Aux confluents de l’Akiawenhrahk
To Yahndawa'
2019
Before launching the Yahndawa’ project, many considerations and questions were discussed among those involved. Time was needed to take stock of our practices and how we could work together to create a space for exchange and collaboration between Indigenous and non-Indigenous artists.
Rethinking the international exchange model
From the outset, we made an initial observation: while Quebec City's artist-run centres had, over the course of their history, developed numerous fruitful international exchange projects with several distant countries, this effort had not been made in the very territories where we live, where many cultures and realities of artistic creation exist, and which we often know very little about. This gave rise to the idea of an exchange between Indigenous and non-Indigenous artists in these lands, which would allow us to get to know and recognize each other better.
It was in the fall of 2019 that the first steps were taken between VU and Wendat artists to begin dreaming up a project of exchange and creation. Drawing on the experience of existing international exchange models, it became clear that this exchange needed to develop and transform itself in accordance with Indigenous realities and thinking. To this end, an artistic committee composed of artists from Quebec City (Annie Baillargeon, Jacynthe Carrier, Véronique Isabelle, and Anne-Marie Proulx) and Wendake (France Gros-Louis Morin, Teharihulen Michel Savard, and Manon Sioui) was formed to develop the project, ensuring that it would be collaborative from the outset. Teharihulen, who had joined the VU board of directors earlier that year, suggested that Manon and France be part of the committee to sketch out the project, and the VU team members invited Annie to join as well.
Working together
This project did not begin with a funding opportunity. Rather, it was relationships that laid the groundwork, before the search for grants began. The artistic committee met regularly in the early stages of the project to discuss the different realities of our communities and the creative conditions that arise from them. These meetings allowed everyone to put their ways of thinking and doing things into perspective, and it was by pooling these ideas that a model of collective exchange emerged that responded to the specific needs of each community.
In addition to developing links between artists, other links also needed to be created with arts organizations. For some 40 years, a large network of artist-run centres has been supporting the production and dissemination of artists from various disciplines in Quebec City. Since few Wendat artists were members of these centres, the project also aimed to connect them with these organizations, which could also learn about the Wendat artistic community and thus better support it.
Exchange model
The artistic committee's discussions revealed the importance of creating a model for exchange based on dialogue and sharing so that, throughout the project, artists can get to know each other, forge links, and develop collaborative projects.
Workshops – Before any collaboration began, it seemed essential that initial exchanges in the form of group workshops allow participants to get to know each other. Both in Wendake and Quebec City—as well as along the river that connects the two communities—the idea was for everyone to introduce the others to their ways of thinking and their expertise, in addition to familiarizing themselves with each other's creative worlds and cultural and artistic environments. This formula also provided an opportunity for organizations to participate in the workshops and learn about the diverse creative realities of the artists to better support them throughout the project.
Residencies – The artist residencies were therefore conceived as a continuation of the meetings and workshops, thereby promoting co-creation supported by the participating centers. The centers were called upon to offer their time, expertise, spaces, and equipment to facilitate the realization of various projects. The committee highlighted the importance of promoting immersion for exchange between artists, i.e., spaces and times set aside exclusively for dialogue and creation.
Dissemination – At the very end of the project, it seemed important that the works created during the residencies be presented in the participating artist-run centers in Quebec City, as well as in a venue in Wendake that could host the dissemination of certain works in various possible forms: exhibitions, meetings, events, etc.
Selection of artists and collaborators
In a spirit of mutual exchange, seven artists from Wendake and seven artists from Quebec City were invited to participate in this exchange project an d were supported in their co-creation by seven organizations from Quebec City.
The seven artists from Wendake were chosen by the artistic committee based on the diversity of their artistic practices and their desire to explore multidisciplinary creation with other artists, while promoting intergenerational sharing. The intention was also to include artists who now live far from the community, to strengthen their sense of belonging to Wendat identity.
The seven artists from Quebec City were selected by partner organizations from among their members. These seven organizations were approached based on the connection between their various mandates and the practices of Wendat artists, and therefore the potential for creating links. Some centers proceeded by invitation, while others preferred to issue a call for applications reserved for their members. In addition to investing financially in the project, these organizations shared their spaces, equipment, and expertise to support the development of artists at different stages of the creative process.
In keeping with the idea of portage, it was considered particularly important that travel take place between the two artistic and cultural communities, with some project activities planned in Quebec City and others in Wendake, including visits to places that nourish the artists' artistic worlds.
Embracing the unpredictable
It was on this basis that Yahndawa’ began, but always with the possibility of adjusting along the way: stopping for a moment to see how we could continue the journey together.
Photos : Charles-Frédérick Ouellet