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Examples include Henry Tsang’s Chinook-inspired “Welcome to the Land of the Light”; the inclusion of three dialects for hayčxʷə (thank you) in Halq’emeylem and Hun’qumi’num in “Systems of Sustenance” by Collective Echoes (beside Science World); Edgar Heap of Birds’ Native Hosts series on the UBC campus, Christos Dikeakos’ naming of False Creek as Skwachays, and Sheila Hall’s prominent use of the Halq’emeylem word lheqto:lestexw, in her work “To Connect”.Given the importance of naming within Indigenous ceremonies as a way to honor individual and community achievements, and affirm our histories, what does it mean when Indigenous names are co-opted by the military and consumer culture?Invited presnters included: Cheryl L’Hirondelle Dylan Miner Tania Willard Gabrielle Hill All Our [Public] Relations This session, Public Relations or PR for short, considers the public face of Indigeneity.What are existing spaces of negotiation between Settler publics and Indigenous peoples?Does the public claim these works as another marker of “multicultural diversity”, or the “flavor of the street”, despite the artist’s intentions to intervene in other ways?Do such inclusions risk becoming a kind of linguistic ornamentation for the neoliberal politics of multiculturalism?For example, weapons are commonly named after US tribes (the operation to capture and kill Bin Laden was infamously called “Geronimo”), and are used to market other objects of consumer culture.

Nearby sexual connects you people from his hotel room when.Invited presenters included: Raven Chacon Joar Nango Mimi Gellman Public Art in/with/for Indigenous Communities Public art and social practice within Indigenous communities remains an underexplored area within the broader genre of contemporary art, yet forms of public art and public acts—storytelling, ceremony, song, and visual art—have played a central role in our communities since time immemorial.With this continuum in mind, what are possible definitions and methodologies of Indigenous social practice?How might we negotiate what David Garneau has identified as “irreconcilable spaces of Aboriginality? Can public art practices create a platform for Settler publics to claim “intergenerational responsibility” towards historical injustices?What are examples of public art works, performances, and interventions that have shifted understandings of the land, human / non-human relations, the subject / object divide?

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