‘KarmaaN Maari – The Ill Fated’ a poem by Shehnaz Parveen Sahar

An Urdu poem in English and Punjabi.
Punjabi shahmukhi
Punjabi roman
Urdu
English

photofromshenaz

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Punjabi Shahmukhi >

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کرماں ماری

ہنے ہنے
میں فیر
اوس محفل
توں
نس آئی آں
جتھے رفو،زاہدہ ،عرشی، ٹیبی
میرے
آل دوالے
بیٹھیاں میرے لہنگےاتّے
چمپا گوٹا لا رہئیاں نے
میرے ہتھیں
شگن دی مہندی
متھےاتے
جھومر ٹکہ
لا رہئیاں نے
بابل والے گیت وداعی
گا رہئیاں نے
ویکھو سب دیاں ونگاں ویکھو
چھنک کھنک کے
ایہہ وی سنگت پا رہئیاں نے

ایہہ سب کُج پر کاہدے لئی اے

جھلییو
تسی تے کج وی جاندیاں نئیں
اگے اگ دا
کرماں ساڑدا
لال سمندر
ٹھاٹھاں ماردا آ ڈُھکیا اے
انج کرنا تسی
مینوں اپنے نال ای لے کے ٹرجانا

ایس توں پہل۔۔۔
گیت تہاڈےاگ وچ سڑ کے
پُھٹ پُھٹ روون
چیکاں مارن

اڑیو
میری گل تاں سن لئو
کتھے چلیاں
مڑ کےویکھو
واپس آئو
سکھیونی
مینوں گل نال لائو
سن لئو اڑیو
خورے میریاں آوازاں
نوں کیوں نئیں سُن دیاں
اپنےسارے گیت نمانے لیندیاں جائو
ویکھوکسراں
میرے گل وچ بانہواں پا کے
چیکاں مار کے
رو پئے سارے

خورے مینوں کلیاں چھڈ کے
کیوں تسی ساریاں
ٹر گیئاں جے
پچھے اپنیاں آوازاں وی چھڈ گئیاں جے
اے آوازاں
میری جان دے پچھے پے گیئاں نے

گوٹے کرناں بھریاں چُنیاں دے نال
اتھرواں والیاں۔۔۔ اکھیاں نوں
کج ہوروی کنڈے مل جاندے نے
ہونٹ سدا لئی سل جاندے نے

اُتّوں تہا ڈ یاں کن من کن من آوازاں نے
ساہ لینا وی اوکھا کیتا

سنونی اڑیو
اک گل دسّو
آخر تسی اے ساریاں رل کے
اچی اچی
ہسدیاں کیوں جے؟؟؟

شہناز پروین سحر
..

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< Punjabi, roman

KarmaaN Maari
By
Shehnaz Parveen Sahar

Hunnay hunnay
maiN fer
oss mehfil
tooN
nuss aye aaN
jithay raffo, zahida, arshi, tabby
mere
aalay dwaalay
baithiyaan mere lehngay uttay
champa gotta la rahyaaN naiN
mere hatheeN
shagn dee mehndi
mathay uttay
jhoomar tikka
la rahyaaN naiN
babul walay geet vidaee
ga rahyaN naiN
vekho sab diyaN wangaN vekho
chhanak khhanak ke
eh ve sangat pa rahyaaN naiN

eh sab kujh per kahday laye ae
jhalliyo
tusseiN te kujh ve jandiyaN nahin
aggay agg da
karmaN saarrda
laal smundar
tthatthaN marda aa Dhukeya ae
inj karna tusseiN
mainuN apnay naal ee lae ke tur jana

ais toon pehlaN
geet tuhaday agg vich surr ke
phutt phutt rowan
cheekaN maran

Arreyo
meri gal te sunn lao
kithay chaliyaN
murr ke vekho
wapas aao
sakhiyo nee
mainun gal nal lao
sunn lao arreyo
khawray meriyan awazaN
nooN kiyuN nahin sunndiyaN
apnay saaray geet nomaanay laindiyaN jao
vekho kissraN
mere gal vich baNhwaN paa ke
cheekaN maar ke
ro pai saaray

Khawray mainuN kaleyaN chudd ke
kiyuN tueeiN saariyaN
Tur gayaN je
pichhay apniyaN awazaN ve chudd gayaN je
eh awazaN
meri jan de pichay paindiaN naiN

gottay kirnaN bhariyaN chuniyaN naal
athro valiyaN…. akhiyaN nooN
kujh hor ve kanday mil janday naiN
honT sada laye sil janday naiN

Sunno nee Arriyo
ek gul dusso
akhar tusseiN eh sariyaN rul ke
uchi uchi
hudiyaN kiyuN je????
..


Urdu, original >

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کرماں ماری

ابھی ابھی
میں پھر
اُس محفل سے اٹھ
بھاگی ہوں
جس میں
رفو، زاہدہ ،عرشی، ٹیبی
میرے
لہنگے پر چمپا گوٹا لگا رہی ہیں
میرے ہاتھوں پر مہندی
اور
میرے ماتھے
مانگ کا ٹیکہ سجا رہی ہیں
بابل کی دعائیں لیتی جا
گاتی جاتی ہیں
دیکھو
میری چوڑیاں دیکھو
ساتھ تمھارے
وہ بھی کچھ
گنگنا رہی ہیں

لیکن یہ سب
کیا ہے آخر
کیا تم کو کچھ خبر نہیں ہے
اس سے آگے
آگ کا دریا
کیسےٹھاٹھیں ماررہا ہے
مجھےیہاں سے لے جائواب
قبل اس کے
یہ گیت تمھارے
چیخیں ماریں
پھوٹ پھوٹ کر رونے لگیں سب
اور
ذرا تم رکو
بتائو
کہاں چلی ہو
کیا تم تک آوازیں میری پوہنچ رہی ہیں
سنو
میری آوازتو سن لو
مجھےبھی ساتھ میں لے کر جائو
مجھے اکیلا چھوڑ کے
ایسے
کیسے تم سب جا سکتی ہو
واپس آئو
آجائو ناں

کم از کم یہ گیت تمھارے
اپنے ساتھ ہی لیتی جائو
دیکھو یہ آوازیں میری
جاں لے لے لیں گی

تم اپنی
آوازیں چھوڑ کے چلی گئی ہو
یہ آوازیں تو
بلکل پاگل کردیتی ہیں
اور
گوٹا کرن بھرے دوپٹے سے
آنسو صاف کرو تو آنکھیں
اورسپنے
سب چھل جاتے ہیں
ہونٹ سدا کو سل جاتے ہیں
اوپر سے
تمھاری
آوازیں ہیں

سنو۔۔۔
یہ تم سب
آخراتنا
ہنستی کیوں ہو؟؟؟

شہناز پروین سحر
..

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< English

The Ill-Fated
By
Shehnaz Parveen Sahar

Just now
again i
ran away
from the gathering
where
ruffo, zahida, arshi, tabby
are tucking silver gold decorations on
my wedding gown
hena in my hands
and
on my forehead
a tikka in the parting of my hair
‘take the prayers of your parents with you’
they are singing
look
look my bracelets
are also
humming along
with you

But what is
all this
do you not know
how a river of fire
rages on and on
in front of me
take me with you
before the time when
your songs
become screams
burst into tears
and you
just stop for a moment
say
where are you going
can you hear me
listen
hear my voice
take me with you
leaving me alone
like this
how can you go
come back here
come back

Your songs at least
take them with you
i tell you their echoes will claim
my life from me

You left
leaving behind your voices
these voices can
make anyone insane
and
with a cloth of silver gold decorations
when the tears are wiped then eyes
and dreams both
get scratched
lips get sealed forever
and on top of it
your
voices

Listen…
you all!
Why is it that you
laugh so much?

From Urdu by Fauzia Rafique
..

photo-shenaz

Shehnaz Parveen Sahar: An acclaimed poet from Pakistan.

 Photos from Sahar’s Facebook Page

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The Homosexual Desi in “Dedh Ishqiya”

Dedh-Ishqiya-Movie

Written by Randeep Singh

Dedh Ishqiya is no “Brokeback Mountain” in Hindi cinema. The story of its two gay characters – Begum Para (Madhuri Dixit) and her lady-in-waiting Muniya (Huma Qureshi – is just one ingredient in the masala. The scene where the Begum remembers how she became estranged from her husband, a homosexual Nawaab, could have made for a more complete, compelling film. Instead, it’s a thirty second narration while elsewhere we’re treated to a Tarantino-style shootout to Begum Akhtar’s ghazal “Woh Jo Ham Mein Tum Mein.”

As a film on (homosexual) love however, Dedh Ishqiya is commendable. First, it shows desi gays as human beings. Prick them and they’ll bleed, tickle them and they’ll laugh. The Begum says that her husband the Nawaab, was not into women and that after his death, the Begum herself found comfort in the arms of her lady-in-waiting Muniya. It’s not clear whether the Begum was in fact homosexual – it’s almost implied that she became one – but that ambiguity aside, the Begum and Muniya, are gay and human.

Second, Dedh Ishqiya does not resort to stereotypes or sensationalism respecting the homosexual desi. Girlfriend (2004) had to have its “hot” lesbian love scene and Dostana (2008) elicited laughs from straight guys “playing gay.” In Dedh Ishqiya, the Begum and Muniya love one another even if that love is confined to the four walls of their mansion. When speaking of Muniya in one scene, the Begum recounts, “woh hamaari saathi, hamaaari hamdard aur ab hamaari jaan bhi hain” (‘she’s my companion, my sympathizer and now my darling, my life too’). The desire between the two is subtle but palpable whether it’s in Muniya’s intense gaze at the Begum or Muniya’s massaging the Begum’s arms.

Third, Dedh Ishqiya shows its homosexual characters making a new life for themselves. In a Thelma and Louise style sendoff, Muniya and the Begum drive off into the sunset, pawn off an essentially priceless necklace and use the money to set up their own dance school (the Begum was once an accomplished dancer). It’s an ideal situation in an otherwise than less ideal society and culture for homosexuals. I could not help but feel though, when listening to the closing song, “ Hamri Atariya Pe Aa Jaa Re Saawariya” (‘Come on to my rooftop darling’), the song was an invitation to gay desis to come out and sing.

 

 

‘An insurgency…’ Shikha Kenneth on Holier Than Life by Fauzia Rafique

Book Review by Shikha Kenneth
Holier Than Life
E-Book by Fauzia Rafique
Purple Poppy Press, Vancouver, 2013
Pages 85

South Asian Ensemble (SAE), Summer/Fall 2013

South Asian Canadian writer Fauzia Rafique’s new literary offering is a digitalized anthology of poems. The poems are interspersed with Rafique’s views on varied matter such as love, violence, happiness, melancholy, feminism, current events, socio-cultural politics, etc. The poet displays her flair for effectively capturing the painfully personal, the brutally cultural, and the deceitfully socio-political experiences of the South Asian populace. Each poem presents Rafique in her various moods – optimistic, sarcastic, bitter, bemused, aggressive, etc.

The opening chant ‘Let It Pass’ is portent of her diverse reflections on violence which creates, interweaves, and subsumes the human body, its ‘self’, and society. Rafique creates vivid imagery in ‘Waiting’ by comparing the intricacies of her pessimism to the multi-hued cacti spanning the sandy expanse of her heart (8). And she reiterates her gloom by comparing it to a bird that re-emerges – carrying a “restive little fish” in its beak – from within the poet’s “ocean of joy” (45). But she contradicts the above mentioned metaphoric sentiments by stating her knack for sifting, finding, and focussing on the “bright shades of…undying green” within “each gray day” (8). It is reflected in ‘Breeze’ where Rafique romanticizes the “ice breeze” of February capering around her neighbourhood (13). Or in ‘Outcome’ where the poet attains happiness from the simple act of putting a yellow tape at the edges of a blue chart for it reminds her of the burnished rays of sun adorning the sky (33).

Rafique’s poetry is mottled with her vision of love. In ‘Sparrow of Love’, she innovatively highlights the universal predicament of coping with the contradictions of love. The poem points to an individual’s multiple approaches to love – nurture it gratis, or embellish it to flaunt, or guiltlessly devour it for one’s gratification (11). Rafique echoes the Sartrean ideology of love in ‘Guilt’ for it turns an individual into a beggar who shuns the act of self-examination and gives in to one’s need for the gaze of the ‘other’ (28). Yet in ‘Possibilities’ she favours the masochism of love as displayed in the act of carving out a “single bud of rose” from her heart than protecting it (23). In her translation of Shah Madhulal Hussain’s poem ‘Kafi’, Rafique resonates Hussain’s ideology that love is a “wild elephant,” and, when teased awake shall trample all the other existing violent ideologies (14). In ‘The Extreme Labour of Love’, she opines that human beings are often incapable of deriving pleasure from the fruition of their love, in any form, because they are haunted by the promise of tomorrow (25).

Rafique also focusses on the profundity of the connection between the human body, violence, and pain. She creates cryptic images showing the dying body writhing in pain, being drained out of life, meanness coagulating its blood from within. Moreover, she seems to be preoccupied with the desecration of the female body. For instance, ‘Shariah Compliant Bra’ highlights the transformation of the female body into a hegemonic construct, redefinition of its identity, and forcible sanction as the conventional image of femininity. Rafique continually refers to the breasts and “anonymous body parts” of a Muslim woman as “bits, blits, kits, lits”. She shows language to be a patriarchal construct that exercises control over a woman by shaping her identity according to the dominant ideology. And if a Muslim woman refuses to be the recipient of such discursive violence, her body is forced to undergo the physical trauma of being violently “cut and clip” by the representatives of prevailing oppressive belief system, that is, patriarchy (51-3).

Patriarchy is a pervasive and power-based structure that manifests itself through all social institutions. Patriarchy is inherent in discourse; it is an intrinsic element of the prevailing ideology. It enforces the biological and cultural suppositions that are responsible for the subjugation of women. The anti-patriarchal theme is, in fact, predominant in Rafique’s verse. Her poem entitled ‘Hadd: Limit’ connotes the Derridian premise of différance emphasizing the acts of estrangement from and murder of the woman as being crucial for preservation of the symbolic order (23). ‘Vulnerability’ alludes to the financial capitalization of a woman’s worth before she begins to “swim across the moonlight glint of death…to a brand new exotic destination of life”, that is, marriage (36). ‘Familial Promises’ outlines an honour killer’s code which operates through the violent methods of control, discipline, and punishment meted to a woman as described through the use of words like “smack”, “bash”, “rap” “smash” and “whack” (54). Here, the woman becomes the embodiment of virtue that defines a code of patriarchal honour. And this honour gets violated when a woman decides to exercise her personal, social, and constitutional rights.

Rafique’s poetry can, in fact, be viewed as an insurgency against the legitimate sanctioning of horrific acts of violence against Muslim and South-Asian women. Through her poems she accounts the legally authorized dehumanization of women thereby highlighting the interminable bond between law and anomie. ‘Porn Creation’ relates the incident of a thirteen year old girl named Aisha Ibrahim Duhulow who was labelled as “adulterous” after being gang raped by three law-enforcers and stoned to death for lodging a complaint against perpetrators of the crime (55). Rafique describes the day of Bibi Aisha’s execution where fifty impotent men surrounding her become the embodiment of the “Žižekian pervert” (The Plague 135). Their limp erections suddenly bloom into life as they witness the girl being punished for raising her voice against the heinous crime of rape. It shows that the conventional notion of the phallus as the siege of aggressive, penetrative, essentially masculine, potency/power is, in fact, contingent upon the terror that is evoked in the gaze of the woman. Patriarchy is, in fact, the fight of an “ignorant chauvinist man” using such tactics as “extreme violence, disfigurement, irreparable damage to body and spirit” in order to “restrict, control, contain, possess, subdue” the woman in his life (Rafique 63). In other words, the existence of the patriarchal male relies on inflicting violence on the body of woman to maintain his illusion of power. Similarly, ‘Mirwah’s Unnamed Girl’ depicts Rafique’s angst over the killings of several unidentified Mirwah women who, according to the fanatical oppressors, had the audacity to seek the right to choose their own bridegrooms. She declares the legal and political system of such nations to be emasculated and fit to wear all the adornment attributed to femininity (46-9).

Rafique is infuriated by the manner in which social organizations such as North Atlantic Treaty Organization and Amnesty International have usurped the struggles of several South-Asian natives who have lost their lives to their passion for fighting for women’s rights. In ‘The Jolly Trinity’ she castigates the way in which the Western celebrities and politicians – leading a rich and pampered existence – exploit the plight of the violated South-Asian women for photo-opportunities and news bytes. These organizations are, in fact, multi-million dollar enterprises seeking to spread their web of power, control and violence over the world under the guise of defense and security against the human rights violation. Such socio-political corporations indulge in the cunning use of public relations policy to camouflage their “drone fire aggression into noble democracy”, transform “war-lording action into exodus of decency” and convert “dirty dollar into charitable currency” (70). In ‘Drone-Dead Lover’, Rafique assails the Obama administration which authorized the continuation of drone attacks being made on Pakistan for the past several years. These attacks were meant to eradicate terrorism but have deprived thousands of Pakistani civilians off their lives (62).

The poet interprets religion – hailed by many as the bedrock of ethics – to be a patriarchy-infested institution that operates on the underside of law. In ‘The Clowns of Blasphemy’, religious extremism is shown to play out like a Senecan tragedy where divinities are manufactured in order to satisfy the zealot’s craving for slaughter and deliberate spillage of blood. She illustrates a fascist regime where innocent men, women, and children are labelled as “Kafirs, women and witches, bombers and terrorists” (78). Such a regime operates on the “excesses of torture” in order to stun and subdue both its victims and the audience (Discipline and Punish 35). These violent excesses include “bullying…skinning…hanging…burning” which are meant to stoke the “self-righteous leaders” hunger for power, violence, and “brand-new riches” (Rafique 79). ‘Holier than Life’ is Rafique’s insurrection against the bigoted ideology transmitted by all patriarchal institutions – social, cultural, religious, educational, political, and economical – and its representatives. She considers all these agencies of power to be the breeding-ground of violence, and, she wants to engrave the moniker of “MURDERER” on them (82). She condemns the “violent expositions” of all species of fanatics whose contrived creations like religion turn individuals into eternal victims in their quest for social, material, and existential transcendence (83).

In this anthology, Rafique displays an unapologetic and intractable stance against the aggressive jingoistic fervour that has been adopted by patriarchy. It manifests by inscribing itself on the bodies of women in multifarious ways. The poet believes that patriarchy can be rendered powerless if the violated woman refuses to cover her scarred and mutilated body. In ‘Shame’, She informs the guardians of both social & feminine propriety to stop being concerned about her disgrace and forcing her to shroud it in silence. Rafique declares that she is going to display her shame with as much aplomb as she would her achievement. In ‘Nangi Naked’, she cites the example of a Kashmiri poet named Lilla Arifa who ventured out of her house without the protection of clothes (58). This single act of defiance became more effective than Arifa’s entire body of literature. In other words, woman needs to disassociate herself from the norms for respectability and modesty mapped out by the patriarchal custodians, for it is the only way to weaken the enemy and gain freedom from the clutches of patriarchy.

In ‘Need for Social Self’, Rafique states that the need for cultivating a social self is imposed on every individual. It requires existing as a “zombie”, that is, the state of being “perfectly natural, alert, loquacious, vivacious behaviour but is in fact not conscious at all, but rather some sort of automaton” (Dennett 73). The poet recalls an event when she donned the attire of her social self and experienced the sensation of being choked into silence. Subsequently, she has never been able to accept the falsity underlying one’s social self and openly shuns it. Holier Than Life thus can be viewed as Rafique’s fearless and candid attempt to assail, hemorrhage, and rupture the normalization and legitimization of patriarchy. The poet realizes that such an act requires her to immerse body and soul in “the flow of pain” (7). Rafique’s poetry is a blend of three languages namely English, Punjabi and Urdu. It highlights both the universality and specificity of the multi-faceted forms of violence experienced by women especially in Third-World nations. Her poems are sprinkled with metaphors; the language is potent and descriptive; the verse seems staccato at times but seems to be styled to correspond with the requirements of digitalized literature. In Holier Than Life, Rafique successfully manages to expose and critique those dynamics of oppression and resistance that are generally problematized through gross and calculated misrepresentation.

Works Cited
Dennett, Daniel C. Consciousness Explained. New York: Back Bay, 1991. Print.
Foucault, Michel. Discipline and Punish: Birth of Prison. Trans. Allen Lane. London: Peregrine, 1979. Print.
Rafique, Fauzia. Holier Than Life. Vancouver: Purple Poppy Press, 2013. Web.
Žižek, Slavoj. The Plague of Fantasies. London: Verso, 1997. Print.

From South Asian Ensemble (SAE), Summer/Fall 2013, Vol 5, 3 & 4
Editors Rajesh Sharma & Gurdev Chauhan
sharajesh@gmail.com
http://kriticulture.blogspot.com
www.southasianensemble.com: )

More by Shikha on Uddari
‘Capturing the Essence of Patriarchy in Skeena’ by Shikha Kenneth
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Film Review – “Wadjda”

wadjda

Starring: Waad Mohammad, Reem Abdullah, Ahd Kamel, Abdullahrahman Al Gohania, Sultan Al Assaf. Directed by Haifaa al-Mansour (98 minutes).

Wadjda has generated so much publicity since its release at the Venice Film Festival in August 2013, one fears that the hype surrounding Haifaa al-Mansour’s debut feature would overshadow the film itself. Thankfully, al-Mansour has made a film that stands on its own merits as a funny, uplifting and endearing story of a girl wanting to buy a bicycle.

Wadjda is the title character played by Mohammad, a spunky, entrepreneurial ten-year old who wears sneakers to the madrassa, listens to rock and roll and dreams of buying a bicycle and racing one of the neighbourhood boys, Abdullah (Algohania).  Her mother (Reem Abdullah), when not distracted by Wadjda’s antics, does her best to convince her husband (Sultan Al Assaf) not to take a second wife.

At the madrassa, Wadjda is frequently censured by the headmistress Ms. Hussa (Ahd Kamel) for selling soccer bracelets, not wearing her hijaab and for acting as a go-between between girls inside the school and the boys outside. The headmistress thinks she may have gotten through to Wadjda however when she convinces the girl to enter a Qu’ran recitation competition for which the First Prize is enough money to allow Wadjda to buy the bicycle she hankers after.

Al-Mansour has created an engaging film which touches on some of the issues faced by women in Saudi Arabian society through Wadjda, her mother and Ms. Hussa. Wadjda, irreverent and care-free, has to hear from her mother and Ms. Hussa how girls cannot ride bikes and to live with the feeling of being second-best to her father for not being born a son. In one scene, Wadjda sees an empty space on her father’s family tree where she had placed a sticker with her name on: only the male branches of the family are included.

Ms. Hussa is a modern-day Wackford Squeers: cold, unfeeling and embittered by an inegalitarian social culture. She chastises schoolgirls for laughing, telling them a woman’s voice is her nakedness and in one scene, publicly shames two students for engaging in “forbidden” acts, after which no girl may exchange flowers or letters or hold hands with one another. Wadjda’s mother lives in fear her husband will take another wife so he can have a son. She tries on a dress she sees in a shop window not because she likes it but because Wadjda’s father might do so.

These three female characters form the heart of “Wadjda” and are performed wonderfully with pluck, steel and grace by Mohammad, Kemel and Abdullah respectively. From start to finish, it is Wadjda, who wins our hearts, as she smarts her way out of trouble, takes advantage of an opportunity or flirts convention. The film is not without its saccharine moments including when Abdullah tells Wadjda that he wants to marry her when she grows up. Those frills aside, Wadjda is a charming film about a girl who wants her bike, her freedom, which alone makes it worth the hype.

8.5/10

‘A Night for the Lady’ by Joanne Arnott – Reading & Book Launch Van Sept 19/13

A Night for the Lady launch invite3_page1_image3

Book launch

September 19 at 7 p.m.
On Edge Reading Series
Emily Carr University
Room SB 406
1399 Johnston Street
Granville Island, Vancouver, BC V6H 3R9

As with all On Edge readings
there will be time for discussion/Q&A

Refreshments will be served

Joanne Arnott
‘A Night for the Lady’ (Ronsdale Press) explores the terrain of poetry conversation. Playful, erotic and occasionally harrowing, this collection bundles together experimental and inspirational work from a longstanding voice of conscience in Canadian letters.

Gregory Scofield
Few figures in Canadian history have attained such an iconic status as Louis Riel. Celebrated Metis poet Gregory Scofield takes a fresh look at Riel in his new collection, ‘Louis: The Heretic Poems’ (Nightwood Editions), challenging traditional conceptions of Riel as simply a folk hero and martyr. By juxtaposing historical events and quotes with the poetic narrative,Scofield draws attention to the side of the Metis leader that most Canadians have never contemplated: that of husband, father, friend and lover, poet and visionary.

Link to Arnott’s blog invitation

http://joannearnott.blogspot.ca/2013/09/a-night-for-lady.html

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Woman, not Goddess

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A friend recently posted an article on Facebook (see link below) about a new public awareness campaign which portrays Hindu goddesses as victims of domestic violence, with the caption “Tomorrow, it seems like no woman shall be spared. Not even the ones we pray to.”

First, Hindu goddesses are not women: they are the female incarnations of the supreme divinity. And goddess worship is part of the problem in a culture that dehumanizes woman either as goddess or the Sati/Savitra or as whores and slaves, as one of the commentators in the article makes clear. Either way, Indian women are not fully human (the tragic implications of the divinization of Indian woman was poignantly portrayed by Satyajit Ray in ‘Devi’).

Second, the goddess is also part of that larger network of mythology, caste ritual and gender discrimination we call Brahmanism. A society and culture which teaches there is no God on earth for a woman but her husband and that the killing of a woman is not a sin (Manusmriti IX. 17 and V. 47, 147), needs to undermine those foundations not refer to them. The goddess is ultimately part of a religious culture rooted in patriarchy. And if gods beat their wives or other goddesses, who are mere mortals to resist?

Third, why have the advertisers recast an Indian (as well as human) problem in terms of Hindu religious imagery, in “secular” India? Isn’t domestic violence a problem for Indian women of all communities, beliefs and backgrounds? And are India’s “most enduring images of feminine authority” (as the author Lakshmi Chaudhry puts it) solely mythological entities or does not India have its women from all walks of life and in all fields of endeavour who are survivors, fighters and inspirations?

Written by Randeep Singh

To read Lakshmi Chaudhry’s article “Durga Ma as battered wife: a giant step backward for womankind,” go to: http://www.firstpost.com/living/durga-ma-as-battered-wife-a-giant-step-backward-for-womankind-1094781.html

‘Love and Bones’ by Bonnie Nish – Book Launch Vancouver Sept 20/13

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LOVE AND BONES – BOOK LAUNCH
Friday September 20th, 2013!
7PM
St. Marks Church
1805 Larch Street, Vancouver BC

Poetry by Bonnie Nish
Cover Photo by Mark L. Tompkins
Publisher Karma Press
Love and Bones has been lovingly edited by
Sita Carboni, Mary Duffy, Evelyn Lau
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The night will begin with a few words from Evelyn Lau and be MC’d by Dennis E. Bolen with musical entertainment from Sharon McIntee-Birrell and Michael Peacock.

‘Remembrance and wonder imbue this debut collection of poetry that delves deep to explore “all that is carried in marrow” –from a child’s memories of the family home to a grandparent’s experience of the Holocaust. In poems about family and intimate relationships that are replete with rich images that reveal the complex tapestry of human connection and disconnection, Nish offers us the “eternal pictures” left behind by those we love.” ~ Fiona Tinwei Lam

“Love and Bones is aglow with every kind of love — love of parents, love of the romantic other, love of children, love of cultural inheritance, love of poetry, love of the implacable mysteries of life. On every page of this book you will see how poems can give passionate utterance to the depth, intricacy, and power of authentic human feeling. You will see also how the signature note in these pieces is one of praise. Out of regret, dark recesses of sadness, and mourning come elation, affirmation, and transformative creative joy as in a kind of miracle. This is an utterly moving, nuanced collection full of images and lyrical turns that match the orders of emotion it evokes — and mark it as an imaginative triumph.” ~ Russell Thornton

Bonnie Nish is the Founder and Executive Director of Pandora’s Collective Outreach Society a charitable organization in the literary arts based in Vancouver British Columbia. She is also Executive Producer of the Summer Dreams Literary Arts Festival an outdoor festival now in its tenth year. Published widely you may view some of her work (both poetry, prose and book reviews) in “The Toronto Quarterly”, “Quills,” “WordWorks,” and on-line at Haunted Waters Press, blueprintreview.com, hackwriters.com and greenboathouse.com. Bonnie has a Masters in Arts Education from Simon Fraser University and is currently pursuing a PhD in Expressive Arts Therapy at the European Graduate School.

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7th Annual Women’s Housing March – Vancouver Sept 28/13

Sat. Sep 28 @ 1:30 pm
Starts at Cordova and Columbia, just west of Main St.
Unceded Coast Salish Territories

On FB: https://www.facebook.com/events/194962550671741/

Homes for Low-Income People, not Profit for Real Estate!
Homes not Jails!
Homes not Pipelines!
Rent Control and Community Control not Social Control!
Housing, Childcare, and Healthcare for All!

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The DTES Power of Women group – Mobile upload by Harsha Walia

On Saturday September 28th at 1:30 pm, join the Downtown Eastside Women Centre Power of Women Group in the 7th Annual March for Women’s Housing and March Against Poverty.

This year we continue to march for housing, childcare, and healthcare for all low-income residents in the DTES. We want no more evictions, no more displacement, and no more gentrification in our neighourhood. We know that the growing number of cops and condos in the DTES is part of a larger pattern to destroy and privatize neighourboods, communities, and the land. Meanwhile, women in the DTES continue to face the brunt of poverty, displacement, violence and apprehension.

We invite groups to bring their banners and anything else for our festive march. All genders are welcome and celebrated. Please bring your drums and regalia. This march is child-friendly and there will be a rest-vehicle for elders. Spread the word!

Emailproject@dewc.ca or Phone778 885 0040

The DTES Power of Women Group is a group of women (we are an inclusive group) from all walks of life who are either on social assistance, working poor, or homeless; but we are all living in extreme poverty. Our aim is to empower ourselves through our experiences and to raise awareness from our own perspectives about the social issues affecting the neighbourhood. Many of us are single mothers or have had our children apprehended due to poverty; most of us have chronic physical or mental health issues for example HIV and Hepatitis C; many have drug or alcohol addictions; and a majority have experienced and survived sexual violence and mental, physical, spiritual, and emotional abuse. For indigenous women, we are affected by a legacy of the effects of residential schools and a history of colonization and racism.

Harsha Walia 
https://twitter.com/HarshaWalia
https://www.facebook.com/NoOneIsIllegalNetwork

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‘A Poem – Hik Nazm’ by Faiza

From Faiza’s Punjabi poem ‘Hik Nazm’

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A Poem
By Faiza

It may be inconvenient
But Respected Sister an application needs to be written
A sweeper’s position has become available
In the Angrezi* school
Put it forward in such a way that
It captures their gut
Tell them
The void growing in children’s stomach
Is hard for mothers to endure
I burn in scorching wind
But some things must remain secret
Keep the secret
My man cannot stand on his feet
Battered by the police
Make a story so gripping
They come looking for me
It is your writing that will count
Who are we, what our station
Two morsels of bread
Give them full assurance from my side
I’ll work more than is required
No dearth, no shortage
There will be in my labour
All chores done I’m leavin’
Filth removed floor mopped
Say Respected Sister shall i mix the dough before I go?

*English

Translation
Fauzia Rafique

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Hik Nazm
By Faiza

Khhechal taan hosi
Ek darkhast likhveni ae Baji
Choorrhi de saamee ae
Angrezi school vich
Gal ajehi jorreya je
Kaleja phhreejay agleyaN da
Dusseya je
BallaN de dhedh paindi kho
MawaN tooN jhalni aukhhi
Tatti va vich sarrni aaN
Per ohla rakhhna pausi
Ohla rakheya je
Banda mera pairaN bhaar khhlo nahiN sakda
Police da pinjeya
Banavo koi baat acharj
MainuN soodhday phhiran
Mul te paina tuhaday likhhan da
AsseiN keh, sadee hassti keh
Do graaNhiyaN Tukar
Tassalla kraya je mere valoN
Kam kresaN hadoN vadh
Kai ghhaTa kai thhorr
Na hosi mehnat de
Saaray kam muka challi aaN
Gand hoonj ke pochi la challi aaN
Akhho taaN aaTa ve ghunneeN jaaN Baji?

View original Shahmukhi version
Monthly Pancham, May-June 2000

faiza
Faiza is a Lahore-based poet, editor and publisher who is making valuable contributions to the development of Punjabi language and literature through her ongoing work with Monthly Pancham and Suchet Kitab Ghar.
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Amanda Palmer Gets Naked In Response To Daily Mail Nipple Story

To the ‘misogynist pile of twats’ – Dear Daily Mail.
What a SONG, AMANDA PALMER!

14 July, 2013
Staff Writer, The Music, Australia

When the UK’s Daily Mail tabloid paper covered Amanda Palmer’s recent performance at Glastonbury, they didn’t mention anything about the music that she played, choosing to entirely focus on a brief moment where her breast “escaped her bra”.

Palmer wasn’t entirely thrilled about the lack of coverage her performance received and the extent of attention that was paid to her so-called wardrobe malfunction and she has decided to respond to the paper through song.

At a performance at London’s Roundhouse on Friday night, Palmer performed a song in response to the tabloid and urged audience members to film it and upload the clip to YouTube so her chosen response could spread.

The lyrics to the song refer to the paper as a “misogynist pile of twats” and accuses them of “debasing womens’ appearances”, which is all pretty cutting, but the major blow comes midway through the song.

In one verse, she sings:

“In addition you state that my breast had escaped; From my bra like a thief on the run”

Then, in the next, she sings:

“It appears that my entire body is currently, Trying to escape this kimono!”

At which point she disrobes and proceeds to play the rest of the song (almost) entirely naked.

Here it is:

That is one way to respond to a paper who won’t engage in discourse with you, we suppose.

Palmer will be at BIGSOUND in Brisbane this September as well as performing in venues around the country.

UPDATE: Speaking to theMusic.com.au, Palmer reveals the anger she felt when first reading the story and the determination not to give the paper any “fucking satisfaction” in her response.

http://themusic.com.au/news/all/2013/07/14/amanda-palmer-gets-naked-in-response-to-daily-mail-nipple-story/
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Related content on Uddari
‘Nangi Naked’ by Fauzia Rafique
Young Egyptian woman goes nude to protest obscurantism
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‘Nangi Naked’ by Fauzia Rafique

From Fauzia’s eBook of poems ‘Holier Than Life
(Purple Poppy Press, Vancouver, June 2013)
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Nangi Naked
To the woman who ‘dares to bare’.

When a woman
dares to bare
i listen
listen with my gut, the womb
she says more
than the words
can tell

Listen, not miss
nothing, embed
her messages
in the genetic code
of my memory
for the generations
to come

My generations will know
in their gut, the womb
the messages of the woman
who dared to bare
anywhere, everywhere
she said more
than the words
could tell

In Kashmir
Lal Ded/Lilla Arifa, the poet,
left ‘marital home’ going
naked on the street
Lal’s poems remain
but her actions
say more
than her words
can tell

In America, Russia,
Egypt, Tunisia
the woman who dares to bare
screams
and shouts:
‘my body
is my body, my life
is my life
I’ll rule control use
my body, my life
everywhere, anywhere’

A woman who dares to bare
declares war
means rebellion, means terrorism
means armed struggle
armed with the body
presented
presented by the gods of religions and wars
as a formidable despicable sinfully
desirable
weapon of
mass destruction.

To own buy sell
kill fire repair resell reuse
the woman who dares to bare
says no.
my body
is my body, my life
is my life
I’ll rule control use
my body, my life
anywhere, everywhere

naked
or carefully covered
No is No, and
which part of any no
do you not understand
Or is it that
the naked no
says more
than the no
can tell

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‘Dare to bare’ is the title of Ramabai Espinet’s article in ‘Aurat Darbar: The Court of women’ (Three O’Clock Press, Toronto 1995)
‘Which part of no do you not understand’ is a slogan.

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Holier Than Life Web Page
Fauzia’s Web Page
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Pakistani women Rehana Kausar and Sobia Kamar marry in Britain’s first Muslim lesbian partnership

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Two former students from Pakistan are believed to have become the first Muslim lesbian couple to marry in a civil ceremony in Britain.

Rehana Kausar, 34, and Sobia Kamar, 29, took their vows at a registry office in Leeds earlier this month before immediately applying for political asylum, it was claimed.

Relatives of the couple said the women, who studied in Birmingham, had received death threats both in the UK and from opponents in their native Pakistan, where homosexual relations are illegal.

During the ceremony the couple reportedly told the registrar that they had met three years ago while studying business and health care management at Birmingham, having travelled to the country on student visas, and had been living together in South Yorkshire for about a year.

Ms Kausar, originally from Lahore, also holds a master’s degree in economics from Punjab University.

“This country allows us rights and it’s a very personal decision that we have taken. It’s no one’s business as to what we do with our personal lives,” she was quoted as telling the Birmingham-based Sunday Mercury newspaper.

“The problem with Pakistan is that everyone believes he is in charge of other people lives and can best decide about the morals of others but that’s not the right approach. We are in this state because of our clergy, who have hijacked our society, which was once tolerant and respected individuals’ freedoms.”

Homosexual sex is illegal under Pakistani law. There are also no laws prohibiting discrimination or harassment on the basis of sexual orientation.

In recent years in Britain, some Muslim gay and lesbian couples have opted for a nikah, an Islamic matrimonial contract, which is officially the reserve of heterosexuals. These services, conducted in Arabic with additional duas – prayers – are not recognised in the UK unless accompanied by a civil ceremony. Homosexuality is strictly forbidden in the Islamic faith and the notion of same-sex marriage is abhorrent to many Muslims.

A relative of one of the women told the Sunday Mercury: “The couple did not have an Islamic marriage ceremony, known as a nikah, as they could not find an imam to conduct what would have been a controversial ceremony. They have been very brave throughout as our religion does not condone homosexuality. The couple have had their lives threatened both here and in Pakistan and there is no way they could ever return there.”

Ruth Hunt, deputy chief executive for Stonewall, said: “There is a very cautious step towards social visibility for some gay men in Pakistan but lesbians are completely invisible. Pakistan is not necessarily a safe place for couples to be open about their love.”

The Home Office said it was unable to confirm any details about their political asylum request.

Written by Charlotte Philby, The Independent (May 26, 2013). For original story, click here: http://www.independent.co.uk/news/uk/home-news/pakistani-women-rehana-kausar-and-sobia-kamar-marry-in-britains-first-muslim-lesbian-partnership-8632935.html

“Cinema for Change” – Addressing Violence Against Women

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The South Asian Film Education Society (S.A.F.E.S.) hosted its first “Cinema for Change” film festival from April 19 to April 21, 2013. The theme: “Addressing Violence Against Women.”

Friday, April 19, 2013

The Guest Filmmaker, Samar Minallah, appeared at the opening night by Skype from Pakistan. Her documentary, “Swara: A Bridge Over Troubled Water,” looked at “swara,” the practice of using unmarried girls as compensation to settle disputes between families.  The practice of “swara” in the film of the same name, typically takes place as follows. One man kills another man and the family of the man who has been killed wants compensation from the murderer. The compensation takes the form of a girl, transferred from the family of the murderer to the family who would otherwise seek revenge. The girl is then expected to live in the “other” family as a daughter-in-law.

The practice of “swara” is well-known in North-West Pakistan and in other tribal communities and stopping it, Minallah admits, can be dangerous. The murderer (whose family pays the girl as compensation) is “let off the hook;” stopping that compensation would mean that the murderer must otherwise pay for his crime which, Minallah notes he will typically go to any lengths to avoid. Although Minallah acknowledges the challenges in fighting “swara,” she has helped bring awareness of the issue to the public and to policymakers through short public service-announcements. She also works to sensitive the police to the problem after the practice was made illegal through legislation passed in 2004. A growing number cases of “swara” moreover are being reported and addressed through public interest-litigation (200 cases were reported in 2011).

swara

Saturday, April 20, 2013

The second day saw the screening of “Common Gender” (2012), a Bangladeshi activist-documentary on the life of the hijra (intersexual) community of Dhaka and the violence underlying the social process of gendering. The two other films were “Afghanistan Unveiled” (2007) and “Provoked” (2006).

The film “Provoked,” is based on the true story of Kiranjit Ahluwalia, a Punjabi woman in the United Kingdom who was sentenced to life in prison for the murder of her husband in 1989. Her conviction was set aside in 1992, partly through the help of the women’s advocacy and outreach group, Southhall Black Sisters. The judge noted that because of years of  abuse, Kiranjit suffered severe depression and battered women syndrome; her mental responsibility for the act was thus “diminished.” She had also been “provoked,” but was unable to retaliate right away because of her mental state. Her case (R v. Ahluwalia) changed English law, leading to the setting aside of convictions for battered women in 1992 and thereafter.

Sunday, April 21, 2013

In “Saving Face,” we hear the stories of two survivors of acid attacks in Pakistan, Zakia and Rukshana. While highlighting the brutality of the attacks and their affect on the women, we see how the problem is being fought through cooperation between reconstructive surgeons, policymakers, lawyers, the media and NGO’s is key in bringing perpetrators to justice and helping women rebuild their lives.

In “Bol” (2012) Meghna Halder presents a short-film in three parts through masks, puppetry and shadows. Whereas the “The Cyclist” looks at the facelessness of the Indian Muslim woman who died in a bomb blast in Bangalore, “The Rape” looks at how two women went missing in Kashmir and were presumed to have been raped and disposed of by the Indian Army. In “The Mask,” Meghna presents the story of a man who wakes one day to find his face has been stolen. All three films were layered with meanings, teasing one’s interpretations.

While the issue of violence against women is ongoing and oftentimes distressing, I admire the filmmakers’ use of film as a medium for raising social awareness of the problem. In Minallah, we saw an example of the activist film-maker who has continued to make films despite risk to herself. In three films, we saw how individual and community activism can bring about social change such as the passage of law against “swara” and acid-attacks in Pakistan or the precedent-setting case of Kiranjit Ahluwalia in the United Kingdom. While the struggle continues, the SAFES has hopefully played its own part in presenting “cinema for change.”

For a list of all films shown and descriptions, go to: http://southasianfilm.blogspot.ca/

‘Dancing the World into Being: A Conversation with Idle No More’s Leanne Simpson’ by Naomi Klein

Naomi Klein speaks with writer, spoken-word artist, and indigenous academic Leanne Betasamosake Simpson about “extractivism,” why it’s important to talk about memories of the land, and what’s next for Idle No More.

Leanne Simpson collecting wild rice.

In December 2012, the Indigenous protests known as Idle No More exploded onto the Canadian political scene, with huge round dances taking place in shopping malls, busy intersections, and public spaces across North America, as well as solidarity actions as far away as New Zealand and Gaza. Though sparked by a series of legislative attacks on indigenous sovereignty and environmental protections by the Conservative government of Stephen Harper, the movement quickly became about much more: Canada’s ongoing colonial policies, a transformative vision of decolonization, and the possibilities for a genuine alliance between natives and non-natives, one capable of re-imagining nationhood.

Boy with Crayon photo by ND Strupler
Indigenous Women Take the Lead in Idle No More

Motivated by ancient traditions of female leadership as well as their need for improved legal rights, First Nations women are stepping to the forefront of the Idle No More movement.

Throughout all this, Idle No More had no official leaders or spokespeople. But it did lift up the voices of a few artists and academics whose words and images spoke to the movement’s deep aspirations. One of those voices belonged to Leanne Simpson, a multi-talented Mississauga Nishnaabeg writer of poetry, essays, spoken-word pieces, short stories, academic papers, and anthologies. Simpson’s books, including Lighting the Eighth Fire: The Liberation, Protection and Resurgence of Indigenous Nations and Dancing on Our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence and a New Emergence, have influenced a new generation of native activists.

At the height of the protests, her essay, Aambe! Maajaadaa! (What #IdleNoMore Means to Me) spread like wildfire on social media and became one of the movement’s central texts. In it she writes: “I support #idlenomore because I believe that we have to stand up anytime our nation’s land base is threatened—whether it is legislation, deforestation, mining prospecting, condo development, pipelines, tar sands or golf courses. I stand up anytime our nation’s land base in threatened because everything we have of meaning comes from the land—our political systems, our intellectual systems, our health care, food security, language and our spiritual sustenance and our moral fortitude.”

On February 15, 2013, I sat down with Leanne Simpson in Toronto to talk about decolonization, ecocide, climate change, and how to turn an uprising into a “punctuated transformation.”

On extractivism

Naomi Klein: Let’s start with what has brought so much indigenous resistance to a head in recent months. With the tar sands expansion, and all the pipelines, and the Harper government’s race to dig up huge tracts of the north, does it feel like we’re in some kind of final colonial pillage? Or is this more of a continuation of what Canada has always been about?

Leanne Simpson: Over the past 400 years, there has never been a time when indigenous peoples were not resisting colonialism. Idle No More is the latest—visible to the mainstream—resistance and it is part of an ongoing historical and contemporary push to protect our lands, our cultures, our nationhoods, and our languages. To me, it feels like there has been an intensification of colonial pillage, or that’s what the Harper government is preparing for—the hyper-extraction of natural resources on indigenous lands. But really, every single Canadian government has placed that kind of thinking at its core when it comes to indigenous peoples.

Indigenous peoples have lived through environmental collapse on local and regional levels since the beginning of colonialism—the construction of the St. Lawrence Seaway, the extermination of the buffalo in Cree and Blackfoot territories and the extinction of salmon in Lake Ontario—these were unnecessary and devastating. At the same time, I know there are a lot of people within the indigenous community that are giving the economy, this system, 10 more years, 20 more years, that are saying “Yeah, we’re going to see the collapse of this in our lifetimes.”

Extracting is stealing. It is taking without consent, without thought, care or even knowledge of the impacts on the other living things in that environment.

Our elders have been warning us about this for generations now—they saw the unsustainability of settler society immediately. Societies based on conquest cannot be sustained, so yes, I do think we’re getting closer to that breaking point for sure. We’re running out of time. We’re losing the opportunity to turn this thing around. We don’t have time for this massive slow transformation into something that’s sustainable and alternative. I do feel like I’m getting pushed up against the wall. Maybe my ancestors felt that 200 years ago or 400 years ago. But I don’t think it matters. I think that the impetus to act and to change and to transform, for me, exists whether or not this is the end of the world. If a river is threatened, it’s the end of the world for those fish. It’s been the end of the world for somebody all along. And I think the sadness and the trauma of that is reason enough for me to act.

Naomi: Let’s talk about extraction because it strikes me that if there is one word that encapsulates the dominant economic vision, that is it. The Harper government sees its role as facilitating the extraction of natural wealth from the ground and into the market. They are not interested in added value. They’ve decimated the manufacturing sector because of the high dollar. They don’t care, because they look north and they see lots more pristine territory that they can rip up.

And of course that’s why they’re so frantic about both the environmental movement and First Nations rights because those are the barriers to their economic vision. But extraction isn’t just about mining and drilling, it’s a mindset—it’s an approach to nature, to ideas, to people. What does it mean to you?

Leanne: Extraction and assimilation go together. Colonialism and capitalism are based on extracting and assimilating. My land is seen as a resource. My relatives in the plant and animal worlds are seen as resources. My culture and knowledge is a resource. My body is a resource and my children are a resource because they are the potential to grow, maintain, and uphold the extraction-assimilation system. The act of extraction removes all of the relationships that give whatever is being extracted meaning. Extracting is taking. Actually, extracting is stealing—it is taking without consent, without thought, care or even knowledge of the impacts that extraction has on the other living things in that environment. That’s always been a part of colonialism and conquest. Colonialism has always extracted the indigenous—extraction of indigenous knowledge, indigenous women, indigenous peoples.

Naomi: Children from parents.

Leanne: Children from parents. Children from families. Children from the land. Children from our political system and our system of governance. Children—our most precious gift. In this kind of thinking, every part of our culture that is seemingly useful to the extractivist mindset gets extracted. The canoe, the kayak, any technology that we had that was useful was extracted and assimilated into the culture of the settlers without regard for the people and the knowledge that created it.

The alternative to extractivism is deep reciprocity. It’s respect, it’s relationship, it’s responsibility, and it’s local.

When there was a push to bring traditional knowledge into environmental thinking after Our Common Future, [a report issued by the United Nations World Commission on Environment and Development] in the late 1980s, it was a very extractivist approach: “Let’s take whatever teachings you might have that would help us right out of your context, right away from your knowledge holders, right out of your language, and integrate them into this assimilatory mindset.” It’s the idea that traditional knowledge and indigenous peoples have some sort of secret of how to live on the land in an non-exploitive way that broader society needs to appropriate. But the extractivist mindset isn’t about having a conversation and having a dialogue and bringing in indigenous knowledge on the terms of indigenous peoples. It is very much about extracting whatever ideas scientists or environmentalists thought were good and assimilating it.

Naomi: Like I’ll just take the idea of “the seventh generation” and…

Leanne: …put it onto toilet paper and sell it to people. There’s an intellectual extraction, a cognitive extraction, as well as a physical one. The machine around promoting extractivism is huge in terms of TV, movies, and popular culture.

Naomi: If extractivism is a mindset, a way of looking at the world, what is the alternative?

Leanne: Responsibility. Because I think when people extract things, they’re taking and they’re running and they’re using it for just their own good. What’s missing is the responsibility. If you’re not developing relationships with the people, you’re not giving back, you’re not sticking around to see the impact of the extraction. You’re moving to someplace else.

The alternative is deep reciprocity. It’s respect, it’s relationship, it’s responsibility, and it’s local. If you’re forced to stay in your 50-mile radius, then you very much are going to experience the impacts of extractivist behavior. The only way you can shield yourself from that is when you get your food from around the world or from someplace else. So the more distance and the more globalization then the more shielded I am from the negative impacts of extractivist behavior.

On Idle No More

Naomi: With Idle No More, there was this moment in December and January where there was the beginning of an attempt to articulate an alternative agenda for the country that was  rooted in a different relationship with nature. And I think of lot of people were drawn to it because it did seem to provide that possibility of a vision for the land that is not just digging holes and polluting rivers and laying pipelines.

But I think that may have been lost a little when we starting hearing some chiefs casting it all as a fight over resources sharing: “OK, Harper wants to extract $650 billion worth of resources, and how are we going to have a fair share of that?” That’s a fair question given the enormous poverty and the fact that these resources are on indigenous lands. But it’s not questioning the underlying imperative of tearing up the land for wealth.

Leanne: No, it’s not, and that is exactly what our traditional leaders, elders, and many grassroots people are saying as well. Part of the issue is about leadership. Indian Act chiefs and councils—while there are some very good people involved doing some good work—they are ultimately accountable to the Canadian government and not to our people. The Indian Act system is an imposed system—it is not our political system based on our values or ways of governing.

Putting people in the position of having to chose between feeding their kids and destroying their land is simply wrong.

Indigenous communities, particularly in places where there is significant pressure to develop natural resources, face tremendous imposed economic poverty. Billions of dollars of natural resources have been extracted from their territories, without their permission and without compensation. That’s the reality. We have not had the right to say no to development, because ultimately those communities are not seen as people, they are seen as resources.

Rather than interacting with indigenous peoples through our treaties, successive federal governments chose to control us through the Indian Act, precisely so they can continue to build the Canadian economy on the exploitation of natural resources without regard for indigenous peoples or the environment. This is deliberate. This is also where the real fight will be, because these are the most pristine indigenous homelands. There are communities standing up and saying no to the idea of tearing up the land for wealth. What I think these communities want is our solidarity and a large network of mobilized people willing to stand with them when they say no.

These same communities are also continually shamed in the mainstream media and by state governments and by Canadian society for being poor. Shaming the victim is part of that extractivist thinking. We need to understand why these communities are economically poor in the first place—and they are poor so that Canadians can enjoy the standard of living they do. I say “economically poor” because while these communities have less material wealth, they are rich in other ways—they have their homelands, their languages, their cultures, and relationships with each other that make their communities strong and resilient.

I always get asked, “Why do your communities partner with these multinationals to exploit their land?” It is because it is presented as the only way out of crushing economic poverty. Industry and government are very invested in the “jobs versus the environment” discussion. These communities are under tremendous pressure from provincial governments, federal governments, and industry to partner in the destruction of natural resources. Industry and government have no problem with presenting large-scale environmental destruction by corporations as the only way out of poverty because it is in their best interest to do so.

We have not had the right to say no to development, because  indigenous communities are not seen as people. They are seen as resources.

There is a huge need to clearly articulate alternative visions of how to build healthy, sustainable, local indigenous economies that benefit indigenous communities and respect our fundamental philosophies and values. The hyper-exploitation of natural resources is not the only approach. The first step to that is to stop seeing indigenous peoples and our homelands as free resources to be used at will however colonial society sees fit.

If Canada is not interested in dismantling the system that forces poverty onto indigenous peoples, then I’m not sure Canadians, who directly benefit from indigenous poverty, get to judge the decisions indigenous peoples make, particularly when very few alternatives are present. Indigenous peoples do not have control over our homelands. We do not have the ability to say no to development on our homelands. At the same time, I think that partnering with large resource extraction industries for the destruction of our homelands does not bring about the kinds of changes and solutions our people are looking for, and putting people in the position of having to chose between feeding their kids and destroying their land is simply wrong.

Ultimately we’re not talking about a getting a bigger piece of the pie—as Winona LaDuke says—we’re talking about a different pie. People within the Idle No More movement who are talking about indigenous nationhood are talking about a massive transformation, a massive decolonization. A resurgence of indigenous political thought that is very, very much land-based and very, very much tied to that intimate and close relationship to the land, which to me means a revitalization of sustainable local indigenous economies that benefit local people. So I think there’s a pretty broad agreement around that, but there are a lot of different views around strategy because we have tremendous poverty in our communities.

On promoting life

Naomi: One of the reasons I wanted to speak with you is that in your writing and speaking, I feel like you are articulating a clear alternative. In a speech you gave recently at the University of Victoria, you said: “Our systems are designed to promote more life” and you talked about achieving this through “resisting, renewing, and regeneration”—all themes in Dancing on Our Turtle’s Back.

I want to explore the idea of life-promoting systems with you because it seems to me that they are the antithesis of the extractivist mindset, which is ultimately about exhausting and extinguishing life without renewing or replenishing.

Leanne: I first started to think about that probably 20 years ago, and it was through some of Winona LaDuke’s work and through working with elders out on the land that I started to really think about this. Winona took a concept that’s very fundamental to Anishinaabeg society, called mino bimaadiziwin. It often gets translated as “the good life,” but the deeper kind of cultural, conceptual meaning is something that she really brought into my mind, and she translated it as “continuous rebirth.” So, the purpose of life then is this continuous rebirth, it’s to promote more life. In Anishinaabeg society, our economic systems, our education systems, our systems of governance, and our political systems were designed with that basic tenet at their core.

I think that sort of fundamental teaching gives direction to individuals on how to interact with each other and family, how to interact with your children, how to interact with the land. And then as communities of people form, it gives direction on how those communities and how those nations should also interact. In terms of the economy, it meant a very, very localized economy where there was a tremendous amount of accountability and reciprocity. And so those kinds of things start with individuals and families and communities and then they sort of spiral outwards into how communities and how nations interact with each other.

It was the quality of their relationships—not how much they had, not how much they consumed—that was the basis of my ancestors’ happiness.

I also think it’s about the fertility of ideas and it’s the fertility of alternatives. One of the things birds do in our creation stories is they plant seeds and they bring forth new ideas and they grow those ideas. Seeds are the encapsulation of wisdom and potential and the birds carry those seeds around the earth and grew this earth. And I think we all have that responsibility to find those seeds, to plant those seeds, to give birth to these new ideas. Because people think up an idea but then don’t articulate it, or don’t tell anybody about it, and don’t build a community around it, and don’t do it.

So in Anishinaabeg philosophy, if you have a dream, if you have a vision, you share that with your community, and then you have a responsibility for bringing that dream forth, or that vision forth into a reality. That’s the process of regeneration. That’s the process of bringing forth more life—getting the seed and planting and nurturing it. It can be a physical seed, it can be a child, or it can be an idea. But if you’re not continually engaged in that process then it doesn’t happen.

Naomi: What has the principle of regeneration meant in your own life?

Leanne: In my own life, I try to foster that with my own children and in my own family, because I have a lot of control over what happens in my own family and I don’t have a lot of control over what happens in the broader nation and broader society. But, enabling them, giving them opportunities to develop a meaningful relationship with our land, with the water, with the plants and animals. Giving them opportunities to develop meaningful relationships with elders and with people in our community so that they’re growing up in a very, very strong community with a number of different adults that they can go to when they have problems.

One of the stories I tell in my book is of working with an elder who’s passed on now, Robin Greene from Shoal Lake in Winnipeg, in an environmental education program with First Nations youth. And we were talking about sustainable development, and I was explaining that term from the Western perspective to the students. And I asked him if there was a similar concept in Anishinaabeg philosophy that would be the same as sustainable development. And he thought for a very long time. And he said no. And I was sort of shocked at the “no” because I was expecting there to be something similar. And he said the concept is backwards. You don’t develop as much as Mother Earth can handle. For us it’s the opposite. You think about how much you can give up to promote more life. Every decision that you make is based on: Do you really need to be doing that?

The purpose of life is this continuous rebirth, it’s to promote more life.

If I look at how my ancestors even 200 years ago, they didn’t spend a lot of time banking capital, they didn’t rely on material wealth for their well-being and economic stability. They put energy into meaningful and authentic relationships. So their food security and economic security was based on how good and how resilient their relationships were—their relationships with clans that lived nearby, with communities that lived nearby, so that in hard times they would rely on people, not the money they saved in the bank. I think that extended to how they found meaning in life. It was the quality of those relationships—not how much they had, not how much they consumed—that was the basis of their happiness. So I think that that’s very oppositional to colonial society and settler society and how we’re taught to live in that.

Naomi: One system takes things out of their relationships; the other continuously builds relationships.

Leanne: Right. Again, going back to my ancestors, they weren’t consumers. They were producers and they made everything. Everybody had to know how to make everything. Even if I look at my mom’s generation, which is not 200 years ago, she knew how to make and create the basic necessities that we needed. So even that generation, my grandmother’s generation, they knew how to make clothes, they knew how to make shelter, they knew how to make the same food that they would grow in their own gardens or harvest from the land in the summer through the winter to a much greater degree than my generation does. When you have really localized food systems and localized political systems, people have to be engaged in a higher level—not just consuming it, but producing it and making it. Then that self-sufficiency builds itself into the system.

My ancestors tended to look very far into the future in terms of planning, look at that seven generations forward. So I think they foresaw that there were going to be some big problems. I think through those original treaties and our diplomatic traditions, that’s really what they were trying to reconcile. They were trying to protect large tracts of land where indigenous peoples could continue their way of life and continue our own economies and continue our own political systems, I think with the hope that the settler society would sort of modify their way into something that was more parallel or more congruent to indigenous societies.

On loving the wounded

Naomi: You often start your public presentations by describing what your territory used to look like. And it strikes me that what you are saying is very different from traditional green environmental discourse, which usually focuses on imminent ecological collapse, the collapse that will happen if we don’t do X and Y. But you are basically saying that the collapse has already happened.

Simpson speaking at an Idle No More protest in Peterborough, Ontario.

Leanne: I’m not sure focusing on imminent ecological collapse is motivating Canadians to change if you look at the spectrum of climate change denial across society. It is spawning a lot of apocalypse movies, but I think it is so overwhelming and traumatic to think about, that perhaps people shut down to cope. That’s why clearly articulated visions of alternatives are so important.

In my own work, I started to talk about what the land used to look like because very few people remember. Very early on, where I’m from, on the north shore of Lake Ontario, you saw the collapse of the salmon population in Lake Ontario by 1840. They used to migrate all the way up to Stony Lake—it was a huge deal for our nation. And then the eel population crashing with the construction of the St. Lawrence Seaway and the Trent-Severn Waterway. So I think again, in a really local way, indigenous peoples have seen and lived through this environmental disaster where entire parts of their world collapsed really early on.

But it cycles, and the collapses are getting bigger and bigger and bigger. It’s getting to the point where I describe what my land used to look like because no one knows. No one remembers what southern Ontario looked like 200 years ago, which to me is really scary. How do we envision our way out of this when we don’t even remember what this natural environment is supposed to look like?

Naomi: I’ve spent the past two years living in British Columbia, where my family is, and I’ve been pretty involved in the fights against the tar sands pipelines. And of course the situation is so different there. There is still so much pristine wilderness, and people feel connected and protective of it. And I think for everyone, the fights against the pipelines have really been about falling more deeply in love with the land. It’s not an “anti” movement—it’s not about “I hate you.” It’s about “We love this place too much to let you desecrate it.” So it has a different feeling than any movement I’ve been a part of before. And of course the anti-pipeline movement on the West Coast is indigenous-led, and it’s also forged amazing coalitions of indigenous and non-indigenous peoples. I wonder how much those fights have contributed to the emergence of Idle No More—the fact of having these incredible coalitions and First Nations saying no to Harper, working together…

Leanne: But also because the Yinka Dene Alliance based their resistance on indigenous law. I remember feeling really proud when Yinka Dene Alliance did the train ride to the east. I was actually in Alberta at the time but we need to build on that because if you look in the financial sections of the papers for the last few years, there are these little indications that the pipelines are coming here too. And it’s becoming more so, with this refinery in Fredericton. So there needs to be a similar movement around pipelines as we’ve seen in British Columbia. But central Canada is behind.

No one remembers what southern Ontario looked like 200 years ago, which to me is really scary.

Naomi: I think a lot of it has to do with the state the land is in. Because in B.C., that was the outrage over the Northern Gateway routing—“You want to build a pipeline through that part of B.C.? Are you nuts?” It was almost a gift to movement-building because they weren’t talking about building it through urban areas, they were talking about building it through some of the most pristine wilderness in the province. But we have such a harder job here, because there needs to be a process not just of protecting the land, but as you were saying, of finding the land in order to protect it. Whereas in B.C., it’s just so damn pretty.

Leanne: I think for me, it’s always been a struggle because I’ve always wanted to live in B.C. or the north, because the land is pristine. It’s easier emotionally for me. But I’ve chosen to live in my territory and I’ve chosen to be a witness of this. And I think that’s where, in the politics of indigenous women, and traditional indigenous politics, it is a politics based on love. That was the difference with Idle No More because there were so many women that were standing up. Because of colonialism, we were excluded for a long time from that Indian Act chief and council governing system. Women initially were not allowed to run for office, and it’s still a bastion of patriarchy. But that in some ways is a gift because all of our organizing around governance and politics and this continuous rebirth has been outside of that system and been based on that politics of love.

So when I think of the land as my mother or if I think of it as a familial relationship, I don’t hate my mother because she’s sick, or because she’s been abused. I don’t stop visiting her because she’s been in an abusive relationship and she has scars and bruises. If anything, you need to intensify that relationship because it’s a relationship of nurturing and caring. And so I think in my own territory I try to have that intimate relationship, that relationship of love—even though I can see the damage—to try to see that there is still beauty there. There’s still a lot of beauty in Lake Ontario. It’s one of those threatened lakes and it’s dying and no one wants to eat the fish. But there is a lot of beauty still in that lake. There is a lot of love still in that lake. And I think that Mother Earth as my first mother. Mothers have a tremendous amount of resilience. They have a tremendous amount of healing power. But I think this idea that you abandon it when something has been damaged is something we can’t afford to do in Southern Ontario.

Naomi: Exactly. But it’s such a different political project, right? Because the first stage is establishing that there’s something left to love. My husband talks about how growing up beside a lake you can’t swim in shapes your relationship with nature. You think nature is somewhere else. I think a lot of people don’t believe this part of the world is worth saving because they think it’s already destroyed, so you may as well abuse it some more. There aren’t enough people who are articulating what it means to build an authentic relationship with non-pristine nature. And it’s a different kind of environmental voice that can speak to the wounded, as opposed to just the perfect and pretty.

Leanne: If you can’t swim in it, canoe across it. Find a way to connect to it. When the lake is too ruined to swim or to eat from it, then that’s where the healing ceremonies come in, because you can still do ceremonies with it. In Peterborough, I wrote a spoken word piece around salmon in which I imagined myself as being the first salmon back into Lake Ontario and coming back to our territory. The lift-locks were gone. And I learned the route that the salmon would have gone in our language. And so that was one of the ways I was trying to connect my community back to that story and back to that river system, through this performance. People did get more interested in the salmon. The kids did get more interested because they were part of the dance work.

On climate change and transformation

Naomi: In the book I’m currently writing I’m trying to understand why we are failing so spectacularly to deal with the climate crisis. And there are lots of reasons—ideological, material, and so on. But there are also powerful psychological and cultural reasons where we—and I’m talking in the “settler” we, I suppose—have been colonized by the logic of capitalism, and that has left us uniquely ill-equipped to deal with this particular crisis.

Leanne: In order to make these changes, in order to make this punctuated transformation, it means lower standards of living, for that 1 percent and for the middle class. At the end of the day, that’s what it means. And I think in the absence of having a meaningful life outside of capital and outside of material wealth, that’s really scary.

If we are not, as peoples of the earth, willing to counter colonialism, we have no hope of surviving climate change.

Naomi: Essentially, it’s saying: your life is going to end because consumerism is how we construct our identities in this culture. The role of consumption has changed in our lives just in the past 30 years. It’s so much more entwined in the creation of self. So when someone says, “To fight climate change you have to shop less,” it is heard as, “You have to be less.” The reaction is often one of pure panic.

On the other hand, if you have a rich community life, if your relationships feed you, if you have a meaningful relationship with the natural world, then I think contraction isn’t as terrifying. But if your life is almost exclusively consumption, which I think is what it is for a great many people in this culture, then we need to understand the depth of the threat this crisis represents. That’s why the transformation that we have to make is so profound—we have to relearn how to derive happiness and satisfaction from other things than shopping, or we’re all screwed.

Leanne: I see the transformation as: Your life isn’t going to be worse, it’s not going to be over. Your life is going to be better. The transition is going to be hard, but from my perspective, from our perspective, having a rich community life and deriving happiness out of authentic relationships with the land and people around you is wonderful. I think where Idle No More did pick up on it is with the round dances and with the expression of the joy. “Let’s make this fun.” It was women that brought that joy.

Naomi: Another barrier to really facing up to the climate crisis has to do with another one of your strong themes, which is the importance of having a relationship to the land. Because climate change is playing out on the land, and in order to see those early signs, you have to be in some kind of communication with it. Because the changes are subtle—until they’re not.

Leanne: I always take my kids to the sugar bush in March and we make maple syrup with them. And what’s happened over the last 20 years is every year our season is shorter. Last year was a near disaster because we had that week of summer weather in the middle of March. You need a very specific temperature range for making maple sugar. So it sort of dawned on me last year: I’m spending all of this time with my kids in the sugar bush and in 20 years, when it’s their term to run it, they’re going to have to move. Who knows? It’s not going to be in my territory anymore. That’s something that my generation, my family, is going to witness the death of. And that is tremendously sad and painful for us.

Individual choices aren’t going to get us out of this mess. We need a systemic change.

It’s things like the sugar bush that are the stories, the teachings, that’s really our system of governance, where children learn about that. It’s another piece of the puzzle that we’re trying to put back together that’s about to go missing. It’s happening at an incredibly fast rate, it’s changing. Indigenous peoples have always been able to adapt, and we’ve had a resilience. But the speed of this—our stories and our culture and our oral tradition doesn’t keep up, can’t keep up.

Naomi: One of the things that’s so difficult, when one immerses oneself in the climate science and comes to grips with just how little time we have left to turn things around, is that we know that real hard political work takes time. You can’t rush it. And a sense of urgency can even be dangerous, it can be used to say, “We don’t have time to deal with those complicated issues like colonialism and racism and inequality.” There is a history in the environmental movement of doing that, of using urgency to belittle all issues besides human survival. But on the other hand, we really are in this moment where small steps won’t do. We need a leap.

Leanne: This is one of the ways the environmental movement has to change. Colonial thought brought us climate change. We need a new approach because the environmental movement has been fighting climate change for more than two decades and we’re not seeing the change we need. I think groups like Defenders of the Land and the Indigenous Environmental Network hold a lot of answers for the mainstream environmental movement because they are talking about large-scale transformation. If we are not, as peoples of the earth, willing to counter colonialism, we have no hope of surviving climate change. Individual choices aren’t going to get us out of this mess. We need a systemic change. Manulani Aluli Meyer was just in Peterborough—she’s a Hawaiian scholar and activist—and she was talking about punctuated transformation. A punctuated transformation [means] we don’t have time to do the whole steps and time shift, it’s got to be much quicker than that.

That’s the hopefulness and inspiration for me that’s coming out of Idle No More. It was small groups of women around a kitchen table that got together and said, “We’re not going to sit here and plan this and analyze this, we’re going to do something.” And then three more women, and then two more women, and a whole bunch of people and then men got together and did it, and it wasn’t like there was a whole lot of planning and strategy and analyzing. It was people standing up and saying “Enough is enough, and I’m going to use my voice and I’m going to speak out and I’m going to see what happens.” And I think because it was still emergent and there were no single leaders and there was no institution or organization it became this very powerful thing.

On next steps

Naomi: What do you think the next phase will be?

Leanne: I think within the movement, we’re in the next phase. There’s a lot of teaching that’s happening right now in our community and with public teach-ins, there’s a lot of that internal work, a lot of educating and planning happening right now. There is a lot of internal nation-building work. It’s difficult to say where the movement will go because it is so beautifully diverse. I see perhaps a second phase that is going to be on the land. It’s going to be local and it’s going to be people standing up and opposing these large-scale industrial development projects that threaten our existence as indigenous peoples—in the Ring of Fire [region in Northern Ontario], tar sands, fracking, mining, deforestation… But where they might have done that through policy or through the Environmental Assessment Act or through legal means in the past, now it may be through direct action. Time will tell.

Naomi: I want to come back to what you said earlier about knowledge extraction. How do we balance the dangers of cultural appropriation with the fact that the dominant culture really does need to learn these lessons about reciprocity and interdependence? Some people say it’s a question of everybody finding their own inner indigenousness. Is that it, or is there a way of recognizing indigenous knowledge and leadership that avoids the hit-and-run approach?

Leanne: I think Idle No More is an example because I think there is an opportunity for the environmental movement, for social-justice groups, and for mainstream Canadians to stand with us. There was a segment of Canadian society, once they had the information, that was willing to stand with us. And that was helpful and inspiring to me as well. So I think it’s a shift in mindset from seeing indigenous people as a resource to extract to seeing us as intelligent, articulate, relevant, living, breathing peoples and nations. I think that requires individuals and communities and people to develop fair and meaningful and authentic relationships with us.

We have a lot of ideas about how to live gently within our territory in a way where we have separate jurisdictions and separate nations but over a shared territory. I think there’s a responsibility on the part of mainstream community and society to figure out a way of living more sustainably and extracting themselves from extractivist thinking. And taking on their own work and own responsibility to figure out how to live responsibly and be accountable to the next seven generations of people. To me, that’s a shift that Canadian society needs to take on, that’s their responsibility. Our responsibility is to continue to recover that knowledge, recover those practices, recover the stories and philosophies, and rebuild our nations from the inside out. If each group was doing their work in a responsible way then I think we wouldn’t be stuck in these boxes.

There are lots of opportunities for Canadians, especially in urban areas, to develop relationships with indigenous people. Now more than ever, there are opportunities for Canadians to learn. Just in the last 10 years, there’s been an explosion of indigenous writing. That’s why me coming into the city today is important, because these are the kinds of conversations where you see ways out of the box, where you get those little glimmers, those threads that you follow and you nurture, and the more you nurture them, the bigger they grow.

Idle No More is a shift in mindset to seeing us as intelligent, articulate, relevant, living, breathing peoples and nations.

Naomi: Can you tell me a little bit about the name of your book, Dancing On Our Turtle’s Back, and what it means in this moment?

Leanne: I’ve heard Elder Edna Manitowabi tell one of our creation stories about a muskrat and a turtle for years now. In this story, there’s been some sort of environmental crisis. Because within Anishinaabeg cosmology, this isn’t the First World, maybe this is the Fourth World that we’re on. And whenever there’s an imbalance and the imbalance isn’t addressed, then over time there’s a crisis. This time, there was a big flood that covered the entire world. Nanabush, one of our sacred beings, ends up trapped on a log with many of the other animals. They are floating in this vast sea of water with no land in sight. To me, that feels like where we are right now. I’m on a very crowded log, the world my ancestors knew and lived in is gone, and me and my community need to come up with a solution even though we are all feeling overwhelmed and irritated. It’s an intense situation and no one knows what to do, no one knows how to make a new world.

Idle No More group
Why Canada’s Indigenous Uprising Is About All of Us
When a new law paved the way for tar sands pipelines and other fossil fuel development on native lands, four women swore to be “idle no more.” The idea took off.

So the animals end up taking turns diving down and searching for a pawful of dirt or earth to use to start to make a new world. The strong animals go first, and when they come up with nothing, the smaller animals take a turn. Finally, muskrat is successful and brings her pawfull of dirt up to the surface. Turtle volunteers to have the earth placed on her back. Nanibush prays and breaths life into that earth. All of the animals sing and dance on the turtle’s back in a circle, and as they do this, the turtle’s back grows. It grows and grows until it becomes the world we know. This is why Anishinaabeg call North AmericaMikinakong—the place of the turtle.

When Edna tells this story, she says that we’re all that muskrat, and that we all have that responsibility to get off the log and dive down no matter how hard it is and search around for that dirt. And that to me was profound and transformative, because we can’t wait for somebody else to come up with the idea. The whole point, the way we’re going to make this better, is by everybody engaging in their own being, in their own gifts, and embody this movement, embody this transformation.

And so that was a transformative story for me in my life and seemed to me very relevant in terms of climate change, in terms of indigenous resurgence, in terms of rebuilding the Anishinaabeg Nation. And so when people started round dancing all over the turtle’s back in December and January, it made me insanely happy. Watching the transformative nature of those acts, made me realize that it’s the embodiment, we have to embody the transformation.

Naomi: What did it feel like to you when it was happening?

Leanne: Love. On an emotional, a physical level, on a spiritual level. Yeah, it was love. It was an intimate, deep love. Like the love that I have for my children or the love that I have for the land. It was that kind of authentic, not romantic kind of fleeting love. It was a grounded love.

Naomi: And it can even be felt in a shopping mall.

Leanne: Even in a shopping mall. And how shocking is that?


Naomi Klein wrote this article for YES! Magazine, a national, nonprofit media organization that fuses powerful ideas with practical actions. Naomi is an award-winning journalist, syndicated columnist, fellow at The Nation Institute and author of the international and New York Times bestseller The Shock Doctrine: The Rise of Disaster Capitalism. She lives in British Columbia.

From Yes! Magazine

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‘Blues Loony’ a poem by Sana Janjua

Eight years ago, I ferried across the mossy
Greens of blues loony, dreaming of escape,
I wore dread red lipstick, tightened my
Appetite from much to most;

Of literature I knew something, so I wrote
Fabled blossom-hearted nothingness,
Mysterious with pain hidden from their eyes,
As they crawled under my skin, saying who are you?

A ghost walked by in Newton Park, western winds howling
In eastern agony, bricked with bonded labour,
The rapists hurried away, unsuccessfully, with my right ankle
Lost in the abyss of migratorial silence, who could I tell?

Everything was so fast back then, before I owned a radio,
And Pink Floyd’s Comfortably Numb didn’t come to check up on
My little body that wriggled under the weight of eyelids…

I summoned nerve-wrecked
Poetry to find itself in me, as syllables and rhymes
Tethered around in akathisiacal mooniness…
I slept on public benches- night after night thinking
Of you, as you lay your arms around someone else.

Listen, you, listen,
Remember I too could smile through pain,

When I didn’t know your caste,
Your language, your capitalist father’s burgundy furniture,
When I didn’t know you and me,
And you said you loved me.

Sana Janjua is an emerging poet and playwright. She is a founding member and President of Surrey Muse, an interdisciplinary art and literature group.

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