Professional Documents
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Visual Essay
Nancy Ferris
Education 530
University of Calgary
“Rituals and ceremonies are corporeal sacred acts that give rise to holy manifestations in
the metaphysical world” (Ermine, 1995, p. 106). I contemplated this quote extensively when
analyzing the controversy surrounding the Bowfort Towers. The Bowfort Towers are a public art
display that were erected in Calgary, upon the completion of the new Bowfort Road and 16th
Avenue intersection. Public art has been a hot topic in Calgary as of late, the cost, the
importance, and simple aesthetics of it. The controversy behind the Bowfort Towers includes all
these factors, however, it goes much deeper than money and looks.
The loudest voice expressing outrage over the sculpture, has come from the Indigenous
community. Members have voiced concerns that visually the Bowfort Towers are reminiscent of
traditional burial platforms (Croteau, 2017). The City of Calgary previously stated that they had
intended to link the art piece to Blackfoot culture, and that the New York based artist had
consulted Blackfoot community members (Kury de Castillo, 2017). However, following the
intense controversy, and decries of cultural theft, the City later retracted this admission and
stated that the intent was never meant to resemble Indigenous art or culture (CBC News, 2017).
Admittedly, I had previously driven past the sculpture without giving it a second thought.
Like most Calgarians, I saw it as just another eye-soar, and frankly, waste of taxpayer dollars.
What’s more, had I previously learnt about the intense controversy behind its meaning, I might
have read into it and moved on, without contemplating the justification behind the hurt and
outrage. However, now that I have come to better understand (albeit on a very small scale)
Indigenous history and the genocide of the culture, language and people, I can no longer pass by
this ‘art’ piece and be indifferent. Circling back to the quote I referenced at the beginning of this
paper, and thinking about how sacred burial traditions are, I not only sympathize, but I too
Coming from a culture that is often ostracized and belittled and living in a society where
I’m constantly being told to hide my authentic self in order to conform to the ‘norm’, I can relate
statement: “I want to say my own things to the world, and so, of course, given history part of ‘my
own things’ is that you don’t let me say anything” (p. 362). Not only can I see this passage
through the lens of the Indigenous perspective, but I can see it through my own lived experience.
Relating it back to the Bowfort Towers (and the clear appropriation of Indigenous culture) I can
justify St. Denis’ (2007) argument that although efforts are being made to present Aboriginal
culture in an authentic way, rarely is the “real traditional Indian” (p. 1076) given a say in how
that is done. Additionally, this process of reclaiming their traditions and culture is vital to
Aboriginal people as it is part of their “immense healing process” (St. Denis, 2007, p. 1075). It is
not only crucial to the healing process, but it is also a necessary part of decolonization (Poitras
Pratt & Daniels, 2016, p. 182). This is essential because “in a realm where settler colonialism
Alberta, 2015, p. 7) it is necessary for Indigenous artists to reclaim their presence and voice in
the arts.
In terms of the Bowfort Towers, I can’t help but wonder, if the City was genuinely
intending the sculpture to have Indigenous symbolism, why did they not consult the Indigenous
community? Why were Indigenous artists not commissioned to work on this piece – especially
when considering that the land where the sculpture rests (known as the base of the Paskapoo
Slopes) is itself an important Indigenous site (Kury de Castillo, 2017)? These questions speak to
how problematic this sculpture is, particularly to the Indigenous community. Also, given that the
Aboriginal Urban Affairs Committee had previously provided the City with an Indigenous Policy
VISUAL ESSAY 5
Framework (Junker, 2018), and given that we are in a time of reconciliation, how is it we are not
seeing inclusion of Indigenous voices at the basic level of art policy (Kury de Castillo, 2017)?
The more I look at the pictures of the Bowfort Towers, the more I feel a sense of outrage,
and the more I ponder my previous ignorance when it came to Indigenous issues. I can’t help but
agree with DiAngelo & Sensoy (2014) when they claim that “society is structured in ways that
make us all complicit in a systems of inequality; there is no neutral ground” (p. 5). In the same
way that I would desire others to speak up against injustices committed against me and my
people, I need to do the same. I can no longer be part of the problem, as Schissel & Wotherspoon
so poignantly state “we emphasize, in addition and without apology, that if we continue to ignore
the voices of those most damaged, we are part of the problem and not part of the solution” (2003,
p. 38).
Perhaps the most significant contribution I can make to ‘being part of the solution’ is to
use the knowledge I’ve acquired on Indigenous peoples and issues to inform my future teaching
practices. The first step is to make all the students feel welcomed and valued in the classroom.
Building this foundation for strong relationships with the students is integral in allowing
Indigenous students specifically to thrive (Goulet & Goulet, 2014, p. 101). It is not only
important to show respect to Indigenous people, but it’s critical to have a “positive attitude
towards Indigenous culture” (Goulet & Goulet, 2014, p. 109). Admittedly these are minor steps
that I can take, nevertheless, they are essential as they will be the base to build upon when
References
CBC News. (2017, August 31). Bowfort Towers 'never meant to be an Indigenous artwork,' city
https://www.cbc.ca/news/canada/calgary/bowfort-towers-treaty-7-chiefs-mayor-city-
controversy-public-art-indigenous-calgary-1.4270547
Croteau, J. (2017, August 7). Rejected Siksika artist weighs in on controversial Bowfort Towers
siksika-artist-weighs-in-on-controversial-bowfort-towers-sculpture/
DiAngelo, R. & Sensoy, O. (2014). Leaning in: A student’s guide to engaging constructively
https://www.researchgate.net/publication/279539507_Leaning_in_A_student%27s_guide
_to_engaging_constructively_with_social_justice_content
Nations Education in Canada: The circle unfolds. Vancouver: UBC Press. [eBook full
http://ebookcentral.proquest.com.ezproxy.lib.ucalgary.ca/lib/ucalgary-
ebooks/reader.action?ppg=122&docID=3412224&tm=1503510739016
Goulet, L. M., & Goulet, K. (2014). Weechihtowin, helping and supporting relationships: The
foundation. In, Teaching each other: Nehinuw concepts & Indigenous pedagogies (pp.
http://ezproxy.lib.ucalgary.ca/login?url=http://search.ebscohost.com/login.aspx?direct=tr
ue&db=nlebk&AN=768313&site=ehost-live&ebv=EB&ppid=pp_98
VISUAL ESSAY 7
http://dx.doi.org/10.1080/095183900413304
Junker, A. (2018, March 8). Tsuut’ina Nation blasts controversial art installation. Calgary
blasts-controversial-art-installation
Kury de Castillo, C. (2017, August 6). ‘It looks like a burial tower:’ Controversy over Calgary’s
https://globalnews.ca/news/3652331/it-looks-like-a-burial-tower-controversy-over-
calgarys-new-public-art-project/
Poitras Pratt, Y. & Daniels, L. (2016). Metis Remembrances of Education: Bridging History with
http://dspace.ucalgary.ca/bitstream/1880/50603/1/2014_IDEAS_Presentation_PoitrasPrat
t_Daniels.pdf
Schissel, B. & Wotherspoon, T. (2003). The Legacy of School for Aboriginal People. Don Mills,
http://deslibris.ca.ezproxy.lib.ucalgary.ca/ID/432095
St. Denis, V. (2007). Aboriginal education and anti‐racist education: Building alliances across
cultural and racial identity. Canadian Journal of Education, 30(4), 1068-1092. Retrieved
from
http://ezproxy.lib.ucalgary.ca/login?url=http://search.ebscohost.com/login.aspx?direct=tr
ue&db=ehh&AN=31539262&site=ehost-live
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University of Alberta. (2015). Living Traditions: Expressions in Pop Culture and Art. [PDF
https://www.coursera.org/learn/indigenous-canada/supplement/aftdf/living-traditions-
course-notes