said Natalie Laurin, exhibit coordinator at the gallery. 'Diane's exhibition really combined the two. It was so lovely to see community join together in celebrating her, but also having young children running around and picking up the art that's meant to be played with and bringing that joyful spirit into the space.' For Laurin, this story is a new and fun way to bring back some history. 'I actually learned of the Jipijka'm story through Diane and her work on these pieces. It's such a fun way to take that story and really imagine where it can go and involve other people from other cultures,' Laurin said. At the centre of the exhibit there is a display easel that holds a creature. That wood is from Langevin's grandson's crib, which continues to help her find her own centre. 'It became a way to combine my art practice, my academic work and my familial experience, to support cultural transmission across generations,' she said. Diane Langevin Diane Langevin's new exhibition runs until June 6. (Source: Brianne Foley/CTV News Atlantic) For more Nova Scotia news, visit our dedicated provincial page
CBC
07-02-2025
- Entertainment
- CBC
Exhibit at Halifax gallery explores the meaning and evolution of Mi'kmaw regalia
A new exhibit exploring Mi'kmaw regalia highlights how dancers maintain cultural integrity while materials and technology evolve. The exhibit Amalkewinu'k (The Dancers) is on display at Treaty Space Gallery, the Indigenous-led gallery at the Nova Scotia College for Art and Design's Port Campus in Halifax, Feb. 4-15. It features contemporary photographs of dancers in ko'jua regalia alongside archival photos of traditional dancers. Ko'jua is a traditional Mi'kmaw dance. The exhibit was created by Aaron Prosper, who is Mi'kmaw from Eskasoni First Nation on Cape Breton Island, and Mackenzie Pardy from Wolfville, N.S. "With ko'jua dancers, a lot of them are very actively researching, studying and ensuring they maintain the cultural integrity of what it means to have a Mi'kmaw regalia," said Prosper. The archival photographs, provided by the Nova Scotia Museum and Parks Canada, are meant to juxtapose the modern photos of dancers in their regalia, highlighting the evolution of materials and technology used to create pieces. Pardy said people's pride in sharing their regalia was something that stood out to her. "You could really see the thought and care that people put into this, choosing which beadwork pieces they wanted to wear," she said. "I feel really grateful to have been able to capture that." Stories of relationships Descriptions for the photos in the gallery, Prosper said, underscore the collaborative effort behind each piece and the stories told by those relationships. Michael R. Denny from Eskasoni, one of the dancers featured in the exhibit, wears a ribbon shirt from his aunt Georgina Doucette from Eskasoni, leggings from Madonna Johnson from Eskasoni, moccasins from Nicole Travers from Elmastukwek First Nation in Newfoundland and cuffs and apron from Mary-Jo Isaac in Listuguj Mi'gmaq First Nation in Quebec. Denny said he feels honoured to carry pieces from people he has close relationships with as part of his regalia. "It shows you that they trust me in showcasing their art, but also I trust their abilities in making that art," he said. He said in ko'jua regalia, even with the introduction of modern fabrics and supplies, authentic Mi'kmaw culture endures. "It has survived despite everything that's happened, centralization, residential school, Sixties Scoop, day schools and even the pan-Indigenous movements from the 1980s with powwows being involved," Denny said. Beverly "Bubblo" Jeddore, also from Eskasoni and featured in the exhibit, shared how her regalia tells the story of her life and the teachings she carries. She said in 1998, Annie Cremo, a highly respected Mi'kmaw prayer leader often referred to as the "Queen of Prayers," asked Jeddore to learn the hymns she carried with her. "She takes her hand and makes a gesture of her throat area, as if she's grabbing something from her neck area, and then she's holding it into her hand and places it on my throat," said Jeddore. "That's how I was assigned [to learn the hymns], without even any words." Jeddore wears a peaked cap created by her mother Sarah Denny and a dress featuring Mi'kmaw hieroglyphs representing those hymn teachings she was entrusted to carry, made by Anishinaabe artist Nina Kent. "When people are dressed in their regalias, they look different; you're not the same person," said Jeddore.
