c'əsnaʔəm: the city before the city has been awarded the 2015 Governor General's Award for Museums History Alive! Award. The Making Culture Lab contributed to the development of a central interactive exhibit 'ʔeləw̓k̓ʷ – Belongings' at the Museum of Anthropology.
ʔeləw̓k̓ʷ – Belongings c̓əsnaʔəm,; the city before the city is an historic partnership of three Vancouver institutions: the Musqueam Indian Band, the Museum of Vancouver, and the Museum of Anthropology at the University of British Columbia. All three will explore this extremely significant ancient village site on which part of Vancouver was built. In the three different exhibitions, visitors will learn not only about the past, but about Musqueam culture and community today. Dr. Susan Rowley, Jordan Wilson, and Lisa Uyeda at the Museum of Anthropology at UBC (MOA) are working with Dr. Kate Hennessy, Dr. Alissa Antle, Rachael Eckersley, Brendan Matkin, and Reese Muntean at Simon Fraser University’s School of Interactive Arts and Technology to develop an interactive tangible tabletop as a component of the exhibition at MOA, which will run from January to December 2015. ʔeləw̓k̓ʷ – Belongings uses tangible replicas of Musqueam belongings excavated from c̓əsnaʔəm, as well as contemporary objects that are a part of everyday Musqueam life to represent the long history of salmon fishing and the continuity of related knowledge at c̓əsnaʔəm. Drawing on contemporary community voices and Musqueam’s ancestral language hən̓q̓əmin̓əm̓, each replica has its own story to tell, which is accessed when placed on the tabletop. By connecting the replicas to visual elements on the salmon cutting table, the table invites visitors to learn about the many cultural and historical meanings of belongings from c̓əsnaʔəm, and about how technological knowledge associated with activities such as salmon fishing have a fundamental place in Musqueam history and persists today as part of everyday life.
Ethnographic Terminalia, grunt gallery (Vancouver) and the 21st International Symposium on Electronic Arts (ISEA) are excited to present an exhibition, panel, workshop and a performance in Vancouver BC in August 2015. These events revolve around the exhibition ARCTIC NOISE at grunt gallery. ARCTIC NOISE is a media installation by Geronimo Inutiq (madeskimo) that draws on archival film footage and sound materials sourced from the Isuma Archive at the National Gallery of Canada, as well as sound and film materials from the artist’s personal collection, on-site research obtained from a trip to Igloolik, and other ethnographical material. Conceived as an Indigenous response to Glenn Gould’s celebrated composition “The Idea of the North”, Inutiq will appropriate Gould’s piece as a musical score, paired with new voices and imagery to produce a layered and multi-vocal work.
THE DUAL SKINS OF A MEDIA FAÇADE: EXPLICIT AND IMPLICIT INTERACTIONS by Claude Fortin and Kate Hennessy ABSTRACT: In the fall of 2013, Mégaphone, an architectural-scale interactive “Speakers’ Corner,” was deployed outdoors after dusk in downtown Montréal, Canada. This urban art installation included a monumental media façade designed to display a transcription of some of the words uttered into the microphone by end users. Driven by the system’s two temporal modalities—a performative “live mode” and an archival “sleep mode”—the video projections revealed the dual skins of a media façade that spanned almost an entire city block. This article examines how activists appropriated Mégaphone to transform an ordinary building into an urban mausoleum.
snəw̓eyəɬ (Teachings)--Public Art Installation, Capture Photography Festival, Waterfront Station, Vancouver
As a part of the 2015 Capture Photography Festival, MCL MA student and photographer Reese Muntean and curator Kate Hennessy present snəw̓eyəɬ (Teachings), a public art installation at Vancouver’s Waterfront Station, as a part of the Canada Line Public Art Project. The series was developed in collaboration with curator Jordan Wilson and the Musqueam Fisheries Commission. It was curated in relation to the theme of ćәsnaʔәm, the city before the city, an exhibition developed by the Museum of Vancouver, the Museum of Anthropology, and the Musqueam Cultural Education Resource Centre.
MCL members Kate Hennessy, Aynur Kadir, Irine Prastio and Reese Muntean recently participated in a community workshop with the Scowlitz First Nation and our Virtual Museum of Canada exhibition development partners to develop our design of our virtual exhibit. We traveled as a group to the Sq’éwlets site to experience the place and learn about its history and contemporary significance.
Mégaphone turned public speech into text - in real time - that was illuminated on the front of the UQAM Président-Kennedy building. Photo © Moment Factory
MCL PhD Student Claude Fortin was recently featured in a news release by the GRAND NCE Network. The article describes her ethnographic fieldwork with Montreal's Quartier des Spectacles and the NFB Interactive and Moment Factory installation 'Mégaphone'.
Kate Hennessy (SIAT) and Jan Marontate (SFU Communications) were recently awarded funding from the Canada Foundation for Innovation to support new research infrastructure. The Critical Ethnography and Digital Heritage Initiative (CEDHI) is dedicated to designing innovative methods for safeguarding cultural heritage resources using digital technologies. With dedicated laboratory space with the School of Communication at SFU’s Burnaby campus, the CEDHI will respond to the urgent need for new strategies to document, preserve and control access to cultural heritage resources in art worlds and Indigenous communities. This university-based facility will be unique in Western Canada, with its emphasis on innovations in ethnographic research methodologies that integrate contemporary approaches to sound recording, visual imaging, and 3-D image modelling. Digital information management will remain a key issue in the 21st century. This research will develop protocols and content management systems so community-based groups, private sector entrepreneurs, and public sector organizations can undertake economically sustainable and culturally meaningful initiatives in the digital era.
Ethnographic Terminalia is an exploration of what it might mean to exhibit anthropology––particularly in some of its less traditional forms––in proximity to and in conversation with contemporary art practices. The Ethnographic Terminalia curatorial collective has mounted exhibitions in Philadelphia (2009), New Orleans (2010), Montreal (2011), and San Francisco (2012), and Chicago (2013) as ‘para-sites’ to the annual meetings of the American Anthropological Association. Ethnographic Terminalia is a platform for the articulation of divergent modes of inquiry, practicing within and beyond disciplinary territories. http://ethnographicterminalia.org
Kate Hennessy delivers the keynote presentation at Canada's History Forum, presented in conjunction with the Governor General's Awards in Canadian History Teaching.
Kate Hennessy discussed the role of new technologies in creating access to cultural heritage in digital form. She focused on the Inuvialuit Living History Project, a collaboration with the Inuvialuit Cultural Resource Centre, the Smithsonian Arctic Studies Centre, Ursus Heritage Consulting, and many other collaborators. Nov. 18, 2013, Canadian War Museum, Ottawa ON.
MCL PhD Student Aynur Kadir presents a paper entitled 'Soundscapes of the Mazar shrines among the Tajiks of Xinjiang' at the University of London's School of Oriental and African Studies' conference 'Islamic Soundscapes of China', Jan. 9th 2014. Photo by Aynur Kadir.
Public Symposium: On Endangered Languages: Indigeneity, Community, and Creative Practice. Sept. 14th, 2013. Museum of Anthropology at UBC, Ames Theatre.
As the multi-sensory installation Anspayaxw opens for exhibition in the Satellite Gallery in Vancouver, artist John Wynne, linguist Tyler Peterson, anthropologist Kate Hennessy, Gitxsan participants Louise Wilson and Barbara Harris, and Musqueam elder Larry Grant enter into conversation with scholars and artists on the preservation of endangered languages, the interconnected role of digital media, and engagements with artistic practice. This symposium was co-organized by Karen Duffek, Kate Hennessy, Tyler Peterson, and John Wynne. Sept. 14th, 2013. Museum of Anthropology at UBC, Ames Theatre. [Photo by John Wynne. L to R: Kate Hennessy, Clyde Tallio, Mark Turin, David Nathan, Candace Galla].
The Inuvialuit Living History Project was a collaboration between the Inuvialuit Cultural Resource Centre, the Smithsonian Arctic Studies Center, SIAT's Making Culture Lab, and partners. Core funding for this project was received from IPinCH (Intellectual Property Issues in Cultural Heritage) and the Canadian Museums Assistance Program. In 2009, Inuvialuit Elders, youth, seamstresses, cultural experts, and media producers from the Inuvialuit Settlement Region in the Canadian north traveled with a group of anthropologists, archaeologists, and educators from the south to research and document the Smithsonian’s MacFarlane Collection at the National Museum of Natural History.
Active Pass to IR9 is a video installation created in collaboration with Richard Wilson that depicts the full length of the Sturdies Bay/ Porlier Pass Road on Galiano Island, from the ferry terminal at the south end to the Penelekut Indian Reserve #9 at the north end. This projection is juxtaposed with a selection of six multimedia representations of Aboriginal communities in the United States, Canada, and Australia on the Internet. It was co-produced by Kate Hennessy and Richard Wilson, and premiered at the 2008 New Forms Festival.