Running head: VISUAL ESSAY 1

Visual Essay

Nancy Ferris

Education 530

University of Calgary

Kori Czuy, Instructor

VISUAL ESSAY 2

Ferris, N. (2018). Bowfort Towers [Personal Photographs].

VISUAL ESSAY 3

“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

cannot help but express outrage.

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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

to the Indigenous community in a sense. I felt a profound connection to Graveline’s (2000)

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

continues to insist on the appropriation and subsummation of Indigenous voices” (University of

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

addressing Indigeneity in my classroom.

VISUAL ESSAY 6

References

CBC News. (2017, August 31). Bowfort Towers 'never meant to be an Indigenous artwork,' city

and Treaty 7 chiefs say in joint statement. Retrieved from

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

sculpture. Global News. Retrieved from https://globalnews.ca/news/3653569/rejected-

siksika-artist-weighs-in-on-controversial-bowfort-towers-sculpture/

DiAngelo, R. & Sensoy, O. (2014). Leaning in: A student’s guide to engaging constructively

with social justice content. Retrieved from

https://www.researchgate.net/publication/279539507_Leaning_in_A_student%27s_guide

_to_engaging_constructively_with_social_justice_content

Ermine, W. (1995). “Aboriginal epistemology” in J. Barman, J.& M. Battiste, (Eds.), First

Nations Education in Canada: The circle unfolds. Vancouver: UBC Press. [eBook full

text online]. Retrieved from

http://ebookcentral.proquest.com.ezproxy.lib.ucalgary.ca/lib/ucalgary-

ebooks/reader.action?ppg=122&docID=3412224&tm=1503510739016

Ferris, N. (2018). Bowfort Towers [Personal Photographs].

Goulet, L. M., & Goulet, K. (2014). Weechihtowin, helping and supporting relationships: The

foundation. In, Teaching each other: Nehinuw concepts & Indigenous pedagogies (pp.

98-112). Vancouver, BC: UBC Press. Retrieved from

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
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Graveline, F. (2000). Circle as methodology: Enacting an Aboriginal paradigm. International

Journal of Qualitative Studies in Education, 13:4, 361-370. Retrieved from

http://dx.doi.org/10.1080/095183900413304

Junker, A. (2018, March 8). Tsuut’ina Nation blasts controversial art installation. Calgary

Herald. Retrieved from https://calgaryherald.com/news/local-news/tsuutina-nation-

blasts-controversial-art-installation

Kury de Castillo, C. (2017, August 6). ‘It looks like a burial tower:’ Controversy over Calgary’s

new public art project. Global News. Retrieved from

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

Memory. Retrieved from

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,

ON: Oxford. [eBook full text online]. Retrieved from

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

document] Retrieved from Course Notes Online:

https://www.coursera.org/learn/indigenous-canada/supplement/aftdf/living-traditions-

course-notes