Jun 23, 2025
Blue Jean Jacket Day 2025 by Paula Kirman
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Blue Jean Jacket Day 2025 by Paula Kirman
Ceasefire Now Pan-Canadian Day of Action by Paula Kirman
Canadian National Lion Dance Championship Opening Parade by Paula Kirman
Is this thing on
Attack on Edmonton in winter. My first images created using artificial intelligence, unintentionally in the style of Polish artist Jakub Różalski.
When you can’t stop talking about Toastmasters to people so you decide to actually go out and…talk to people about Toastmasters! I am slowly becoming a people person again! #toastmasters #askmeanything #yegdt #adventure https://www.instagram.com/p/CTxiki7hwfF/?utm_medium=tumblr
•Home Edition•
Launching tonight! Stay tuned.
Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan
Meet Artist and Curator, Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ
When you think of resilience, you might not think of languages. That’s not the case for artist and curator Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ. Her current exhibition, Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan, celebrates the ancestral languages of Treaty 6 by visibly embedding seven Indigenous languages from this land throughout downtown amiskwacîwâskahikan, physically reclaiming space for their revitalization. As you’re about to discover, each installation in this series speaks to the resilience and survival of Indigenous Peoples, their languages, and the power of visibility. This outdoor exhibition runs April to September 2021, but today it’s our great pleasure to introduce you to the curator sharing the knowledge and power behind these public gifts of art. Meet Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ.
Top: jaye simpson, Auntie Told me Mother used to speak the Language too, 2021, performance, charcoal, vinyl prints. Courtesy of the artist and Latitude 53. Bottom: Wanahae, AHOCAPAM NE WATEZHE WIYANKTE, WICAKTE (PROTECT TWO SPIRIT YOUTH), 2021, dibond panels, acrylic paint, acrylic markers. Courtesy of the artist and Latitude 53.
In your curatorial statement, you talk about the power of visibility and having ancestral languages embedded across the downtown core in amiskwacîwâskahikan. In what ways does having an off-site exhibition highlight that?
ᑭᒥᐊᐧᐣ: Having the ancestral Indigenous languages which come from this territory be visible is so important and powerful. It speaks to the resilience of our people. We are still here. Having these works be offsite and accessible to the general public is an important aspect of the show. It allows for Indigenous languages, and these magical gifts of art, to be seen and celebrated. Bringing art to the people during this time is needed. Seeing them up in the downtown core has been a really moving moment.
You’ve introduced two new terms to the art-world lexicon: [care]rated and [gifts of art]. How did those terms come to be?
ᑭᒥᐊᐧᐣ: These words came to me while thinking through the show. The word [care]rated or [care]rator came from thinking through my role as curator. I felt my role in this show was to care for the artists, their [gifts of art] and the Indigenous languages. I was thinking of my ancestors and how they might have navigated this space. It was important to care and love through this process and to do so humbly in the Nehiyaw way. [Gift of art] came to me while reflecting on how thankful I was to be working with these seven incredible artists. Each “work of art” felt like a beautiful gift that was being shared with earth. Nanâskomitin. I am thankful. Each one of these [gifts of art] are to be honoured and cherished.
Top: Lauren Crazybull, Niitakahkayi, 2021, linen, beet crystal dye, acrylic paint, crushed mint. Courtesy of the artist and Latitude 53. Bottom: Maria-Margaretta, As Long As the Sun Shines, Tan Ki L'Soleyl Briyl, 2021, embroidery and seed beads on Kokum scarf. Courtesy of the artist and Latitude 53.
Can you tell us a bit about the significance of not including English translations with these works?
ᑭᒥᐊᐧᐣ: In each [gift of art], it felt most important to highlight and honour the Indigenous languages without the inclusion of English. Colonization has caused many Indigenous people to have lost their ancestral languages. This show presents the Indigenous languages which come from this land. They need to be celebrated, appreciated, and held high. I keep thinking of the Indigenous folks in amiskwacîwâskahikan who will come across their language—how beautiful and special that moment will be.
In what ways does the revitalization of Indigenous language—specifically the writing system—help reclaim the historical narrative that has been taken away from Indigenous Peoples?
ᑭᒥᐊᐧᐣ: There is so much history and knowledge embedded in each language. Languages tell the story of our people. There have been many times I have asked my Kokum and Nimama to translate my writings for me, and there is always a transfer of knowledge, a teaching that is shared. Indigenous people have been speaking their languages for hundreds of years. Our languages and cultures were ripped from us through colonization and the residential school system, yet today many of our languages survived. I am so thankful to the resilience of our people and the survival of our languages.
What has the experience been like transitioning from the role of artist to the role of [care]rator?
ᑭᒥᐊᐧᐣ: Having an artist practice previously and going into curation was an interesting transition. Although they are very interconnected, I found the role of [care]rator to be much different than that of an artist. I’ve tried my best to navigate this space and position I hold with gentleness. I am so honoured to be able to be part of this exhibition and thankful to Missy LeBlanc for sharing this concept with me. Seeing these [gifts of art] installed and Indigenous languages celebrated has brought me such joy.
Top: Taran Kootenhayoo, D.I.Y, 2019, still from film. Courtesy of the artist and Latitude 53. Bottom: Edna Elias, Expressions of Elation, 2021, sealskin, melton, embroidery threads, beads, printed on dibond. Courtesy of the artist and Latitude 53.
One of the conversations around this exhibition focuses on the transmission of knowledge that is lost when people are taken away from their “normal.” With the world experiencing a global pandemic and temporary loss of their “normals,” what do you hope people will better understand about what happens when that loss spans generations?
ᑭᒥᐊᐧᐣ: Many Indigenous folks have lost their languages, causing the loss of knowledge and Indigenous ways of being. There was a moment in my life when I was going through a difficult time and I was trying to find the words to express how I was feeling. I couldn’t find the words. Then it hit me—I did not have access to the right words, the Nehiyaw words. The beautiful thing about language is it can be revitalized. With the survival of these languages, we now have the ability to learn them. I am so thankful for those who have fought to keep them alive. With the world experiencing a global pandemic, I hope that these [gifts of art] bring people hope. These are very difficult times, and I hope this show will bring people the light they need.
Can you share a little about the cultural importance of the act of giving and how it relates to your work?
ᑭᒥᐊᐧᐣ: The act of giving is a very important aspect of the Indigenous way of knowing and being. This is why I referred to the seven Indigenous art works as [gifts of art]. There is so much shared and gifted to the audience who comes upon it. Many people may not even be aware of what the languages of this land are, and that in itself is a gift. Acknowledging those who have been here hundreds of years and the languages which flow through them is necessary.
What do you hope the public will take away from this [gift of art]?
ᑭᒥᐊᐧᐣ: There is so much knowledge, beauty and power shared in each of these public [gifts of art]. Each work communicates an important message:
ᑌᐸᑯᐦᑊ Gifts of Art Inuk joy, love, and kindness, dancing in the northern lights Singing with the Nehiyaw ancestors, Kisemanitow brings hope Lands of Sikohkotoki, Honour Nitsiipowahsiin Beads radiate Michif love and light, as long as the sun shines Magic found in one another, translated into denesųłiné Loss of language, transcendent Nahkawiwin Ancestral knowledge and tradition, honouring two spirited youth
Nanâskomitin, I am so thankful to Edna Elias, Carol Powder & Cikwes, Lauren Crazybull, Maria-Margaretta, Taran Kootenhayoo, jaye simpson, and Wanahae for each one of your [gifts of art]. I am so thankful to the Indigenous languages for being part of this. I am honoured.
Visit latitude53.org to discover where each artwork is located in downtown Edmonton/amiskwacîwâskahikan and here to read Cheyenne Rain LeGrande’s full curatorial statement.
Artist and Curator, Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ. Photo supplied.
Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ
Cheyenne Rain LeGrande ᑭᒥᐊᐧᐣ is a Nehiyaw Isko artist, from Bigstone Cree Nation. She currently resides in Amiskwaciy Waskahikan, also known as Edmonton, Alberta. Cheyenne graduated from Emily Carr University with her BFA in Visual Arts in 2019. Her work often explores history, knowledge, and traditional practices. Through the use of her body and language, she speaks to the past, present, and future. Cheyenne’s work is rooted in the strength to feel, express, and heal. Bringing her ancestors with her, she moves through installation, photography, video, sound, and performance art.
Acknowledgements
Mamanaw Pekiskwewina | Mother Tongues was originally conceived by Missy LeBlanc for TRUCK Contemporary Art in Mohkínstsis/Kootsisáwa/Wincheesh-pah/Calgary and presented in concert with Taskoch pipon kona kah nipa muskoseya, nepin pesim eti pimachihew. The amiskwacîwâskahikan/Beaver Hills House/Edmonton iteration, Mamanaw Pekiskwewina | Mother Tongues: amiskwacîwâskahikan, is curated by Cheyenne Rain LeGrande for Latitude 53 and supported by TRUCK Contemporary Art.
Mamanaw Pekiskwewina: amiskwacîwâskahikan is supported by the Edmonton Arts Council and the City of Edmonton with funds from the Western Diversification Program, Canada Council for the Arts, and ATB Financial.