#indigenousarts

‘You Can’t Take It With You… So Give It All Away’

“Masters Exhibition” currently now in featuring stunning collaboration with Indigenous Artists.

1-23 March 2019.

Also, a collection of all female artists. Australian women, standing strong. 💪 @sabbiagallery

www.sereneceramics.com

Donita Large is a Cree singer-songwriter whose powerful stories and beautiful melodies pack an emotional punch. With a passion for singing that started at an early age – having been immersed in Métis, country, and gospel music all her life – Donita started out singing at funerals and weddings in her community of Saddle Lake First Nation, AB. Understanding how music can be a powerful tool in healing, during the pandemic she took the plunge into releasing her own songs. A year and a half later, Donita has released three original songs, hitting number one on the Indigenous Music Countdown, and she shows no signs of slowing down.  

This week’s “I Am YEG Arts” story focuses on Donita Large.  

Tell us a little bit about your connection to Edmonton and what keeps you living and working here. 

I grew up in my community of Saddle Lake First Nation. I finished high school, and I came to the city for post-secondary, like many people do. And once I landed here, I started to get connected with the Indigenous community here. I think once you lay your roots someplace and you start getting involved in community it's harder to leave. I really love the music community in Edmonton. It's very dynamic and there's so many amazing artists, so it's pretty easy to stay. 

What drew you to music as a creative outlet, and what guides or informs the music that you make? 

That is a really big question. I have a very musical family back home in northeastern Alberta – in Saddle Lake, but also Moose Mountain where my mom's side of the family is. I grew up listening to my uncles play fiddle and guitar, and so for me, music was just a part of life. It wasn't like I chose it. I can't imagine having grown up without music.  

When I came to the city, I didn't have those connections right away, and so I started to reach out to different organizations and places. What really got me going was when I started jamming, playing ukulele and just getting together and having some fun, trying out some new things. And it got me writing music as well. I had only written one song at that point, and I don't know how other songwriters are, but I think there's a bit of imposter syndrome. Like, can I really write? Is this something that I can do? and you kind of limit yourself. So, I started to write more music and that inspired me to focus on creating more music.  

And then it became, well, what am I going to write about? What's the focus? What got me writing originals is that I really wanted to write songs that honored my ancestors, and honored the stories that I think people are just starting to hear, and some of the stories that are just starting to be told. Some [songs] have that Indigenous inspired sound and some are specific to things that are in my heart and in my mind around reconciliation and around the stories that I just feel like it's a good time to tell. 

In what ways does your Indigenous heritage influence your art? 

I think it influences everything. It's not something I feel like I can separate in any way. It's just who I am and that's my experience in this world. One of my songs, “Reconciliation Sky” honours residential school survivors; those who went to residential school and didn't come home, and those who went and had the experiences they had at residential school. I have many people in my family who went to residential school, including my father. And so, I felt it was an important story.  

The very first song that I wrote – it's not the first song I released – but the first song I wrote was called “Ancestors in my Bones”. It was just something I felt. I pulled over on the side of the road and wrote these lyrics, and it was something that I felt like I just needed to sing.  

And while jamming with a group of ladies, the song that came out was a song about women's empowerment. Having gone through unhealthy relationships in my past and thinking about that story, I wrote a song called “Going to Walk that Line” about creating healthy boundaries and feeling really good about what I'm going to accept in my life and what I'm not going to accept. All of those pieces are influenced by who I am as an Indigenous person. 

As a storyteller, what narratives or inspiration do you find yourself returning to in your songs? 

Being a mother, I contemplate what messages I want to put out in the world because I know that music and words have power. Knowing that my daughter is going to be singing along and hearing these songs, that impacts the words that I say. But also, as much as I want to tell the stories of our experiences, whether it be hurt or intergenerational trauma, I also want to tell stories of hope or healing.  

One of the songs that I wrote that I haven't released – it'll be a part of what the work that I’ll be doing this year – is called “Sweetgrass”, and it's a really beautiful healing song. It makes people feel good when they hear it, and if I can sing a song that allows people to feel really grounded, connected, and happy in their heart to hear it, that makes me feel good about the music I'm putting out in the world.  

But to balance it, I also wrote a song that has a lot of angst in it. It's a really heavy, hard rock song that hasn't come out yet. I'm kind of all over the map when it comes to genres because I really love all different kinds of sounds. I think that at the end of the day, a lot of it just has to do with my own experiences of wanting to share a story and also do some education through my lyrics.  

Tell us more about your new song “Reconciliation Sky” and your experience working with mentor/producer Chris Birkett. 

I had the privilege of getting to meet Chris [Birkett] when I was looking for a producer to do “Ancestors in my Bones”. When I first wrote the song, I'd been performing it with a drum or a rattle and I was trying to figure out how to get a sound for the recording with more of a “World Rock” feeling to it. I was able to connect with the music publisher Eric Alper and I said, look, this song would be the kind of song that someone like Buffy Sainte-Marie would appreciate. He told me Buffy doesn't produce her stuff anymore; she's at a time in her life where she gets other people to do that work. Then he asked, “would you like to meet her producer?” And I was like, that sounds like a great idea! I was so surprised that I asked a question, and here I was being introduced to Chris.  

We connected on Zoom because he lives in Toronto. He was so humble, and he's got a spiritual, cool vibe and it was so easy to talk to him. And then I sent him my song and he loved it. He did the producing for that first song.  

I was able to get a grant through the Edmonton Arts Council to go to Toronto and be mentored by Chris for a week. And during our time together, we wrote four songs together and “Reconciliation Sky” was one of those songs. 

It was interesting because when you work with somebody where energies connect, things flow really easily. I told Chris that I felt it was really important at this time that I tell this story. I want to find a way to be able to talk about and honour the 215 that started in Kamloops with the unmarked graves, and how that story is continuing across Canada. You know that story hasn't ended. And I think because it's not in the media, I'm not sure how many people are really aware of how many residential schools are still recovering family members. I thought that was an important story to tell.  

Thinking about how to tell that story, Chris and I were talking and he said, “I have this really beautiful lullaby that I used to sing my son that I wrote for him. And I have this melody. Do you want to hear it?” And I said sure. He played it for me, and I was like, that's the sound. The lullaby piece is so fitting because in my second verse I acknowledge the mothers didn't have a chance to sing those lullabies because their children were at residential school. 

What advice would you like to share with emerging artists? 

I think part of it is that you can’t wait for people to make it happen for you. Regardless of what medium you're in, it's important to make connections and to ask those questions and get out there. And know that there's going to be times that you're not going to know what you're doing. There were times when I was trying to figure out how to release music. I was like, this is so beyond me and I had to reach out to people in the industry. I have a cousin who had released music in Saskatchewan and he was doing really well so I reached out to him and I'm like, hey, how do I do this? He gave me tips, and then I started reaching out to a mentor and he would give me tips. The more that I asked questions, the more people were helping. Sometimes people won't help, for whatever reason, and that's OK. But there's lots of people who do want to help, and I think the hard part is to stay on top of it; you’ve got to stay engaged. There's a lot of work involved. It's not something that just magically happens. 

Tell us about what you're currently working on and what you hope to explore next. 

Well, I have some shows booked, I'm doing shows with my guitar player Anthony King. Anthony King is the lead guitar player for Buffy Sainte-Marie, and he happened to move to Edmonton. I'm very grateful he's here. And then also I have a band – Donita Large and the Small Band.  I've done some festivals and different shows and I'm hoping to hit more stages.  

My daughter is also doing a show with us in March. She'll be doing some pow wow dancing/ fancy dancing for the SkirtsAfire Festival, as a part of our show Nikâwiy, meaning ‘my mother’ in Cree. I'm with the Indigenous women's group called Nîpisîy (Nîpisîy meaning ‘willow’ in Cree) along with Sherryl Sewepegaham, Debbie Houle and Cindy Paul.  

And I've decided that I want to finish an album. At this point I've released three singles, and I’ve decided that this is the year that I want to focus on getting an album together and getting that out. I'll be working with Chris Birkett again, and hopefully either going to Toronto or having him come here.  

What excites you most about the Edmonton art scene right now? 

When I think about what exists in Edmonton there's so much dynamic art that is happening in so many different areas. For example, prior to Christmas the Indigenous Artist Market had done shows and I got to sing at three different weekends. Just to walk through and see like 30 Indigenous artist vendors – that didn’t exist before. It used to be harder to find beadwork or mukluks that were made here. To have so much available, to me, that's one way people have come together.  

When it comes to music, you can go find live music – amazing live music – any night of the week. It's really a matter of how much time you have and whether you can make that work. But there's just so many amazing musicians and so many different genres that are represented. And it feels like it's a very welcoming community. I think the opportunities that are presented now, especially for young people if they choose to get into art, there's so much more support and there's so much more opportunity than there ever was before. 

Want more YEG Arts Stories? We’ll be sharing them here and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about Donita Large.  

About Donita Large 

In an interview with Two Spirit Advocate and local writer Chevi Rabbit, artist and veteran Collette Cullen shares her story with Edmonton’s arts community, on Indigenous Veteran’s Day (November 8). This article is part of a new blog series at the Edmonton Arts Council, inviting local Indigenous writers to reflect on Indigenous art and artists in Edmonton through guest articles on the YEG Arts blog.  

Painting by Collette Cullen, photo supplied by the artist.

Collette Cullen, whose traditional Indigenous name is Wolfwoman, is a powerful woman who served in the Canadian Military and talks about the vessel of art as a social change agent and the power in safe spaces. 

The mixed Cree, Scottish and Irish artist, who answers to all the pronouns, is a retired Canadian Military Officer and role model for the Two Spirit Community.    

At 55 years old, she has, in her own words, "lived a colorful life" and worn many uniforms over the years, including, at one time, a Correctional Service Canada Officer. And as her recent educational endeavors highlight, you're never too old to return to school. Following a second hip replacement, Cullen decided to explore new ways to express and educate herself in Edmonton’s vibrant arts community.  

Lifelong learning 

"I took a MOOC, a free online course at the University of Alberta; it was on Native Studies. I wanted to learn more about what all the hoopla was about," said Cullen (for those unaware, a MOOC is a free “massive open online course” at the University of Alberta). 

Cullen completed the popular free online course by the Native Studies Faculty at the University of Alberta. The 12-lesson course explores key issues facing Indigenous peoples today from a historical and critical perspective, highlighting national and local Indigenous-settler problems. 

This led Cullen down a new educational journey as an Anthropology and Natives Studies student at the University of Alberta. For Cullen, this is an opportunity to “take the narrative back." 

As she explains, "All of our histories, we have white settlers, telling us we don't exist. We’re still here, regalia are living things, bundles, and all of those things we are trying to repatriate back into our Culture." 

As a student at the University of Alberta, she sits as an Elder Advisor. 

Military trailblazer 

As for her Canadian Army experience, which started at 17 years old, Cullen has trailblazed as an Indigenous LGBTQS2 Canadian and adds to a rich history of Indigenous Canadians who served in the Canadian Military; they are recognized and honored on November 8, National Indigenous Veteran’s Day.   

In total Cullen dedicated 12 years of her life to serving, protecting, and defending Canadian and Indigenous Treaty interests. 

Cullen says, "the Canadian Army is a volunteer army. No one is forced to enroll in Canada. I signed on the dotted line, not to kill people, but to protect Canada, Turtle Island, and it was about going to other places in the world that need help." Cullen served two tours in Bosnia. 

Painting and stone carving by Collette Cullen, photo supplied by the artist.

“My best weapon is the paintbrush” 

Although she is a trained Canadian Military Veteran, Cullen says, "I can hunt, sure, I trap… but my best weapon is the paintbrush." 

In 2019, she took up painting and found her path in the art world with prominent role models like University of Alberta artist Jane Ash Poitras, a celebrated, outspoken, and fearless artist. Poitras also promotes the healing aspects of art. 

"I took up painting in 2019 after a hip replacement, while I was trapped at home." 

She says, "I took a traditional approach to paint, and listened to what the canvas or paper would tell me." 

For Cullen, traditional painting is very spiritual and part of being Indigenous. She believes we are naturally gifted artisans as Indigenous peoples, but this art extends to all aspects of our way of life as Cree people. 

She says, "I also took up carving a year later; the stone was gifted to me by an Elder... Traditionally speaking, I always feel like my ancestor is walking with me when I create art." 

Art is not only healing for those who create, but art made with good intentions can be healing and comforting to those who receive the gift of art. As was the case with one of her bear carvings. A local Indigenous Elder made sure she had Cullen’s bear carving with her while she underwent major surgery.  

Part of Cullens' story includes her role in being a good ancestor. She says, "My mother was a residential school survivor and didn't know how to love how I love my kids; I think it's important to honour my ancestors, honour myself, to be a good ancestor because we're all going to be ancestors one day." 

She aims to reflect on her life choices, mistakes, ideas, creations, rises, and falls. And say, "I did okay." 

"I did my part to be a good ancestor, and if I didn't, I tried to," says Cullen. "I make mistakes. I fall on my face. But that's all part of the journey. The Red Road is a hard road to walk and a tough one to be on." 

Stone carving by Collette Cullen, photo supplied by the artist.

Finding your Safe Space 

Cullen gives space to others in active addiction and empathy toward those who struggle with trauma. She says, "If you’re born Aboriginal, you’re born political, or as Jane Poitras likes to say, if you’re Born Indian, you're born political, and we have a responsibility." 

Cullen acknowledges the Indigenous experience over the last 500 years includes racism and apartheid woven directly into our society. But, she says, "It doesn't change unless we have those discourses without anger.” 

For Cullen, those discourses happen through art. But art in safe spaces; conversation in safe spaces. 

"It doesn't mean protests shouldn't happen, because they should. There are the water defenders, land defenders, two-spirit defenders, MMIW defenders, and the art defenders." 

She adds, "Less anger, more discourse is what's needed… and art. Art changes things." 

Cullen believes that artwork creates a conversation. She explains that as soon as you put a piece out to the public "It then becomes subjective and creates those conversations and different viewpoints." 

Cullen refers to the mastery level of artistry as a tool to create societal changes and invite tough conversations. For some, it's installation art and mural artistry in public spaces; for others, it’s owning art from Indigenous artisans. 

For Cullen, as an Indigenous artist, societal change starts at home; its starts with a conversation with like-minded individuals who want to create the good they wish to see in the world. It starts in a safe space. It starts with a discussion about a piece of artwork. 

Collette Cullen alongside her painting "Silenced No More". Photo supplied by the artist.

“Silenced no more” 

For this interview, Cullen highlighted her artwork, Silenced No More, which she keeps on a mantle in her safe space. 

The painting includes the thirteen poles of the teepee. Her guests ask her why the teepee poles are orange, "I tell them it's directly related to Orange Shirt Day." 

And further describing her painting Cullen adds that, "the white settler hand holds the kids, the globe, they had no voice, but they have one now. So, there is a reason why we started finding them. We all knew they were there. And it took this long for society to get there.” 

She explains her ability to create better discourse at home through the art she creates. As a result, she can convey the impacts Canada's racist and aggressive assimilative policies have had on her family. 

A story guests can pull from her painting that resonates with many would be how she describes the eagle feather in her image. She says, "The eagle feather tells a life story. It starts at the bottom, it’s all-fluffy, as a baby, then adolescent, those feathers up there, there are no colors in them, all the sides are toughed.”  

"Because life is messy." 

Cullen's story is empowering. It offers us advice on reinvention, intersectionality on lived experiences, and settler-Indigenous experiences with gender identity. Her story shows the youth and other like-minded people aiming to make the world a better place; the idea of creating safe spaces, advocating for those safe spaces, and protecting those who speak up for those safe spaces. 

Given the state of the world, war, environment, a divided country, and when it all seems so dark and hopeless, art may inspire us.