wnoondwaamin | we hear them calls for the

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A ut umn Ch A C on Jeneen Fre i nJ oo tli m eli ss A Gener A l suz A nne m o rris sette cura ted b y Li sa Myer s 22 oC t t o 10 De C 2016 openin G re C epti o n 21 O ct 5 p M t O 8 p M per Form A n C e Jeneen Frei nJOO tL i 6:30 p M trini ty squ A re Vi D eo 401 r ich MO nd We st #121

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wnoondwaamin | we hear them calls for the

occupation of sound waves, exploring the capacity of these energies to access knowledge and memory.

through performance, Jeneen Frei njootli turns an ear to materials, such as caribou antlers, to sound the transmission of embedded and layered ancestral knowledge. utilizing low wattage radio transmission, autumn chacon’s in-gallery installation transmits and receives audio broadcasts from borders, dividing lines and barriers, overcoming physical and perceived obstructions between otherwise regulated spaces.

From medicine baths to running rivers, Melissa General accesses sounds shared across time and through memory, constructing water compositions

that encourage deep listening. Focusing on the subtle, often unnoticed, sounds of landscapes, suzanne

Morrissette blends microcosmic sound and images to reveal how human activity and land intertwine.

together these artworks create a chorus and a conversation about the resonances that sound carries beyond the merely audible.

curatOr’s biOGraphy

Lisa Myers is an independent curator and artist with a keen interest in interdisciplinary collaboration. she grew up in southern Ontario and is of anishinaabe ancestry from shawanaga and beausoleil First nations. in 2011, she earned an MFa in criticism and curatorial practice from Ocad university. her current research focuses on both media art and concepts of value related to the life of materials and techniques passed on through generations. she has curated exhibitions at the MacLaren art centre in barrie, the robert Mclaughlin Gallery in Oshawa and the york Quay centre at harbourfront in toronto. her writing has been published in senses and society, c Magazine and Fuse Magazine. Myers works in port severn and toronto, Ontario.

prOJect MentOr’s biOGraphy

cheryl L’hirondelle (cree/Metis/German) is a community engaged multi– and inter–

disciplinary artist, and singer/songwriter originally from the land now known as canada.

her creative practice is an investigation of the junction of a cree worldview (nêhiyawin) in contemporary time space. since the early ’80s, L’hirondelle has created, performed and presented work in a variety of artistic disciplines, including music, performance art, theatre, spoken word and storytelling, through redundant and new media. in the early

’90s, she began a parallel career as an arts consultant/advisor, programmer, cultural strategist/activist and director/producer. L’hirondelle’s various activities have also found her working in the canadian independent music industry, national artist-run centres, educational institutions, the canadian prison system, First nations bands, tribal councils and governmental funding agencies at the municipal, provincial and federal levels.

Autumn Chacon is a dine/

chicana multimedia and performance artist from the southwestern united

states. using new media, chacon considers herself a traditional storyteller — not because she tells traditional stories but because she strives to find traditional philosophy in all contemporary stories and experiences. Often using electronic sound and unconventional use of radio frequencies, chacon creates environments where an interactive audience is free to control how much of her art they would like to receive. chacon is also a farmer/agriculturist who uses food as a living medium.

melissa General is Mohawk from six nations of the Grand river territory. she is a graduate of the Ontario college of art and design

and completed an MFa degree at york university. Working in photography, installation and video, the focus of her practice has been on concepts involving memory, history, land and her indigenous identity. her work has been exhibited at the robert McLaughlin Gallery, harbourfront centre, art Gallery of peterborough, Gallery 101, Gallery 44 centre for contemporary photography and has been included in the 2016 contemporary native art biennial

in Montréal.

Jeneen Frei njootli is a Vuntut Gwitchin artist and a core member of the reMatriate collective and sits on the board of directors for grunt gallery in Vancouver. Frei njootli has been based in these unceded territories of the Musqueam, the squamish, tsleil- Waututh and stó:lo peoples for nearly a decade while pursuing

a bFa degree from emily carr university (2012) and an MFa degree from the university of british columbia (2017). Frei njootli’s practice concerns itself with indigeneity- in-politics, community engagement and productive disruptions. she has

worked as a performance artist, workshop facilitator, crime prevention youth coordinator, and has exhibited in the last year at the Ottawa art Gallery (Ottawa), Gallery 44 centre for contemporary photography (toronto), gallery 1313 (toronto), ace art (Winnipeg), and the Morris and helen belkin art Gallery (Vancouver).

suzanne morrissette is a cree-Metis artist, curator and scholar from Winnipeg, Manitoba. she received her bFa in 2009 from emily carr university of art + design and later completed her MFa at Ocad university in 2011. she is currently a phd candidate in the department of social and political thought at york university. Morrissette has been invited to present her research at

conferences organized by institutions such as the smithsonian Museum of the american indian in new york (2011), the aboriginal curatorial collective and Ocad university (2011), and the university of Lyon in France (2013). as an artist Morrissette has been included in national and international exhibitions including noodagun beacons for naisa (2015), Owning with the Gaze at Gallery 101 (2015), and north of here at harbourfront centre (2014).

soun d is the energy c

reated f rom vibrations.

although man y frequencies r

esonate beyond our

human aural register, they still flow through an d over

our bodies and exist silen tly around us.

Mingling and 1

travelling, the route of sound waves we hear occupy

spaces by drawing in listeners as active participan ts

into the r elational nature of voice, soun

d and song.

2 From the lyrics of one a nishinaabe song i learned the

word “noon dwaa .” the translation of this word inf ers

not just hearing as the awar eness of sound, but also

listening as understan ding meaning, which makes me

think deeply about the reception an d purpose

of songs.

3 the idea of listening brings t o mind the importan

t

and iconic artwork by artist rebecca

belmor e, ayum-

ee-aawach Oomama: speaking t o their Mother

(1991, 1992, 1996, 2008, 2014), which was made in

response t o the Kanien’kéha:ka (Mohawk) resistance

to the construction of a golf course on to their lan

d at Kanehsatà:ke, Quebec in the summer of 1990.

4 this artwork called f or people to addr

ess the land by

speaking into a han dheld microphone to have their

voices amplified through a large megaphone speaker.

belmor e travelled across the country inviting people t

o

speak through it. Most poignant of these public actions

appears in a documentary by Métis filmmaker Marjorie

beaucage, speaking

to their Mother:

ayumee- aawach

Oomama-Mowan (1992). the video documen

ts b elmore

with the megaphone for thr ee days standing at

op a

hill overlooking the clear-cut area of the Wiggins bay

blockade in saskatchewan.

people gather 5

ed to speak

and listen. elders an

d young people spoke nêhiyawêwin

(c ree).

some played fiddle music t o the land an

d to the

clear-cut for est through the megaphone. a

fter her first

time speaking into the megaphone, belmor

e described

a sense of humility as her voice reverberated across the

land, yet she also f elt strong because, as she explained,

“our people have lived here f or so long, they’re in

the ground.” b 6

elmore’s work off ers a framework

for thinking about an d discussing the work in this

exhibition as we think of the voice as a transmission

being received by the lan

7 d.

the r eception of sound

does not just r eside or end within the human ear.

wn oondwaamin | we hear them calls for the

occupation of sound waves in exploring the capacity of these energies to access an d be in conversation with

human know ledge and memory.

each of the artists in 8

this exhibition — autumn chacon, Jeneen Fr

ei n jootli,

Melissa General and suzanne Morissette —

bring their

voices to the transmission an d reception of soun

d in

performance, video an d radio installations, revealing

the nuanced meanings that sound carries.

using low wattage radio transmission, autumn

chacon’s in-gallery installation between our Mother’s

Voice and Our Father’s ear

(2016) transmits the

sounds from the gallery an d an audio collage of field

recordings collected from divides —

naturally occurring

land barriers an d borders imposed as governed spaces.

the soun ds that come from these politicized spaces

gesture t oward the tensions implicit in barriers that are

built between nation states. in particular, i am thinking

about the borders administered across north

america.

chacon’s installation inclu des two radio

transmitters and a r eceiver. u

sing a feather as a

microphone, sound from the gallery is transmitted

into the airwaves beyon d the gallery walls. the secon

d

transmitter is installed elsewhere in the building.

both signals ar e received in the gallery an

d available

to anyone within range who can tune in.

although radio waves move through both physical and regulated

obstructions, c hacon conten

ds with saturated radio

frequencies that require fine-tuning to successfully

transmit and receive signals in toron

to’s urban cen tre.

syn onymous with densely populated cityscapes, the

radio spectrum can also be overloaded with radio broadcasts, Wi-Fi signals, cellular networks and more.

the socio-political implications of regulating an d

selling radio waves, an invisible electromagnetic energy

used everyday, can be likened to the division of lan d as

natural resource.

9 chacon’s radio artwork occupies an d mobilizes

radio waves as in digenous space.

these artistic strategies emerge from her experience with diy

electronics, community television and radio activism.

as an installation, the artwork takes up the hardware and infrastructure of an unregulated micro-radio or pirate-radio station outfitted with makeshift furniture

using items on han d near the gallery, which is located

in the city’s down town core.

this inclu des transforming

stacked milk crates into a st ool and turning reclaimed

wood pieces into a table.

pirate radio practices in

canada inclu de First n

ations’ assertions to the right

to occupy the electromagnetic airwaves. For example, community members started n

eskonlith secwepmec

radio at 91.1 FM on the neskonlith

reserve in british

columbia as an expression of their “right t o make use

of the electromagnetic spectrum to carry on traditions,

language and culture.”

10 chacon’s work in n on-commercial radio advocacy

is a practice of bringing communities together,

which has included working with the prometheus

project based in philadelphia,

pennsylvania. With

this work, c hacon helped non-profit groups apply

for free, low-wattage radio space.

an importan t part

of the work at prometheus project is its poten

tial f or

community organizing. in albuquerque, new Mexico,

where she currently lives, chacon explains that the

“[radio] audience will be very close t o where conten

t

is generated and more able t o organize within a close

range around close-range issues. Listeners can also be exposed to news inf o that is relevant in the immediate

area. a lso, almost anyone can be a d

11 J.”

such

broadcasts circumvent an d subvert the authoritative

voices of mainstream media.

d 12

uring a conversation

with c hacon about her work, she described her

personal experience of how radio is a tool that can

bring communities together an d create opportunities

for people t o listen to each other.

13 indigen ous people in c

anada and across north

america have largely been unheard by mainstream society and authorities of the state in their vocif

erous

appeals to the police — for decades —

about violence

against in digenous women, the need t

o address the

ongoing interpersonal an d structural repercussions of

residential schooling, an d racialized violence against

indigen ous people. the murder of

colten boushie,

heard as gunshots across the prairies, is one recent example. Whether based in cities or rural communities,

the lives of in digenous people t

oday exist under the

spectre of colonization. Only when individual voices

are amplified to the level of collective tragedies an d

atrocities are they heard by the state and the media.

transmission without reception leaves us with soun d

waves flowing over and through a material world with

no lan ding place. the unreceived in

ten tion of words or

sound f ails to communicate, t

o create change or build

relationships. Geographer a nja Kannigieser conten

ds

with the sonic power of the human voice. she explains

that, “listeners actively contribute t o the spaces that

utterances compel.”

h 14

er analysis considers the power

of voice and soun d to create spaces of community,

debate, protest and/

or support, and more. Gaining or

finding voice creates a presence, be it political an d/or

social. in any situation, certain people are heard an d

others are silenced.

earlier in this essay i posed the idea of en

tities,

besides humans, as receiving sound. Jeneen Frei

njootli’s writing, in conjunction with her au dio

performance practice, poses similar questions.

however, Frei njootli’s analysis shifts from the human

voice being the sounder t o belongings, objects and

places doing the sounding, questioning “who/what is

the sounder an d who/what is the receiver? d

oes there

need to be one?”

the soun 15

ding of a caribou antler,

for instance, may reveal the connection, kn owledge

and sustenance that caribou have provided t o her home

community of Old c row, y ukon.

Frei n jootli’s performance

herd (2016) turns

an ear to an installation of caribou an tlers, power

tools, physical labour, language, song an d sounds.

the perf ormance takes place on a large backdrop

of photo paper moun ted on plywood.

an amplifier,

angle grinder, media player, eff ects pedal and cables

become the tools an d props of the performance.

she

addresses the antler with her voice, speaking words in Gwich’in and english.

she applies an angle grin der

to the an tler’s surf

ace where contact microphones

pick up sounds an d vibrations. Flowing through

effects pedals, these altered soun ds resonate from

an amplifier speaker travelling simultaneously into a

listener’s ears, the walls, the ceiling and the floor of

the gallery. White dust and an tler velvet float in the air

almost as a visualization of the sound waves, yet they are vulnerable, as all matter is, to gravity.

the powder

settles on the black surface of the perf ormance floor.

her use of a sub-woof er speaker enhances audio wave

effects an d bodily responses, as low frequencies move

and vibrate through our bodies.

the immersive quality

of her performances deman d preparation and caution,

calling for earplugs an d dust masks to be han

ded out to

the audience.

the an tlers function as transmitters. Like an

antenna emitting soun ds, the antlers produce

reverberations of caribou moving through the y ukon,

across colonial borders and t o their calving grounds

in n ortheastern a

laska. a ntlers def end an

d guard the

animal, and a dissonance resoun ds from the angle

grinder t ouching its surface.

not merely a material,

the antler represen ts a chain of relations.

the caribou

is a relative and provider f or the Gwich’in people. Frei

njootli’s work with materials such as an tlers shows

her know ledge of how to live an

d thrive in a place,

something she calls bush theory.

16 the remnan ts an

d traces of her performances

relate to her skills an d capabilities on the land, as

well as in urban centres like Vancouver, where she

currently resides. For example, her phot ographic work

i brought this here f or you from home: performance

for sarah (2015) depicts a pile of feathers on a

grassy area.

plucked from a duck, this trace of 17

feathers in dexes subsistence, know

ledge and possibly

foretells someone’s supper.

this artwork was made

for an ongoing collective project called bush Gallery

where the bush is a considered part of the audience.

during her perf ormances, she can be foun

d wearing

a respirator, using power t ools, clicking on effects

pedals and adjusting the volume of an amplifier, demonstrating her innovative approach t

o audio

manipulation and soun d performance, which also act as

indicat ors of survival.

similar t o Frei n

jootli’s work, Melissa General’s

performance f or video involves labour and en

durance

to access soun ds from materials. Frei n

jootli looks to

antlers an d General looks to bodies of water, where the

materials and thus the soun ds produced are connected

to their home communities. From medicine baths t o

running rivers, General’s water recordings are part

of a deep study of her connection t o place. d

uring conversations with General she explained that the

experiences and memories from her home community

at six nations of the Gran d r

iver, Ontario, has the ever-

present soun d of the Grand

river in the backgroun d.

For this exhibition, the soundtrack f or her new

installation Kehyá:ra’s (2016) departs from un derwater

recordings of the river in her previous work and shifts

to the un derwater sound of medicine baths.

these baths involve the infusion of specific plant matter in bath water, emphasizing how land an d water

merge with bodily absorption. the hydro-recordings of the bath have a sonic quality that is evocative of

science fiction space travel. the static soun d of her

body plunging into the water f ades to stillness after

which you hear intermitten t washes of sustained

swishing. Water tempers sound waves, roun ding off

sharp high-end frequencies.

dulled, slowed, resisted

movement an d changes in gravity encompass an

underwater environmen t. t

esting the limits of audit ory

perceptibility, subtle sounds emerge from the calm that

calls for deep listening an d time spent with the work.

18 this aquatic composition creates a sensation of submersion that accompanies the video projection. the

video opens with General entering the frame with her

back to the camera, f acing the flowing Grand

river,

and accen tuating the horizon are the horizon

tal ban ds

of overcast sky, green treetops an d the greyish rocky

shoreline, bringing a visual symmetry and balance t o

the scene. she purposefully braids her hair an d puts on

a pair of moccasins before leaning down an d picking

up a large glass jar and walking in to the water. With

care, she manoeuvres over the rocky shore an d river

bottom. Once in the middle of the river she fills the jar with water and makes her way back t

o shore. picking

up another jar, she repeats these actions un til multiple

jars are filled and capped. General en ds this collecting

by precariously balancing all the jars in her arms.

Finding her f ooting, she walks out of the camera frame.

With every step on the rocky bottom of the river, where the water resists her movements, her walk increasingly

becomes an endurance perf ormance. c

ompelled and

dedicated to this process, soun d is the remaining

testimony for this work.

the mason jars are from General’s mother.

now con tained an

d sealed, the water’s appearance

continues t o change. i am in

terested in how General’s

performance an d the resulting objects become

documents of her connection t o place and how

know ledge is passed on through her mother and the

river water. h ow does this work signify more than

reinforcing indigen

ous presence in terms of land use

and lan d claims?

i look t o language to provide some answers t

o these

questions. the titles of General’s artworks are often Kanyen’kéha (Mohawk) words with n

o translation.

hau denosaunee curat or and scholar

deborah doxtat

or

describes that the Kanyen’kéha language infers a

connection between land an d people. For instance, she

notes that the Kanyen’kéha word f or “clan” —

an other

way to iden tify oneself in relation t

o community — is

“’o’tara’, which can translate t o both clan and clay

or land.”

19 the urgency of General’s gathering actions in her performance suggest a sense of needing t o retain

and access personal an d social histories based on

hau denosaunee cosmology, such as clan matriarchs

and creation st ories, which are all related to lan

d

and water.

in this way, General creates multiple possibilities of transmission and reception in using

the Kanyen’kéha language and the soun d of water.

doxtat or explains the ever-present dilemma f

or a

Mohawk woman maintaining a sense of cultural connection in a colonial context through what i call

a h auden osaunee matriarchal and f

eminist lens:

“iroquoian ( rotin

onhsyonni) Women grapple with the

uneasy question of how to think about a world where

another culture’s min d has super-imposed its own

intellectual constructs on the lan dscape.”

implicit in 20

this oppression is patriarchal hegemony, another source of tension between matriarchal societies in the context

of colonialism.

21 in her exhibition an d essay “n

ations in u rban

Landscapes,z”

tsimshian- haida art hist

orian, curator

and educat or Marcia c

rosby expands the discussion from the demarcated spaces of reserves into urban

spaces. c rosby’s approach provides a means of

looking at the urban as in digenous space.

she argues, “aboriginal nationhood … extends beyon d

the geo-political and econ omic boundaries drawn by

contemporary aboriginal lan d dispute politics and

its cultural corollaries of authenticity, origins an d

tradition.”

c 22

rosby highlights the complexities of lived

urban experiences and hist ories while interrupting

perceptions of in digenous cultural iden

tities.

suzanne Morrissette uses soun d and imagery from

urban wilderness scenes, yet disguises them by zooming

in or framing the image to exclu de the urban context.

her in teractive installation f or this exhibition emerged

from a video work where Morrissette harvested the

sound from the bott om of Lake superior with

diy

underwater con tact microphones, which she used as

the basis for her video, score for the bottom of a lake

(2014). she con tinued this thread of inquiry by fin

ding

differen t ways t o harvest sound in creating au

dio

scores.

a 23

new work for this exhibition called one and

the same (2016) was made using M aX M

sp software with Kinect hardware, which uses small sensors

to detect distance an d movement.

this in teractive

installation focuses on the subtle an d often unnoticed

sounds of lan dscapes, seemingly microcosmic sound

and images, t o reveal how even subtle human activity

and lan d can intertwine.

Morrissette’s artwork presents two perspectives of

an urban environment shrou ded in the tenets of nature.

One video depicts a close up of cool grey reeds with

the sound of win d. the other video is a long shot of a

partially frozen bay on a sunny day, light reflecting

off the ripples on the water and shimmering off the

crystalline ice surface as accompanied by the soun d of

moving water. a lthough both are shot at the Leslie spit

in toron to, east of the down town waterfron

t, they both

convey a sense of untouched nature so often revered in

the grand narratives of canada through the lan

dscape

studies of nineteen th an

d twentieth cen tury pain

ters.

choosing an urban location t o shoot nature highlights

how concepts of nature and wilderness are Western constructs. Geographer William c ronon discusses

the construction of wilderness, including the early

twentieth cen tury developmen

t of the national park

services in the u nited states.

he reveals the paradox

and injustice of the removal of indigen

ous people,

having their use of lands deemed illegal, an d the

move to establish nature reserves an d wilderness

park lands.

24 transmission an d reception takes a differen

t

turn in Morrissette’s work as the interactive elemen t

makes participants the receiver an d transmitter

as they view (receive) and manipulate soun d and

imagery (transmit). Morrissette considers the resulting

sound an d image through their bodily movements as

compositions authored by the participant.

a delineated space is marked by a grid on the floor, recalling

maps of cities or other kinds of lan d parceling such

as settlements, developmen ts, reserves or park lan

d.

as au diences move in front of the videos of nature

scenes, their movement changes the speed or volume

of the audio an d image. participan

ts influence an d

control the composition of the artwork an d the viewer

responds t o any changes their movement (input or

transmission) creates. Moving in front of the close- up of reeds increases the speed of the scene as they

sway in the wind. Movemen t t

oward and away from

the water scene increases and decreases the volume

respectively. c reating these changes in the scene alters

the participant’s perception of the soun d and image.

i think of this as a f eedback loop of perception. their

perception changes their reaction, which changes the

image and so on.

the participan t is n

o longer distinct from the scene as their body becomes the sound an d

imagery. in this way, Morrissette’s work highlights the influence we have moving through places and altering

a network of relations. i propose that this is similar t o

adding or removing sound, which alters the sense of a

place and our reaction t o that place.

wnoon dwaamin | we hear them calls for the

transmission and reception of soun d waves in occupying

the electromagnetic field. soun d reverberates, feeds

back, distorts, phases an d delays, straying from any

inten tion or honing of the original soun ding and soun

d

maker. these artists build up the capacity of soun d

energies to access community connections, kn owledge

and memories.

together these soun d works create a

chorus and a conversation about the resonances that sound carries in an d beyond the au

dible. this exhibition

is about listening and being heard, even when there

seems to be n othing to hear.

these works realize an d

build on the value of transmission and reception in

transferring kn owledge through generations, recalling

how sound connects diff erent times an

d spaces.

thank-you an d miigwech t

o John G. h ampton f or his work in the

development of this exhibition at trinity

square Video an d the

upcoming exhibition tour.

i

1

’m thinking of silence as physically unattainable since sound exists in every context. silence is subjective and can manif

est as a moment of solitude or a shared moment uthors on silence and listening include John of quiet. a

cage and

pauline Oliveros. i realize that language has specifi i use sound, song and voice together, though here

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c pirate ates their contours i argue that b. Jeff playing,” , 2016), 15. ers to survival in resistance, crtc) regul piece of the FM ound Kanngieser’s speaking to ective politics,” exploring the ebraska press, 2013), 12. , ed. Jose Luis de Vicente phillips Gallery, 2016), 21-27. ollective. njootli to describe the elkin Gallery: ubc invisible: commission ( how to Get a indigenous artists but sounding, Listening, (b ociety c radio Waves niversity of n tarro, “ snare hacon in Vancouver, July 21, 2016. are s singing, banff, Walter energies and earth magnitude in the arts ation, who helped me determine the title for ooks, 2010), 71. . http://www.prometheusradio.org/how-get- anada. (Lincoln: u rake ( slip the utumn c anishinaabemowin speaker and teacher established by a collective of indigenous artists and tar b nishinaabemowin that mean listen, my understanding telecommunications resonance: peta art and Welf project ayum-ee-aawach Oomama-mowan: screens ew s 36, no. 3 (2011), 344. Kanngieser reviews literature on chacon by Maren anta Mònica, 2016), 12. ” addresses the importance of the utterance and akolsky and Marian van der Zon, islands of eausoleil First n radio indian peaking to their Mother” at 13:26 on Vimeo: https://vimeo. rts s sonic geography of voice: towards an aff bush Gallery orizon, ed. on s autumn invisible Fields: Geography of or sovereignty’s ew bc dwaamin ork: a (Vancouver: n owell, sovereign prometheus eaucage, “s radio-television and himnissing, b nishinaabemowin to emphasize that language is integral to movements of ill, “speaking into ew y for a conversation with o Visible h arger and José Luis de Vicente, “there, but or survival in one’s ancestral territory. i think this also transf njootli, “ human Geography hogue, “pulling through,” in ill’s reflection on speaking through the megaphone helpful to understand the canada ” in n onor h ndrea Langlois, r nja Kanngieser, “a ouglas Khan, earth sound earth signal: ichard h canadian arcelona, n ound h lthough there are other words in a onveyed during a conversation with a ee Kristin L. d ee Marjorie b ee r ee h ee a ee a ee tarah ee d implications within a nation state’s oppression of colonized people, and thus their languages. “wnoon speaking of a resistance and the vitality of diverse indigenous cultures. of “noondwaa” in this specific song also conveys the idea of listening. no doubt the Oka crisis compelled strong voices among the politics and voices were already strong. i f power of words and voice in relation to this artwork. chi miigwech Monague of c this exhibition as wnoondwamin | we hear them. of invisible Fields” in (b radio in dial” from the broadcasts and telecommunications in c progress in voice, speaking and listening integral to creating relational space. i f analysis useful in thinking about transmission (speaking) and listening (reception). this article also thinks about the generative function of voice in activist, community and protest spaces. artist statement. hogue elaborates on the term “bush theory” used by Frei knowledge f urban centres. curators called the n s the c s Jeneen Frei s this work was made f s Online interview with s a Video notes from Vtape, http://www.vtape.org/video?vi=3131. s s s

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by c-31 centre: bill rethinking the ights act eradicated through the Land” through the cultural urban Landscapes harter of r seeing seeing and press, 2013), 174-186. Musician nations in uncommon Ground anada’s c o., 1995), 69-90. alifornia indian man, until 1985 when orton & c rantford, Ontario: Woodland the Women’s Mind and nations women are oppressed and silenced (b niversity Of c urban Landscapes,” in igoha’: the Women’s Mind ork: W.W. n nigoha’: rt Gallery, 1997), 12. trouble with Wilderness” in ew y (n the nations in ngeles, London: u nature oxtator, “Godi’n ontemporary a doxtator. “Godi’ cronon, “ crosby, “ igoha’: the Women’s Mind place in he also developed the theory of a sonosphere, which takes into consideration eborah d deborah Godi’n erkeley, Los a ee d (b and composer pauline Oliveros first coined the phrase “deep listening” while improvising with two other musicians in a two million gallon cistern with a 45-second reverberation time. s energies in her listening and music, including electrical, magnetic, electromagnetic, geomagnetic and acoustical energies. 1997), 34. Land,” 29. colonial laws and legislation. For example, section 12 (1)(b) of the indian indian status of any women who married a non- amended the act to align with gender equity under c and Freedoms. (Vancouver: c human see see William s there are many examples of how First see Marcia suzanne Morrissette, artist statement, 2016.

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