Miwasin Iskwewak Kisikaw!- Happy Women's Day! As many of you probably know today is International Women's Day! A day to recognize and celebrate the life-givers, home makers, culture carriers, water protectors, knowledge holders, ceremony keepers, earth warriors! And, so much more!

My recent hoop dance at the Heard Museum 'World Championship Hoop Dance Contest' in Pheonix, Arizona was created to represent myself, as a women, who holds many of the roles mentioned above, as well as, to honor the many roles of women that go unnoticed and are undervalued in our society today. 

When we are in ceremony the circle is often divided into a women's side and a men's side, representing balance, equality, and unity of male and female gender roles.

The hoop dance has historically been a male dominated dance, which is a critique some have towards the World Championship Hoop Dance Contest. Although, I have never heard teachings that explicitly say only men are allowed to hoop dance. I do not believe that women need a separate category at the World Championships. What I do wish to see is that women are valued, respected, and honored for what they bring to the circle. I think it is important to retain that balance, equality, and unity of different gender roles which had made our ancestors such healthy and strong people, as well as, their family, community and nations!  Hiy-hiy! Thank you!

Watch my World Championship Hoop Dance performance here: 

In July- August 2013 I journeyed to the United States for my fourth time participating in a performance of Walking at the Edge of Water, choreographed by Rulan Tangen of Dancing Earth. We rehearsed in Santa Fe and performed two shows in New York City at the Downtown Dance Festival in Battery Park, sponsored by the Smithsonian Museum of the American Indian. There were ten dancers in the ensemble, and five of them I have worked with before (including Rulan) and it is always such an awesome experience to work with other Indigenous dancers. I would have to say this group is one of the best I have ever worked with, all being professional dancers, as well as, holders of traditional and spiritual knowledge and tradition. The way these dancers were brought together was nothing short of the universe flowing together in harmony. I believe we worked very well together and as a result were let out of rehearsal early on several occasions! (This in my experience is very rare) There were many instances where we came across signs that confirmed to us as a group and as individuals that we were meant to be here. We were destined to represent Indigenous dance next to dance companies from around the world, including NYC’s prestigious José Limón Company.

One of the first things we did upon arrival in NYC (after a red eye flight and a 6:00 am arrival) was visit the Two Row Wampum Gathering, which seeks honor for the original intention of the treaties, such as peace and sovereignty. The day before our arrival there was a march to the United Nations with hundreds of people who paddled canoes into NYC harbor in order to bring the message of the Two Row Wampum. The Two Row Wampum itself, which I had learnt about as a Graduate student with Dr. David Newhouse, represents two canoes paddling side by side along a river, neither interfering with the other’s vessel, but co-existing peacefully.  This ideal had many implications and undertones relevant to our dance for the water. The river, canoes, peace and sovereignty is representative of many of the issues different Indigenous dancers have brought up over the years during the different explorations of Walking at the Edge of Water.

When we arrived at the gathering we heard the Akwesasne Women Singers share a song for the water and the connection between women, birth and water. This is a theme we had heard from Anishnaabeg (Ojibway) women in Peterborough, Ontario during one of the first explorations creating dance around the theme of water. This was reflected for me in the fact that I was 15 weeks pregnant when we arrived in NYC, so my participation in Walking at the Edge of Water was especially compelling. In Anishnaabeg teachings water is also associated with emotions, such as those expressed through tears. I have been known to cry real tears on stage and backstage because of the emotional power in this dance. For me this was one of the most emotionally powerful performances of this show.

Some of the Chiefs at the gathering spoke about the importance of water, and urged us to be aware of our impact on the water. An imminent and potent message as we sat next to the harbor where the canoes had paddled in and near the site where we would be dancing the next day to bring awareness to the issue. This was reflected in our performance through many images that depicted the harmful effects our actions have on water and the environment, such as oil, vanity, greed, and consumption.

In a recent professional development opportunity, training in the’7 Habits of Highly Effective People’ we learnt about empathy. What we were taught was that reflecting is one of the highest forms of empathetic listening. The best way to show empathy towards others is reflecting back to them their words, thoughts and feelings. In this way we do not make assumptions, place judgement or focus on ourselves. We are simply reflecting what we hear or see. For me this resonated with my experiences in Walking at the Edge, of Water throughout this piece the dancers simply reflect... Reflecting water itself, reflecting Indigenous stories and teachings around water, reflecting how we all contribute to the destruction of water, reflecting the sacredness of water and the healing of water, thereby demonstrating the greatest form of empathy, one that makes no judgement or assumptions… And if the title of the training is accurate this is a ‘highly effective’ way to bring awareness to and show empathy for the sacred waters 'of our bodies and of the earth’ (as Rulan would say). We can only hope that this passion for the environment will continue to be reflected back to us through the people we meet, leaders that speak out, women that sing for the water, and is joined by the actions and voices of many more… 

Currently, I feel a great sense of pride as I follow Dancing Earth: Indigenous Contemporary Dance Creations on their tour to New Zealand, bringing this important dance and message to the world. You can read more about this journey at www.dancingearth.org or follow them on Facebook or Twitter.

My participation was funded by the Canada Council for the Arts. Dancing Earth's U.S. dancers sponsored by the Smithsonian Museum of the American Indian in NYC.

On December 16, 2012 I was asked to do a short hoop dance at the World Cross Country Ski Championships in Canmore, Alberta. The event would be televised around the world.

Meanwhile, a movement was happening all over Indian country and beyond, a movement sparked by a people’s continued oppression, a movement based in the cultural values and traditions of First Nations. A movement that continues to bring people together on a worldwide scale in the name of unity, peace, justice for all people, for all beings, for all of the earth.

As I prepared to take the world stage for a few short minutes, I was reminded of the history of Indigenous dance that I have been researching. I thought of the early to mid- 1900’s, when our dances were made illegal in Canada and the U.S. as they were thought to be a hindrance to colonization and assimilation. Yet, during this same time, Wild West shows prevailed where dancers were put on stage to depict the colonial view of the west. Our ancestors continued to dance, whether on stage or in secret, knowing that the most important thing in the face of colonization was to continue to be ‘indian’ and continue to dance, pray, speak the language... simply being is decolonizing.

For a moment I felt I understood them. I understood the need to dance, no matter what. I had a glimpse of what our ancestors went through as they battled colonization. Even in the most subtle and humble ways as simply dancing, even in Wild West shows.

My heart was heavy that day with the burden of responsibilities that come with dance and knowledge. I wanted to go on stage and shout at the injustices that were being committed against our people, our land... Instead I did my hoop dance. A subtle and humble resistance. Simply being, being myself, being Nehiyaw (Cree) was an act of decolonization.

This experience awakened me to something I have always known – I am my ancestors. WE are our ancestors. Not just descendants of our ancestors, but we are experiencing the same things they have experienced for years! We are fighting the same fight. We are being our ancestors, by being ourselves.

As I thought of Idle No More and the goal of protecting the land I was also reminded of the signing of Treaty 8 (1899). It was the Nehiyawak who asked for a treaty after settlers had been coming into Nehiyawak territory and exploiting the land and resources without permission. I was again reminded that yes, WE ARE OUR ANCESTORS. Here we are 2013 still fighting for the same recognition, still against the exploitation of our land and resources.

It’s still the same... but there is one difference. In 1899 it was 500 Nehiyawak who gathered and stopped the settlers from entering their territory until a treaty was signed... Today, thanks to technology and social media, it is millions, if not billions, of people worldwide who are gathering. When one person does a subtle and humble resistance it is indeed admirable... but when millions of people participate in the same subtle and humble resistance around the world? Not so subtle and humble anymore... This unity of people, voices and actions have created an unparalleled and far reaching transformative movement... What is now being called a Global Super-Movement. Idle No More has swept the globe being one of the top news stories  a top trending hash-tag on social media. All over the world people are being awakened to the fact that WE ARE OUR ANCESTORS – WE ARE IDLE NO MORE!