Cette année, le Cégeo de l'Outaouais bénéficie d’une subvention du Ministère du Patrimoine canadien dans le cadre du Programme des célébrations et commémorations des guerres mondiales. Il s’agit de monter une exposition intitulée : «Niganenakwemin; Nous défendrons; We will stand» Cette exposition inclut également des volets audio-visuels, de production de matériel didactique et un site Web éducatif.

L’exposition qui sera inaugurée en mai 2016, au campus Gabrielle-Roy du Cégep de l’Outaouais, se prépare conjointement avec la communauté et les aînés Kitigan Zibi, et inclut des éléments de la langue anishinaabemowin et de la culture. À titre d’exemple, les aînées Mme Judy et Céline Thusky ainsi que la coordonnatrice de l’éducation de Kitigan Zibi, Mme Anita Tenasco, ont accompagné les étudiants et professeurs des programmes de Design d’intérieur et d’Intégration multimédia dans le développement du concept de l’exposition. « Ce sont les valeurs et les caractéristiques culturelles anishinabeg qui ont guidé tout le travail de l’exposition, les documents didactiques et audio-visuels. (Ci-dessus, une représentation des animaux liés aux 7 grands-pères Anishinabeg tels que proposé par les étudiantes en techniques d’intégration multimédia. Enseignant: Jean Boudreau ).

COURS : 570-602-HU PRÉSENTATION DE PROJETS II Enseignante : Mariève Mayer, Cégep de l'outaouais

L’exposition devient ainsi un espace de dialogue interculturel » explique Diane LeMay.

(Ci-dessus, un des 9 concepts d’exposition proposés par les étudiantes en techniques de design d’intérieur. Enseignante : Mariève Mayer.)









Art autochtone — Art autochtone dans la collection d'art indigène La collection d’art indigène du Musée des beaux-arts du Canada réunit des œuvres d’artistes métis, inuits et des Premières nations, en particulier des créations contemporaines datant de 1980 jusqu’à aujourd’hui. Le Musée enrichit sa collection d’œuvres d’artistes autochtones depuis le début du XXe siècle.

Artiste Jeff Thomas - Exposition Que les enfants devenus ? — Where Are The Children?Healing The Legacy Of Residential Schools“Symbols of Power and Stability”For thousands of years, indigenous people had flourished on this continent, imparting to their children—from generation to generation—a great sense of respect for their environment, their communities, and their families. The arrival of Europeans slowly began to erode the integrity and strength of Indigenous cultures. Government and church institutions justified taking indigenous children away to residential schools by asserting that their families were not capable of taking proper care of their children.Indians were “savages” and needed to be “civilized” by forced assimilation. The reality is that these children did not enter these schools uneducated. The objects I have selected from the Glenbow’s extensive indigenous collection are symbols of the rich knowledge and cultures that existed in indigenous communities. They are symbols of what was lost when the children passed through the residential school doors.

Base de données - Design autochtone — Les ateliers Design et culture matérielle (UQAC) ont recensé de nombreux objets d'art créés par des designers des Premières Nations, Métis et Inuit.

Baumgarten - Monument for the Native Peoples of Ontario — «It starts in 1984, when the gallery invited the German artist Lothar Baumgarten to make a work for the space. His piece, Monument for the Native People of Ontario , was an elegiac, nostalgic homage to eight aboriginal nations of the province, festooning Walker Court with their names in large Roman text...»

Beat Nation - Art hip hop et culture autochtone — Beat Nation : art, hip-hop et culture autochtone représente une génération d’artistes qui juxtaposent la culture urbaine et l’identité autochtone en vue de produire des œuvres novatrices, inusitées, qui reflètent les réalités actuelles des peuples autochtones. Organisée et mise en circulation par la Vancouver Art Gallery à partir d’une initiative de la grunt gallery, à Vancouver, Beat Nation présente des travaux dans différentes disciplines : peinture, sculpture, installation, performances et vidéo.


Carl Beam — Carl Beam R.C.A. (May 24, 1943 – July 30, 2005), born Carl Edward Migwans, made Canadian art history as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art.


Collectif des commissaires autochtones (ACC/CCA) — The Aboriginal Curatorial Collective / Collectif des commissaires autochtones (ACC/CCA) is a national arts service organization that supports, promotes and advocates on behalf of Canadian and international Aboriginal curators, critics, artists and representatives of arts and cultural organizations. The ACC/CCA develops and disseminates curatorial practices, innovative research and critical discourses on Aboriginal arts and culture. By fostering collaboration and exchange the ACC/CCA builds an equitable space for the Aboriginal intellectual and artistic community.

Conseil des arts du Canada — Art autochtone contemporain


Exemples art anishnabeg

Frank Shabageget - Communities II — «Communities II is an ongoing art piece. Written on a large tarpaper surface (9′ x 16′) are the names of 688 Aboriginal, Inuit, and Metis reserves, communities and bands. The drawing is completed on tarpaper, because the current list is temporary, and will always need continuous updating.»


Hotel Musée des Premières Nations - Wendake — (Exemple de design inspiré de la nation Huron-Wendat, près de Québec)


Isuma TV — «Welcome to the new IsumaTV Home Page. Stay tuned as the pages unfold with a new design and new capacity. Over the next couple of weeks across our platform.»

Jeff Thomas - A Study of Indian-ness — «I am an urban-Iroquois, born in the city of Buffalo, New York in 1956. My parents and grandparents were born at the Six Nations reserve, near Brantford, Ontario and left the reserve to find work in the city. You won't find a definition for 'urban Iroquois' in any dictionary or anthropological publication--it is this absence that informs my work as a photo-based artist, researcher, independent curator, cultural analyst and public speaker. My study of Indian-ness seeks to create an image bank of my urban-Iroquois experience, as well as re-contextualize historical images of First Nations people for a contemporary audience. Ultimately, I want to dismantle long entrenched stereotypes and inappropriate caricatures of First Nations people.»

Keesic Douglas - Vanishing Trace — «Keesic Douglas is an Ojibway artist from the Mnjikaning First Nation in central Ontario, Canada. He specializes in the mediums of photography and video. His work has been exhibited both across Canada and internationally. Keesic focuses on sharing his unique perspective based on his Aboriginal heritage in his photo and video work. In 2009 his video War Pony screened at the Berlin International Film Festival in Germany. He recently exhibited a solo show at the Urban Shaman Gallery in Winnipeg Manitoba of recent new Landscape photographic works as well as photo and video installation exploring the history of the Hudson’s Bay Points blanket. In the spring of 2011, Keesic was in a two person show with a Mexican photographer that showed in Sudbury Ontario and San Cristobal in Chiapas Mexico. Keesic graduated with a BFA from OCAD in 2008 where he won the medal for photography and completed his MFA at UBC in Vancouver BC in 2010.»

Ken Maracle - «How long these words will last» — «This documentary profiles Ken Maracle - a Cayuga man from Six Nations of the Grand River. Ken is one of the few remaining craftsmen still practicing the traditional art of Wampum - which consists of beaded strings woven into a belt. First used to commemorate the Great Law of Peace, (the founding constitution of the Haudenosaunee-otherwise known as Six Nations), Wampum belts were later adopted to record agreements between nations or to document events. The symbolic language of the belts was understood by all the Nations, irregardless of the variations in spoken dialects. This film explores the meaning behind the first Wampum belt that was used to document the Haudensaunee treaty with the Dutch in 1613, and how this 'Wampum language' has been lost in the haze of the last five centuries. The power of the word, spoken or symbolized, resonates through the past to remind us of just how much we have forgotten.»

La Boîte rouge vif — Pour répondre à sa mission, La Boîte Rouge vif travaille à l’atteinte des objectifs suivants (objectifs scientifiques, artistiques et sociaux) : 1) Stimuler la création dans le domaine du design autochtone ; 2) Développer un contexte socio-économique favorable à la création d’emplois pour les créateurs des communautés autochtones du Québec, dans le but de pallier au décrochage scolaire, à l’exode des jeunes et à la pauvreté des communautés ; 3) Développer de nouvelles avenues de recherche en design et en culture matérielle autochtone ;

Lawrence Paul Yuxweluptun — Lawrence Paul Yuxweluptun, graduated from the Emily Carr School of Art and Design in 1983 with an honours degree in painting. Yuxweluptun's strategy is to document and promote change in contemporary Indigenous history in large-scale paintings (from 54.2 x 34.7cm to 233.7 x 200.7cm), using Coast Salish cosmology, Northwest Coast formal design elements, and the Western landscape tradition. His painted works explore political, environmental, and cultural issues.

Les ateliers Design et culture matérielle — Les ateliers Design et culture matérielle LES ATELIERS DESIGN ET CULTURE MATÉRIELLE : UNE OCCASION DE TRADUIRE SES SAVOIR-FAIRE TRADITIONNELS EN DE NOUVEAUX PRODUITS Les ateliers Design et culture matérielle s'adressent aux artisans des communautés autochtones associées au projet Design et culture matérielle : développement communautaire et cultures autochtones. La méthodologie éducative utilisée vise à favoriser la création à partir des pratiques d'artisans autochtones chevronnés. (Le site offre la possibilité d'effectuer des collimages, utile pour étudiants en TDI.)

Par-delà le vrai et le faux ? Les authenticités factices d’Edward S. Curtis et leur réception — «Entre 1896 et 1930, Edward Sheriff Curtis photographie quelque quatre-vingts peuples amérindiens et publie 2 228 photogravures dans sa grande encyclopédie en vingt volumes, The North American Indian (1907-1930) – œuvre gigantesque mais inclassable, associant des photogravures très ouvragées à des milliers de pages de texte ethnographique. D’abord connu pour ses portraits de la bourgeoisie locale de Seattle, Edward Curtis réalise sa vaste saga pictorialiste du monde amérindien dans le contexte des politiques assimilationnistes menées par le gouvernement fédéral2.»

Photo-based Artist & Independent Curator — «I am an urban-Iroquois. You won't find a definition for 'urban Iroquois' in any dictionary or anthropological publication - it is this absence that informs my work as a photo-based artist, researcher, independent curator, cultural analyst and public speaker. My study of Indian-ness seeks to create an image bank of my urban-Iroquois experience, as well as re-contextualize historical images of First Nations people for a contemporary audience.»

photos lieu


Quelques ressources pédagogiques sur les 7 grands-pères

Rebecca Belmore — «Title: Wana-na-wang-ong Date: 1993 Medium: Installation - lichen, moss, roots, paint, sand Location: Contemporary Art Gallery Vancouver, British Columbia "The central component of Wana-na-wang-ong is comprised of two curved suspended panels, each suggesting the horizontal configuration of a landscape painting. As a primary formal feature, the interwoven spruce roots also provide the supportive framework, or skeleton, for the lichen and peat moss. Suspended from the ceiling, and not touching the floor, the panels float in a space of ambiguity that questions the limitations of such binary oppositions as permanence/ impermanence; life/death; survival/resistance; positive/negative; inside/outside; art/craft This "magical state of suspension" celebrates Belmore's freedom from the strict confines of these notions, and metaphorically alludes to the dynamic energies of oppositional forces implied in the tensions and balances of life." Lee-Ann Martin (Martin, Lee-Ann. The Language of Place. British Columbia: Contemporary Art Gallery, 1993.)»

Robert Houle, Manito-Waban, 1989 — «There is a spiritual place in Manitoba known as the Narrows of Lake Manitoba where the water beating against the resonant limestone cliff and pounding along the pebbled shore creates the sound "ke-mishomis-na-ug" (literally, "our ancestors") believed to be the voice of Manitou. It was and still is a sacred place, a power place whose hierophantic messages compel Saulteaux who continue to live nearby to offer tobacco; and many travel to it seeking renewal, as a Muslim will travel to Mecca. »

Robert Houle - 7 Grandfathers — «The Algonquin, Mississauga, Nippissing, Ojibwe, Odawa, Potawatomi and Saulteaux Nations call the Great Lakes basin home. The Art Gallery of Ontario, in mounting Before and after the Horizon: Anishinaabe Artists of the Great Lakes has produced a exhibition of Anishinaabe art that celebrates the connection of these Nations to their traditional Territory .»

Shelley Niro - The Shirt — This video was made as the USA began their invasion of Iraq. Using the history of Native North Americans as a parallel, people who would be living their normal lives will suddenly find themselves in a state of chaos. The main character is played by well known artist Hulleah Tsinhnahjinnie. It was filmed in the suburbs of Irvine California, along the Grand River and around Niagara Falls. The soundtrack is by Elizabeth Hill, a resident of Six Nations Reserve.

Sonny Assu - —

TERRE, ESPRIT, POUVOIR : LES PREMIÈRES NATIONS AU MUSÉE DES BEAUX-ARTS DU CANADA — Nemiroff, Diana et Houle, Robert et Townsend-Gault, Charlotte et Durham, Jimmie et Heap of Birds, Hachivi Edgar et Lavadour, James et Yuxweluptun, Lawrence Paul. Terre, esprit, pouvoir : Les Premières Nations au Musée des beaux-arts du Canada. Ottawa, Ont.: Musée des beaux-arts du Canada / National Gallery of Canada, 1992.

Wapikoni Mobile — La mobilité fait partie intégrante de l’approche du Wapikoni : nous « roulons vers » les jeunes des communautés autochtones pour leur offrir des ateliers pratiques adaptés à leur réalité et à leur culture. UNE MÉTHODOLOGIE QUI DÉVELOPPE L’ESTIME DE SOI, LES COMPÉTENCES ET LA RÉSILIENCE Les jeunes participent à des ateliers pratiques sur le terrain selon une méthode pédagogique élaborée par la cinéaste Manon Barbeau en collaboration avec des professionnels du cinéma: « apprendre en faisant».