“This is a series which saw her capture a glittering performance in Harlem’s African-American Day Parade. On a gold fabric float with a giant gilded frame, 15 performers reached out to the adoring crowd to hold up gold frames to their faces. O’Grady caught with her camera – so beautifully and so joyously – the different personalities and ages in the crowd. And ultimately recorded what art is about: people”
O’Grady as Mlle Bourgeoise Noire
This event was O’Grady’s final performance as her famous persona, Mlle Bourgeoise Noire, “who invaded art openings wearing a gown and a cape made of 180 pairs of white gloves.” [credit]
“At my request, my mother went to a detective agency called “Duluc”. She hired them to follow me, to report my daily activities and to provide photographic evidence of my existence. The investigation was conducted on April 16, 1981.” [credit]
“In April 1981, a detective followed the French artist Sophie Calle through the streets of Paris for one day. Hired by her mother at the artist’s request, the detective logged her movements and photographed her activities as she, without his knowledge, recorded her experience of being watched. She later exhibited the reports side-by-side in her piece “La Filature” (“The Shadow,” 1981), which highlights Calle’s method of working over three decades. Staging provocations resembling seduction, documenting them with snapshot photography and a forensic first-person point of view, she crosses the thresholds of voyeur and exhibitionist, public and private, conceptual control and chance.” [credit]
“Lennon and Yoko Ono made a 77-minute-long conceptual film in 1969 called Rape. Shot mainly in close-up with a hand-held camera, the film features the single action of a small film-making crew coming upon a woman in a London park and following her through the park, along streets and into her apartment. We are the voyeur and the violator in this symbolic form of video assault. The woman speaks a foreign language and cannot communicate with the crew in English, signifying the helplessness and isolation of the victim.
According to Ono, Rape was a candid recording by cinematographer Nic Knowlton of a woman who was not a voluntary participant of this project. The film was seen as a commentary on Ono’s experience with the press due to her high-profile relationship with Lennon, criticising the lack of privacy that celebrity fetishisation leads to. In later years, it has become a textbook example of the phenomenon of “the male gaze” and how the institution of cinema has mistreated women.
The ideas in the film are theoretically interesting and some of its execution is fascinating, Rape ultimately becomes an endurance test for the viewer because of the 77-minute runtime. However, this is exactly the purpose of such cinematic theses. Lennon and Ono manage to create an atmosphere of discomfort and distress where the audience feels like they are complicit in the terrible crime.”
Like other walking works that involve following without consent, this work is problematic. Read more in this exercise.
Okwui Okpokwasili led a 9-person walk that explored the making of an “embodied collective” in the charged landscape of the South Bronx. Facilitating a multi-sensory exchange with each other and the space, the group slowly walked through the Gold Coast Trading Company (an African market) and worked toward an expansive group practice of dynamic movement. No previous dance experience was required.
” “It a people market!” a woman shouted as nine of us slowly followed Okwui Okpokwasili through Gold Coast Trading Company in the south Bronx.
She was telling us this wasn’t our market. It is a place where Africans shop, gather, and commune. It wasn’t our place to create art. One of our participants — an African American woman — tried to explain our mission. The woman disappeared and left us to our ritual.
Walls of Bounty, Ajax, Goya, and West African spices hovered over us as we weaved our way through the market’s maze. Prior to entering the market, Okpokwasili explained women would cleanse the roads to the market, and we were symbolically going to do the same at Gold Coast Trading Company. At a walking meditation pace, we moved together as much as a unit as we possibly could contain.
But what if a space and its owners do not want the roads to their market cleansed? What if they have a special place in their neighborhood in which Americans do not visit? As participants, we became performers for people who didn’t want a performance. They were confused, concerned. But we never felt unsafe.
One man, in a green cap with a red star, stopped and stared. He grinned, seemingly getting it, turned around, and headed down another isle.
But to other customers and employees, the ritual seemed sinister. Maybe it was a ceremony to bring bad juju. That’s what the market’s owner suggested to Okpokwasili after the walk as we stood outside and waited for her to finish negotiating with him.
Shalom said someone told him, “This is an African market. Not an American market.”
Outsider. Infiltrator. Other. For a change, I was placed in the uncomfortable position of feeling unwelcome.
Okpokwasili grew up in this neighborhood, and she wanted to share something from her childhood. The smells, the energy, the malts, and chin chin awakened a childlike joy in her. All she wanted to do was share a special experience in a special place with a small special group of people.
In the end, Elastic City decided it best not to return to the market and disturb them again. The remainder of Okpokwasili’s walks trekked through the Harlem Market.”
“WALK THE INDIAN SCHOOL” was led by Patty Talahongva on Saturday May 7, 2016, 8am – 10am in Phoenix, AZ. Here is the event description:
“Chances are you’ve taken Indian School Road to drive into downtown Phoenix but do you know how the road got its name? Did you know the federal government operated a boarding school for Native American children for 99 years at the corner of Central Avenue and Indian School Road? Come join us for a walking tour of the former school site, which is now Steele Indian School Park, and learn about the history of such boarding schools and the students and people who lived, worked and played on the site. Three buildings remain from the Indian School and all three are on the National Register of Historic Places. The City of Phoenix owns and operates the park and rents out Memorial Hall for public and private events. Learn about the effort to restore the former music building and turn it into a Native American Cultural Center. The tour will be led by a former student who attended Phoenix Indian School.
Patty Talahongva is the Community Development Manager at Native American Connections (NAC). She is overseeing the restoration of the music building for NAC and its partner, the Phoenix Indian Center (PIC). Patty attended Phoenix Indian School and will share her memories of the school and show guests how the campus changed through the 99-year history. Interview on NPR with Patty about this project. Click here.
Note: We suggest going to the Heard Museum prior to the walk to view the current exhibition on federally run Indian boarding schools. Following the walk we will join Patty at The Frybread House for a meal and a Q & A session. Lunch is on your own and the walking tour is free.”
“Two Anishinawbe Grandmothers, and a group of Anishinawbe Women and Men have taken action regarding the water issue by walking the perimeter of the Great Lakes.
Along with a group of Anishinabe-que and supports, they walked around Lake Superior in Spring 2003, around Lake Michigan in 2004, Lake Huron in 2005, Lake Ontario in 2006 and Lake Erie in 2007.
The 1st Annual Women’s Water Walk took place April 2003. Several women from different clans came together to raise awareness that our clean and clear water is being polluted by chemicals, vehicle emissions, motor boats, sewage disposal, agricultural pollution, leaking landfill sites, and residential usage is taking a toll on our water quality. Water is precious and sacred…it is one of the basic elements needed for all life to exist.
The Annual Women’s Water Walk was chosen for Spring because for the natural re-growth of our natural habitat, as it is a in time for renewal, re-growth, and re-birth.
A team of 6 – 8 Aboriginal people volunteer to walk and help with the everyday necessities such as having multitasked drivers to accompany walkers, food preparation, refreshment breaks, camp set ups, cleaners, laundry etc.
Public Relations Personnel have been involved throughout by taking shifts, and also going ahead to communities to aid with the awareness of the walk. This includes the distribution of media releases, posters, pamphlets, advertisements, and meeting and greeting of the participating walkers.
The overall result after implementation is to gather other groups and/or organizations to participate in an all regional walk around the Great Lakes. The goal is achieved strength in numbers with other Aboriginal men/women in the Great Lake Regions. The anticipated outcome is to have all people aware of the importance of the water and gain support and the gathering of other supporters whom would share an interest in protecting our water through our walk. This event will be annually, with the intent of the Women’s Water Walk to gain awareness and support for annual walks throughout the region. This will entail support, recognition, and awareness of the importance of keeping Great Lake waters clean.
It is anticipated that eventually challenges with other organizations to come together each spring to adopt a common like to care and protect from further pollution.
Stakeholder participation presently resides within the Biidaajiwun Local. Biidaajiwun Local is a women’s group run exclusively by women to raise awareness of issues, pertaining the needs of Aboriginal women. Contribution factors involve the housing of public relation workers, volunteers, support and the participation of several women sharing in the protection of our waters.
It is the hope that other locals, individuals and organizations will come together annually to spread interest and awareness in their communities. This annual event is intended to gain support to raise awareness throughout the region.
The originality of this idea is uncommon as there are few who are ready and willing to take on such a challenge. This idea is original because of how society today is taught to rely on the technological equipment, and that the mere thought of a walk being more than 15 minutes is a task for many. We strive our own determination that this challenge is seldom being done elsewhere, particularly in our region. We are doing this walk on our own beliefs within our own aboriginal culture and values of the importance of our waters is very precious and sacred to our being, as it is one of the basic elements needed for all life to exist.
In doing so, we know that such an endeavors requires a certain amount of funds to help carry the walk over for a two month period, but this alone will not prevent us from carry out what our grandfathers have predicted. Our waters will be scarce and will be deficient in the essential means for our survival….our water.”
“Jaime Koebel is the founder of Indigenous Walks, “a walk and talk tour through downtown Ottawa that brings awareness about social, political and cultural issues while exploring monuments, landscape, architecture and art through an Indigenous perspective,” according to its website, which is available on internet archive.
Part of the appeal for Koebel—an Indigenous arts activator who also works in traditional and contemporary Métis/Cree art forms such as dance, fish-scale art and beading—is highlighting Indigenous stories that are alternately cloaked, mistold or misrepresented through monuments in Canada’s National Capital Region.
“I open up some information about what each of the monuments is representing, and what each is hiding,” says Koebel.
“We take a look at some monuments that have a clearly Aboriginal theme, like monuments to Indigenous veterans, but there might be some monuments that seem to be Indigenous”—and aren’t.
There are also, Koebel notes, “monuments that seem to have nothing to do with Indigenous people, but there is no information given” about those Indigenous connections.
And on the flipside, there are monuments in Ottawa that seem to be about Indigenous people, “but are actually more about Canada.”
Koebel is well poised to undertake this kind of work—her graduate and undergraduate degrees are in Canadian studies, and she says, “as an Indigenous person having lived in a rural community and moved into an urban centre, that really helps inform my perspective.” She is also practiced in looking at art; Koebel works at the National Gallery of Canada, too, where she was assistant curator on its major survey of Dene-Sauteaux artist Alex Janvier.
Having worked at the National Gallery of Canada as an educator during “Sakahàn,” a massive exhibition of Indigenous art, Koebel sensed that there was a hunger among non-Indigenous people to learn more about Indigenous histories and cultures.
After conducting youth tours of “Sakahàn,” she says, and opening up conversations with youth there about the artworks on view, “what I found so interesting about these conversations was, inevitably, at the end of the tour, I could see these non-Indigenous folks hanging around, and I could see that there was this hunger to know more about Indigenous people.”
For Koebel, walking also aligns with her cultural beliefs around Nehiyawak. This Cree term and concept underlines that there are four parts for human beings—that is, spiritual, physical, emotional and mental aspects of the self.
“The one thread that ties” all of Koebel’s art forms together, she says, “is that they really include all four aspects of what it means for me to be a human being.”
That experience, in part, is what led her to establish Indigenous Walks in 2014. Spring and summer are a particularly busy seasons for the walks, and Koebel also hopes that tour participants right now get a sense of her culture’s values during their experience with her Indigenous Walks team.
“I think when people leave the tour, they get a holistic experience, an understanding of those four parts that together form what it means to be a human being,” Koebel says.” [credit]
Lisa Myers, ‘and from then on we lived on blueberries for about a week’, made for MAP Spring 2013, 6’44” (animation with assistance from animator Rafaela Kino). This work pays homage to an on-foot journey her grandfather undertook to flee Shingwauk Residential School in Ontario. Myers herself once did an 11-day walk tracing the route of her grandfather’s journey.
“When he was a boy, artist Lisa Myers’s Anishinaabe grandfather walked some 250 kilometres along Northern Ontario railroad tracks for one reason: to escape Shingwauk Residential School in Sault Ste. Marie.
Myers recorded her grandfather’s account of this journey during a conversation with him in the 1990s—and she listened it to it many times before she made the decision, in 2009, to walk the route he’d described alongside her cousin Shelley Essaunce and her nephew Gabriel.
Myers and the Essaunces took 11 days to walk the 250-kilometre journey.
“After this walk,” Myers writes in a 2016 Walter Phillips Gallery exhibition essay titled “Rails and Ties,” “I began thinking about how to locate myself within my grandfather’s story, and about how I wanted to convey its different iterations. One thing that struck me was that he survived by eating blueberries growing along the tracks. He said, ‘and from then on we lived on blueberries for about a week.’”
“Instead of always repeating his story, [walking] was a way of finding myself in that story,” Myers told curator Maya Wilson-Sanchez a few years ago. And by walking, Myers also told Wilson-Sanchez, she was “able to bring the places in the story to life.”
“When I recall walking across the railway bridge over the Mississauga River north of Lake Huron,” Myers writes in “Rails and Ties,” “I think about my fear of the elevation, and how gusts of wind unsteadied my steps. Finding my footing meant looking down and seeing the river rushing 50 feet below the railway ties of that century-old steel bridge. The Mississagi River flows into Lake Huron, the railway crosses the river, and from my grandfather’s account of his journey this was the first place (after leaving school) where he heard his language and saw Anishinaabe people cooking and sharing food down by the river. They welcomed him, and fed him.”
Lisa Myers, “Blueprint Garden River bridge” (2015)
Lisa Myers, “Tracking My Blueprints blueberry, rolling pin wood block print variable” (2012)
Lisa Myers, still image from then on we lived on blueberries for about a week, 2015.
“The spoons represent sharing, sustenance and the gathering of people,” Myers writes. “When I line these spoons up side by side, the reddish-blue marks continue from one utensil to the next, recalling an imaginary topography or horizon line created by the trace of berry consumption.”
In this sense, walking and artmaking become different ways of tracing and “straining” an experience.
“Straining to survive, or even to be accepted, means the less digestible parts of stories need to be retained, traced, remembered and told,” Myers writes.
Of course, Myers is not alone in thinking about walking as a mode of Indigenous resistance and survival.
“There’s the water walk that is happening, and which is not directly art-related,” Myers said in a phone interview. “But I think Indigenous artists are wanting to also acknowledge that these forms of activism are happening. There was walking from a community in Nunavut, [Idle No More] walking to Ottawa to make a point.”
“Walking to safety is a really important narrative in talking about survival, and surpassing survival to freedom,” says “Walks of Survivance” curator Srimoyee Mitra.” [credit]
“In Miss Canadiana Heritage and Culture Walking Tour, Miss Canadiana acts as a tour guide to the hidden Black histories of Toronto’s Grange neighbourhood. You can View the photo Album here”
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
Camille Turner, “Miss Canadiana Heritage and Culture Walking Tour” (2011)
““For me, walks really bring awareness to the places that we’re in in a completely different way than any other types of artwork that I’ve seen,” says Toronto artist Camille Turner. “It really makes people see the space in a completely different way, and I think that’s really powerful.”
Turner would know—after creating her soundwalk Hush Harbour, which guides participants on a walk near King and Front Streets in Toronto to reimagine the city’s Black past and to remap Blackness onto the urban landscape, Turner conducted an online survey to get feedback on the piece.
“[The Hush Harbour participants] said they were looking in a new way at the space they walked through every day,” says Turner. “So that way of transforming space is something that walks really do well.”
Currently, Turner is working at one of the formal limits of walking-based art—trying to transform the mobile Hush Harbour walk experience into an installation for the Theatre Centre in Toronto.
“There are limitations to walks as well,” Turner notes, “because people have to come to the place where the walk is made to experience it. I’m trying to uncouple that, so it can be experienced in other places, and travel.”
Turner’s understanding of the power of walking to transform experiences of place started well outside of the art realm.
“I’ve probably gone on lots of different walks, and not necessarily ones that are done by artists,” Turner says, saying one of her favorites was “an amazing walk with Ed Mirvish and Sam the Record Man around Kensington Market” in the 1980s.
Perhaps it is the impact of such experiences that drives Turner to imagine how to make the remapping of space and reclaiming of place available via live, in-person walks, and transform that into something downloadable and reproducible.
Originally performed live in 2011, the piece has Turner, in her Miss Canadiana persona, act as tour guide to hidden Black histories of Toronto’s Grange neighbourhood. (The area is home to the Art Gallery of Ontario and OCAD University, among other canon-building institutions.)
“I am going to do it as a Google Doc so people can actually do it as a self-guided walking tour,” says Turner, who will also remount the work live once more in November 2017.
There may also be a digital or downloadable sound component of the new version of this walk. Turner herself is a great admirer of sonic-walk pioneers like New York’s soundwalk.com, which has created a 9/11 memorial walk with Paul Auster, among other pieces.
“I also really love the sonic walks, because for me, it’s like time travel—you can bring people backward and forward in time,” Turner says. “I use binaural microphones that I put in my ears, so [the recording is] picking up space exactly as I hear it.”
Ultimately, it is the ability to intervene in history that draws Turner to walking in her practice—especially when it comes to surfacing Black and African experience in spaces constructed by the canon, and by society at large, to read as white or European. (Meetings of past and present Black history also come to the fore in some of Turner’s works in other media, like the combination of contemporary photo-portraiture and historical “runaway slave” notice texts in her series Wanted, co-created with Camal Pirbhai and opening in “Every. Now. Then.” at the Art Gallery of Ontario on June 28.)
“Walking can be an intervention into history—it’s a way of practicing public history, and in bypassing the institutions that create history, you can be a producer of history,” says Turner. “I really like these kinds of ways of working, of intervening in space and in the way that power is kind of written itself in the land.” [credit]
“Realized in East Vancouver in 2015 as part of the experiential research that Carmen Papalia undertook prior to his collaboration with Sara Hendren’s Adaptive and Assistive Technologies Lab at Olin College of Engineering, White Cane Amplified is an improvised process in which Papalia replaces his detection cane with a megaphone that he uses to identify himself and hail support from passers-by. An effort to reclaim the social function of the white cane, the process is an opportunity for Papalia to practice accessibility and disclosure as an ongoing exchange with his community.”
