Telephone: 604 444-4889
Outside Vancouver: 1 888 445-4176
Fax: 604 444-4119
Patricia Cano in Tomson Highway’s The (Post) Mistress
The Ode’min Giizis Festival is presented by O’Kaadenigan Wiingashk (OKW) and Public Energy in Peterborough, Ontario. From June 20-24 2012, Indigenous artists, including musicians, performers, visual artists, writers, storytellers, artisans, and dancers will gather to expand our imagination and dreams while pushing the boundaries of their art forms.
One event that has organizers very excited is the staging of The (Post) Mistress, a new musical penned by leading Native playwright and musician Tomson Highway.
The Ode’min Giizis Festival celebrates this auspicious time of year and traditional Anishinaabe territory with a five day multi-disciplinary arts festival in Peterborough, Ontario featuring local and visiting artists from the four directions. OKW and Public Energy invite you to come out to experience a diversity of Indigenous artistic expression and events – including the community procession, the traditional gathering, gallery exhibitions, performance art, talks, dance, storytelling, theatre, and music concerts.
Ed Huyck reviewed the play for CityPages.com. A few excerpts follow.Monday May 6, 2013 in Meta-Talon
Ash Tanasiychuk takes pictures. Of Dina Del Bucchia. Nuff said. Oh, and Otters!Monday April 29, 2013 in Meta-Talon
Joanne Arnott interviews Wanda John-Kehewin about her new book In the Dog House:
I can’t really say there were many poets of the past that influenced my writing. I think when I really started to be inspired was when I heard that there were other Native writers, and that wasn’t until I moved to the West Coast in 1991. For some reason I didn’t think it was actually something an “Indian” could do. There weren’t any books in the library that were by First Nations people when I was growing up.Thursday April 25, 2013 in Meta-Talon
Garry Thomas Morse on poetry prizes and/or music in poetry. Whatever!
Not to pull an academy-bashing Joaquin Phoenix, but strictly off the record, I’ve never understood how prizes relate to poetry, exactly, and a number of acclaimed poets have confessed a similar sentiment in my presence, in one way or another. One would hope that a poet only gets into the racket out of an imperative need to do so, if not a compulsive love, implying all the emotions and forms of resentment love can contain. In that case, how can a prize for being the greatest lover compare to said love itself?
We gratefully acknowledge the financial support of the Canada Council for the Arts; the Government of Canada through the Book Publishing Industry Development Program; and the Province of British Columbia through the British Columbia Arts Council for our publishing activities.