by Savannah Clarke, Alana Siloch and Kaya DeCosta
We would like to give thanks to having the opportunity to work on the traditional territory of the Haudenosaunee, and most recently, the territory of the Mississaugas of the New Credit First Nation. The territory was the subject of the Dish with One Spoon Wampum Belt Covenant, an agreement between the Iroquois Confederacy and the Ojibwe and allied nations to peaceably share and care for the resources around the Great Lakes. This territory is also covered by the Upper Canada Treaties. Today, the meeting place of Toronto (from the Haudenosaunee word Tkaronto) is still the home to many Indigenous people from across Turtle Island.
Project Future is a six-month mentorship program run through the Children’s Peace Theatre, that celebrates the voices of Black and Indigenous artists while offering mentorship and tools for a new future. Working with an incredible line up of leading artists from multidisciplinary backgrounds (i.e. music, theatre, visual arts etc.), Project Future offers land-based creative development and permaculture earthwork. With mentorship and teachings from their elders, the young artists are given tools to grow both as individual and socially conscious artists. As the program culminated this past September, we sat down and reflected on a few of the workshops and teachings we experienced.
Permaculture with The Stop
The Stop Community Food Centre contributed permaculture teachings throughout the duration of the program. Joce Tremblay shared teachings on seeds, food justice and re-indigenizing food growth in the city. Joce also led members through The Stop’s extensive greenhouse, sharing knowledge about how to care for plants as well as how to interact with them. The Stop also led Project Future in an onsite planting project. Joce and Melisse provided seeds of the three sisters, corn, beans and squash, for us to plant. Over the course of Project Future, we watched the sisters grow and thrive. It was very much a reflection of our own growth as a collective. We cultivated land around Children’s Peace Theatre, which was the base of the program. Space was made to plant many different species indigenous to Tkaronto. While we planted, we learned about caring for plants through a more holistic approach and how to treat colonial plants that may be invasive but also have purpose.
Savannah: “One of the most beautiful things for me was talking to the plants, asking permission and giving thanks. We built such an intense relationship with them. Also, I was pleasantly surprised at how much learning about the land and caring for the land informed my writing process. We are so similar! Learning about these plants, their history and life force really grounded me and reminded me how small we are in this world.
Alana: “The Stop was beautiful, full of information about plants and seeds, the greenhouse they have is amazing and very well taken care of. As soon as you walk into the greenhouse the air is so pure and full of life. We got our hands dirty in the fresh soil, tasted some of the plant’s leaves, and connect with the plants. The staff made an amazing meal for us and the ingredients all came from their garden”.
Kaya: “I loved going to The Stop and receiving teachings on tobacco. We learned about how ancient of a plant it is and how plentiful it’s seed pods are. We also got to interact with corn that came from seeds passed down through many generations of selective planting. Being able to interact with a product of such ancient technology was quite spectacular.
Talking Treaties with Ange Loft Talking & Treaties Rehearsal and Performance
Project future first met with artist Ange Loft for her facilitation on Talking Treaties; a combination of history, visual arts, and an audio collage. First, we listened to some audio clips of Indigenous elders from the Tkaronto community speak on the One Dish One Spoon Treaty. While listening to the clips we made associations with symbols and words to later use when we created stamps. These stamps were a representation of what stood out to us, and they were used as a contribution to a prop in the Talking Treaties production. Through Ange’s facilitation we learned how to reuse someone else’s creation and transform it into a new creation. By tying all our creations about the disparities and betrayal with the Treaties put together, Ange used it as a symbolic prop in the Treaties production.
Project future also had the honour of being a part of the production and joined Ange and the production crew during rehearsal sessions. We were taught the choreography and performed the piece at Fort York for the Indigenous Arts Festival.
Alana: “It was amazing opportunity to learn how to create through the concept of recycling art. The concept of using everyone’s thoughts on the Treaties to be represented as one big symbolic prop speak to the audience.”
Savannah: Coming into the program late I was not able to take part in the first workshop with Ange Loft but I had the opportunity to be an extra body during rehearsals. It was such a privilege learning about the Dish with One Spoon treaty through the means of theatre. I thought a lot about how stories of this treaty are often told, what aspects are left out and who are usually telling them.
Kaya: The Talking Treaties production was so immersive and collaborative. It really inspired me to think more about community based projects and the diverse ways of storytelling. Being able to work so closely with such a powerhouse in the Indigenous arts community was a privilege.
INTRODUCTION TO DRAMATURGY WITH JILL CARTER
Jill Carter is an actress, performer and professor at the University of Toronto. She led us in several different performance and story weaving based workshops. Jill also led us on a walk around the UofT campus where several buried rivers are. On this walk, she shared the buried history of how colonization affected that area, as well as how it continues to thrive. She posed this history in relation to how Tkaronto is built on a system of rivers, which continue to run under it. In her workshops, Jill asked us to reflect upon our relationship to our bodies and land. She shared techniques for harnessing different energies in our body, and kinetically connecting with other bodies. These activities challenged us to abandon insecurities around using our voices and bodies to express our ideas. Jill also shared her extensive knowledge on story weaving and invited us to engage with each other’s ideas to strengthen them. Jill really helped us gain confidence in our ideas for the culminating festival.
Kaya: The rivers that are still running underneath the monstrosity of industrial Tkaronto give me hope. They to me are metaphors for the spirits of the land protectors and land warriors that remain strong against the colonial regime.
Alana: Walking around Tkaronto and listening to the knowledge, and answers to what was here before. This land has deep history from Indigenous nations. It was an honour having Jill shed her wisdom and knowledge on what the colonizers have buried. The rivers continue to run, if you listen closely you may hear them.
Savannah: In terms of our story weaving workshop, I remember leaving feeling so rejuvenated and reflected a lot on what it means to listen to my body when telling stories and what weaving means when collaborating with other storytellers. What aspects of our own stories we have in common? What is different? How do we interpret each other’s stories? Also, I really wish I was there for that tour. I remember seeing a map of Tkaronto pre-colonization and being absolutely amazed at how many rivers had been built over.
Writing while Black/ Indigenous w/ Whitney French
Writer Whitney French facilitated two-part futurities, racialized writing workshop with Project Future. In our writing pieces, we reflected on connections with our ancestors, the land, and futuristic thoughts. We did different writing exercises, first Whitney would read out a word and we would have to write one word that pops into our head, after writing down a couple of words we chose 3 and made a sentence out of them. The second exercise we did was with the sentence “there are pyramids in my backyard”, it was interesting to see how everyone’s piece turned out. We also played a storytelling game where Whitney brought in a list of different fantasy plot settings and we rolled a die to create our own world where our stories would take place. We then all created our own stories based on this futuristic /fantasy world.
Alana: “I tend to stick to Westernized genres and plots (not on purpose), this workshop opened my mind to exploring new themes and ideas consisting of non-human shapeshifters”
Kaya: Whitney’s writing activities re-lit my fire in terms of writing. She reminded me how important it is to write, especially if it something you do to heal. Regardless of what you are writing, just start! Through writing, we can construct alternative narratives, futurist ones, that are often excluded from the canon.
Savannah: There is something so beautiful about envisioning a future separate from our current reality. In writing and Afro-futurism or Indigenous-futurism it can look like so many different things. These workshops affirm that our stories are relevant, important and essential. Even if we just write for fun and nobody but us sees our pieces, it’s still relevant.
Savannah’s Project Future Journal Entry July 13
I am the plant that adapts but needs to be very grounded to do so. Like a vine. It takes them a long time to get to where they need to be but they get there. They spend their whole life span getting as close to the light as they can (like in the tropics). The light for me is divinity and actualizing. The energy that drives me is to better understand myself. I must admit I’m not as hard bodied as my vine friends but like them I will “grow” and learn to adapt.
It grounds me
I swirl around the base
As i move towards the divine
We share so we can survive
I help others but my journey is my own
I need others but my journey is my own
Savannah Clarke is a young performing artist. She has recently graduated with her undergraduate and is an alumni of the Watah Theatre. She is now currently growing her art form. Her art has always been attached to her identity as a black queer woman and she strongly believes that storytelling is essential for the movement of black liberation. While she continues to unearth what her artistry can look like, she stays committed to connecting and understanding the integrity of its roots.
Kaya DaCosta is a mixed Black Indigenous multi-disciplinary artist whose work explores themes of identity, femininity and land connection. Her visual work draws inspiration from nature, hip hop and fantasy, providing eclectic styles from which to work with. Using bright colours, mixed media and obscure character design, Kaya’s work is a reflection of her experiences as a young woman of colour navigating through the world. Kaya is currently completing a Bachelor of Design degree at the Ontario College of Art and Design University.
Alana Siloch is an upcoming artist inspired by her Caribbean ancestors who constantly call to her. She sleeps, eats and breaths her Jamaican and Trinidadian roots. Alana is currently completing her undergraduate studies at Ryerson University in the Child and Youth Care Program. Alana see’s the potential the future generations have and hopes to be ally in fighting against social injustices for all people.