Spirit Island: A Place for Honouring the Child. Michael C. Irving, Ph.D. Sculptor Vern Harper, Project Elder

Transcription

1 Spirit Island: A Place for Honouring the Child Michael C. Irving, Ph.D. Sculptor Vern Harper, Project Elder

2 Both the creating and viewing of art deepens our humanity. When we have become lost or disillusioned we can reconnect to our humanity through art. Art is associated with the spirit and the sacred; it can reach deep into the soul and psyche. Art and cultural activity helps the child, caregivers and the community to heal. The wounds of the inner child are particularly sensitive to the healing power of art and cultural expression. Michael C. Irving, Ph.D. 274 Rhodes Avenue Toronto, Ontario Canada, M4L 3A3 (416) all rights reserved 1999 ii

3 TABLE OF CONTENTS PROJECT OVERVIEW What Is Spirit Island.. 1 Why Is Spirit Island Necessary? Who Would Design And Produce The Works? Where Should Spirit Island Be Located?... 2 Why Consider the Forks in Winnipeg What was the response of Community Consultation? How Long Would It Take To Create Spirit Island?.. 2 How Will Spirit Island Be Funded? A SACRED SITE Spirit Island: Honouring the Child.. 3 The Centre of the Circle... 3 Respecting Heritage and Cultural Appropriation.. 3 An Aboriginal Sacred Site Building the Self Esteem of Children. 4 A Healing Place of the Aboriginal Nations RECONNECTION THROUGH SPIRIT ISLAND Art as the Search for Understanding and Meaning. 5 Ceremony as Transformation A Synthesis Of Art And Ceremony. 6 Memorial As Image And Process 6 The Circle Moving Beyond The Sacred Site. 6 HEALING, GUIDANCE AND PURIFICATION CIRCLES Guidance And Purification 8 First Circle Gathering Of Coordinators Circle Gathering Of Sacred Site Sculptors Cycle One 9 Copper Journey Circle Gathering Of Sacred Animal Spirit Sculptors Cycle Two. 10 Circle Gathering Of Sacred Totem Carvers Cycle Three 10 Children's Spirit Totems And Honouring The Gifts Cycle Four Purification Ceremonies In June Of Cycle Five The Coppers Join The Spirit Of Lost Children.. 12 Sculpture Park Layout iii

4 THE SCULPTURAL WORKS OF WAKINYAN AWASIS Sacred Animal Spirits 14 Enlarging The Sacred Animal Spirit Figures 14 Encompassing The North American Continent 14 Animal Spirit Sacred Dream Catcher. 15 Sacred Arch Of The Spirit Of The Elders.. 15 Avian Warrior Spirits. 15 Jingle Dancer Figures.. 16 Concho Rosettes Of The Jingle Dancers. 17 Sacred Spirit Totems 17 Sacred Smudge Bowl Sculptures At The Four Winds 18 Sacred Coppers For The Children Of The Four Seas 18 Sacred Medicine Wheel And The Sacred Path Of Childhood 19 Sacred Animal Spirit Mounds. 20 Children's Sacred Spirit Totems. 21 Honouring The Gifts. 21 Clan Mothers Of The Children's Sacred Spirit Totems 22 Great Canoes 22 Sacred Canoe Paddles. 22 Site Model and Layout.. 22 SPIRIT ISLAND TIME-LINES Project Time-Line Stages of Sculpture Production and Completion Ceremonies and Dedications of Works Time-Line Summary PROJECT TEAM Project Leaders: Vern Harper and Michael Irving. 35 A Collaborative Effort Of Artists And Communities. 35 ADDITIONAL FORKS SOUTH POINT SITE COMPONENTS Visiting and Epic Site Office and Information Centre.. 37 Outdoor Gathering Areas. 38 Public Access Area 38 Cultural Centre.. 38 BIOGRAPHICAL OVERVIEWS Sculptor/Psychotherapist, Michael C. Irving, Ph.D.. 39 Elder Vern Harper/Chief Asin 4O iv

5 Project Overview What is Spirit Island? Spirit Island is planned as a large sacred site dedicated to the spirit of the child. The vision for Spirit Island originated with Sculptor Michael C. Irving, Ph.D. The site would be comprised of more than one hundred major sculptural works by Aboriginal artists from across North America and a complementing office/interpretive room. Spirit Island would be an epic work having extensive impact on people across North America for generations to come. The Spirit Island Sacred Site would have more than 100 sculptures laid out in a large area in the pattern of a beaded medicine wheel. Why is Spirit Island Necessary? Art informs, connects and transforms us. Art works and major art sites can be effective in bringing about broad social understanding and an experience of deeper meaning with enormous value to Aboriginal Peoples and others. The site, the creation of the site and the long-term use of the site would assist many individuals and communities. For some Spirit Island would be a place of validating the warm positive elements of youth; for others Spirit Island would be used as a place of healing and reconnecting. Who Would Design and Produce the Memorial Works? A wide variety of Aboriginal artists from across North America would be commissioned to make this large selection of monumental works. Irving Studios would be responsible for creating four of the monuments for the sacred site and for enlarging site-specific works. Irving Studios would retain artistic control over final decisions regarding the design and execution of all art pieces. Sculptures for the Spirit Island Sacred Site would be cast in bronze and would be sculpted by Aboriginal artists from across the continent of North America. Only the general themes are designated for the majority of the more than one hundred works, such as: West Coast totem, animal spirit, spirit mound or smudge bowl. The final design and details of the pieces would be up to the artistic discretion of artists commissioned to produce the works. 1

6 Where Should Spirit Island be Located? Spirit Island should be placed where access would be available to a large number of Aboriginal Peoples. To impact the non-aboriginal community the site should also take into account its proximity of large urban populations and yet be a site that has symbolic and historical importance. Placing Spirit Island in the geographical centre of North America responds to many of these concerns. Why Consider The Forks in Winnipeg A request was made of the Project to consider South Point at the Forks in Winnipeg for locating the Spirit Island Sacred Site. It is a profound responsibility and a serious decision to place a Sacred Site within an urban centre. The location of the primary central element of the work at Spirit Island, Winnipeg came about through discussion with Aboriginal People in Canada and the U.S. and through the advice and direction given to Vern Harper by other Elders and Medicine People. The Southern Manitoba region and junctures of the Red and Assiniboine Rivers in Winnipeg would clearly place Spirit Island within the general geographic centre of North America and in a location that has a large aboriginal and non-aboriginal population. What was the Response of Community Consultation? Community consultation in the spring and summer of 2003 demonstrated a large base of local, regional and provincial support for the Project. Design elements of the site were adapted to address specific concerns related to the representing of culture, a role for area Aboriginals and Metis and site specific works addressing local and regional heritage. These adaptations clearly improved the work. The Spirit Island: Honouring the Child had been previously called Wakinyan Awasis: Thunderbird Healing Place for the Spirit of the Wounded Child. The name changed to Spirit Island to address specific requests in the Winnipeg community. How Long Would it Take to Create Spirit Island? Upon finalization of funding, the Project is prepared to proceed immediately. The Project is designed so a fully funded Spirit Island Project would take six years to complete the sculptures, site preparation and placement of the works. Events and unveilings would occur throughout this six-year creation period. How Will Spirit Island be Funded? A budget has been drafted to address the needs of the project layout and design plans as presently developed. Obviously these funding needs are substantial and will take a mix of aboriginal, private, corporate, government and entrepreneurial funding sources. Spirit Island is in the development stages of exploring funding of the sculptural works, holding circles and gatherings and establishment of an endowment for the permanent maintenance of the sacred site. 2

7 A SACRED SITE Spirit Island: Honouring the Child Spirit Island is conceived as a sacred site honouring the spirit of children. Spirit Island is dedicated, through cultural activity to address the special place we have for the child and create a better world where children thrive and fulfill their destiny. In many Aboriginal Nations the word for child is the same as "gift" and children are considered the centre of the circle. Children are sacred beings. We are all children of the Great Spirit. In the sacred circle of Spirit Island Honouring the Child, the Child is children and the inner child - past, present and future. Vern Harper: Project Elder The Centre of the Circle Children are at the centre of the community and family. Adversity on many fronts can have a dramatic impact on children and their development. Tragedies to Aboriginal Peoples have for multiple generations inflicted a deep wound on the inner child. Part of purification and healing is developing compassion for that child. Elder Vern Sculptor/Psychotherapist, Dr. Michael C. Irving Harper comments, "The whole point of ceremony and sweat lodge is you come out blessed like the innocence and sacredness of a child." Respecting Heritage and Cultural Appropriation In developing and creating the Spirit Island Sacred Site we have to be particularly sensitive to issues of cultural appropriation the desecration of meaning and stealing of culture and its symbols and images. In this regard artists of specific heritage would create culturally defined elements on the site. 3

8 THE SPIRIT OF TURTLE ISLAND'S CHILD An Aboriginal Sacred Site Spirit Island: Honouring the Child would exist for all people whose heritage draws from the North American continent, known as Turtle Island. The artworks for the site would be created by a large team of artists drawn from throughout the continent for a central sacred site. In a variety of locations across North America healing and purification ceremonies associated with creating and blessing the site would be performed. An element of the site would incorporate sculptures dedicated to addressing the wounds to the child that resulted from the social and cultural devastation that took place over the 500 years after the arrival of Europeans. Children are a gift and have a place with Elders in the centre of the circle. We begin in the centre of the circle and end in the centre of the circle. Building the Self Esteem of Children The site and its works are intended to support and build the self-esteem and sense of value of Aboriginal children today and in the future. The artistic quality of the work at Spirit Island should easily be recognized as world class. Aboriginal children can be proud of the craftsmanship and artistic skill of their ancestors. The site should reflect the finest of that heritage. A Healing Place of The Aboriginal Nations At the central Spirit Island site a grouping of one hundred and nineteen bronze sculptures in Aboriginal Nations' styles and motifs would be within a two hundred and seventy foot diameter circle encompassed by a granite medicine wheel walk way. Additionally thirty-two bronze Spirit Twins of the central Animal Spirit pieces would be placed across North America in Aboriginal communities. 4

9 RECONNECTING THROUGH SPIRIT ISLAND Art in the Search for Understanding and Meaning Both the creating and viewing of art deepens our humanity. Art is associated with the spirit and the sacred; it can reach deep into the soul and psyche. For indigenous peoples the artist is a visionary who is connected with the spirit of the creator because they have the gift of creation. The artist is the interpreter of life. The artist is the receiver of wisdom and the transmitter of knowledge. Though the artist is connected with the creator, the artist creates their own interpretation of what they see. Michael Irving has chosen a path of following the healing spirit of art. Art and cultural activity helps the child, caregivers and the community to reach a sense of deeper meaning and even healing. When we have become lost or disillusioned we can reconnect to our humanity through art. The wounds of the inner child are particularly sensitive to the healing power of art and cultural expression. Art reaches the cognitive and profane; it reaches to where we contemplate and consciously reflect on, and maybe even discuss and debate, the symbolism and meaning in form and imagery. A significant portion of engaging art occurs in the non-verbal realms of human encounter. The non-verbal confrontations with art take place, and are processed, in a multiple of dimensions. We can be confronted and transformed by art and not even consciously know how, or to what degree it occurred. Ceremony as Transformation Purification ceremonies and sacred rituals are synonymous with traditional transformative practices throughout the world. Ceremony, prayer and ritual are powerful forces to promote well-being and facilitate personal and social change. Aboriginal Peoples have a rich and prolific heritage of the sacred art of healing circles and ceremonial healing and purification. They are intended to enhance life on Mother Earth and one's relationship to self and others. In the traditional approach the Elder continually intersperses oral teachings that pass on history, culture and guidance for seeking a meaningful way of life. Elder Vern Harper Prepares Cree Ceremony Blessing of the Trees 5

10 A Synthesis of Art and Ceremony The responsibility of combining art and ceremony at Spirit Island to promote wellbeing is entrusted to the collaboration and leadership of Michael C. Irving, Ph.D., Sculptor/Psychotherapist; and Elder Vern Harper, Native Urban Elder/Medicine Man. The artwork would be designed with its use in ceremony in mind and the ceremonies take into account their ability to make best use of the art. Cross culturally and historically the marriages of art and ceremony have been central elements of traditional sacred and healing practices. Hopi sand painting; Japanese meditation gardens; Bagawa funeral masks; Druid sacred sites; and Buddhist mandalas are just a few examples of the traditional healing synthesis of art and culture. Guides and Healers throughout the world have shown that the combined qualities of art and ceremony provide a potential that is far more than the sum of the two. Spirit Island ceremonies performed in association with conceiving, creating and placing the artworks would increase the ability of the art to address the needs of the spirit of the child. The artworks and ceremonies would be directed toward the child inside participants. Additionally, the sacred site reaches out to the child of the past and today, and Spirit Island looks forward as a pillar of support for children to come. Memorial as Image and Process The Memorial would be the works of art and the layout of the sacred site. As well, in the traditional role of sacred art, the Memorial would be in the fabric of the process of creating the sacred work; and the memorial is the actual long-term utilization of the sacred art and site. Spirit Island artists would experience transformation for themselves in the vision quests in preparation for producing their sacred work. The transformation and, at times, healing process would continue during the journey of creating the work. Those who view and participate in sacred art and sacred sites are impacted on many levels -- consciously and unconsciously, emotionally and spiritually, in the sacred and in the profane. A significant work of art is destined to become a part of the fabric of the culture and the society in which it is present. Healing that occurs from connecting with social art or a sacred site, likewise flows out beyond the direct participant or visitor. In one manner or another the personal enhancement reaches into family, community and nation. This social permeation is one of the powerful forces of art. The Circle Moving Beyond the Sacred Site The Animal Spirit Twins in communities across North America would place the physical parameters of the sacred site in many lands. Each of the many people and communities that participated in creating the artworks and gifts of objects and drawings would have feelings of ownership and belonging associated with Spirit Island. 6

11 People who visit the actual site to memorialize and heal would carry the properties of the site in the heart and in physical symbols. Through the power of keepsakes, mementos and sacred and symbolic objects the essential meaning and force of the site would be held dear and called upon by those who carry representations of the site. Films, videos, books, media images, word of mouth and images on objects and clothing would disperse the presence, meaning and power of the sacred site outward. 7

12 Spirit Island Guidance, Purification and Healing Circles Guidance and Purification Sculptors and sculpting teams would have as part of their guidance an Elder, Guide or Healer appropriate to that artist or group of artists. At various points Elder Vern Harper would provide guidance, purification and healing ceremonies for Spirit Island gatherings and circles. When artists return to their community they may use the guidance and blessings of Elder Vern Harper or they may turn to an Elder in their community or region. Each artist would have the best sense and final decision on the role that Elders and Healers would play in their creative process. These ceremonies would be for the benefit of artists in initiating and developing the vision of the work they have Cree Elder Vern Harper, Ontario Legislature, Queens Park, Toronto been commissioned to create. The artist would also, personally, be dramatically affected by ceremonial work associated with their participation in the project. The works of art and the Spirit Island site itself would be influenced by the purification and healing ceremonies. Personal transformation in preparation for a work and during its execution adds to the power and effectiveness of the art. Pipe ceremonies, traditional drumming, sweat lodge, smudging, dance, prayer and feasts would be part of the sacred circle gatherings of the artists and project staff. Elements of the ceremonies and purifications would be directed towards addressing the legacy of the impact of the personal and societal adversity on children and the child within all people. Contractors, design and construction people who are part of the team creating the Spirit Island sacred site would participate in ceremonies and purifications associated with their tasks and contributions. The physical land, materials and supplies delivered to the site would go through purifications and blessings. Some of the materials, such as stone, wood, water, plants and earth would be procured in relation to their presence in sacred areas around the continent. First Circle Gathering of Coordinators A series of ceremonies and purifications was provided by Project Elder Vern Harper to launch the project over the first spring and summer of the millennium. 8

13 Upon finalization of funding, initial circle gatherings would continue over the first year to review the sculptural site and strategize on contacts and potential artists. The following year would be spent selecting the full group of artists who would come to the first Full Circle Artists' Gathering. The Children's Sacred Medicine Wheel, the stone fountain, the Sacred Wakinyan Coppers for the Spirit of Awasis, their ceremonial bags and the four Sacred Smudge Bowls would be prepared over the year preceding the initial Full Circle Artist's Gathering. Purification ceremonies would occur in relation to the Sacred Medicine Wheel, the Sacred Coppers and their ceremonial bags and the Sacred Smudge Bowls. Full Circle Gathering of Sacred Site Carvers and Sculptors Cycle One The full group of artists would meet in four-day Full Circle Artists' Gatherings overlapping the beginnings and endings of the five periods in which works of the sacred healing cultural site are created. At the circle gatherings, Elders and Keepers would cleanse and purify the artists and the spirit of the journey that lies ahead. Mornings would begin with traditional sunrise ceremonies, followed by sweat lodge and drumming. To help in the artists' vision quests to receive guidance from the Sacred Animal Spirits Traditional purifications, blessings and seeking spirit guidance would be part of the creative process in sculpting the works of the Spirit Island Sacred Site. of the sculptures and sacred site there would be purification ceremonies with periods of silence, fasting, purification lodges, traditional drumming, prayer and feast. The first Full Circle Artists' Gathering would be a time of "meeting and greeting." Special activities would be planned to help people get to know each other and to begin developing a productive and cooperative team. Artists would be asked to bring slides of their work for an evening of artistic sharing, discussion and fun. Sessions would be held to review the design of the sacred sculptural site, the planned progression and time line for creating the work. Each artist would be supplied a workbook outlining details of the project, time lines, resources and contact names and numbers. Copper Journey There would be four Sacred Wakinyan Coppers for the Spirit of Awasis that would be entrusted to several groups of people. The Coppers would be carried to purification ceremonies and gatherings across the continent to receive blessings and to be decorated with Sacred Animal Spirit images through specially prepared engraving tools. During the first Full Circle Artists' Gathering purification 9

14 ceremonies the Sacred Coppers and their sacred bags would be presented to their "Keepers" to begin their four-year journey. The Keepers would take the Coppers to Spirit Island art workshops, presentations and events associated with the project. Out in the community the Coppers would be taken to Aboriginal social gatherings, pow wows, political events, conferences and locations that are sacred or meaningful to Aboriginal Peoples. The Coppers would be available for special requests when a Keeper would be available to perform a ceremony. After the final year's site dedication the Sacred Wakinyan Coppers for the Spirit of Awasis would make one last journey to join the resting place of the spirits of lost children. Circle Gathering of Sacred Animal Spirit Sculptors Cycle Two At the second Full Circle Artists' Gathering (the transition between cycle one and two), purification ceremonies would be done in conjunction with unveiling and blessing the Animal Spirits' Sacred Dream Catcher sculpture over the fountain. In preparation for enlarging the Sacred Animal Spirits, artists would sit for a vision quest at the location of the fountain boulders where their enlarged sculpture would eventually permanently reside. Elder Vern Harper would provide special blessing ceremonies to assist the sculptures and artists through the various stages of the creation of the works. The practical and technical work of the second Full Circle Artists' Gathering would focus on the issues related to enlargement size and positioning on the fountain of the Sacred Animal Spirits created over the cycle. The technical aspects of enlarging the sculptures and the foundry process would be explored in depth. The past cycle's progress and experiences of creating works would be shared. An evening slide show and feast would provide an opportunity to celebrate and see what each of the other artists is doing. Cleansing and purification activities related to producing the work would be continued. Circle Gathering of Sacred Totem Carvers Cycle Three The Full Circle Artists' Gathering of cycle three would have a meeting of the five totem carvers and sculptors with their finished carvings. Special purification ceremonies would be done with the spirit of the wood carving in preparing them for transformation into bronze. The Spirit Totems would stand until the studio would be ready to create the moulds and casts of them. 10

15 Children's Spirit Totems and Honouring the Gifts Cycle Four The Full Circle Artists' Gathering beginning cycle four would focus on purification ceremonies related to the sixteen Children's Spirit Totems and the sixteen family vignette sculptures mounted on them. The artists who made the family pieces would gather at Spirit Island to participate in the purification and blessing of their pieces. During this summer the enlarged Sacred Animal Spirit Sculptures would be at the foundry and would not be involved in the circle ceremonies. The Sacred Animal Spirit Artists would not be required to attend this cycle's Full Circle Artists' Gathering. As in the previous cycle's gathering, an evening slide show and feast would provide an opportunity to celebrate and see what each of the others is doing. The children who participated in workshops for sculpting the Children's relief sculptures for the Children's Spirit Totems would be invited, along with their families and guests for a special acknowledgement and blessing. All attendees would have the opportunity to partake in a sacred circle honouring the force that contains the children's path and medicine wheel. Dr. Irving has involved children across Canada in his major art projects. This Full Circle Artists' Gathering would have an associated all Nations Pow Wow that would be a lead up to the final year's Pow Wow and Extravaganza. Primary coordination of the following year's final month of blessing, dedication, commitment and purification ceremonies in June of cycle five would occur after the Children's ceremonies culminating cycle four. Purification Ceremonies in June of Year Five Cycle Five The final Full Circle Artists' Gathering of artists and Elders would occur directly prior to the final blessing, dedication and commitment purification ceremonies. Artists would go through ceremonial preparations for the final dedication and every sculpture would go through a purification and blessing. To integrate the spirit, meaning, and life force of Spirit Island into Native communities across the continent, a large Pow Wow dedicated to children and healing the wounded inner child would occur concurrent with the final Full Circle Artists' Gathering. There would be an attempt to provide healing and gained insight and understanding for individuals attending. As well there would be much planning committed to how to encourage the power of Spirit Island to ripple across the land. The final cycle's ceremonies would be simulcast in real time on the Internet to allow those not able to attend to still be a part of the happening. This cycle's slide show or a multimedia production would be a public billing that would review all the previous cycles' work and activities and may be televised. It is likely a 11

16 documentary of Spirit Island would be broadcast at the time of the final circle gathering or shortly afterwards. The final blessings, dedication and purifications of the Spirit Island sacred sculptural site would occur over a period of one month and would be planned and carried out by a group of Elders and Healers. A particular focus in the final blessing, dedication and commitment purification ceremonies would be directed toward healing, acknowledgement and toward making long-term commitment to addressing the spirit of the wounded child. The final blessing, dedication and purification ceremonies would have quiet times and activities involving drumming, dance and feast. Ceremonies and reflection would be given to those who have died, those who were stolen from their families and communities, and those whose communities and cultures were stolen from them. Special blessings, healings, designated time periods and activities would be offered for people who suffered residential abuse, sexual abuse, physical abuse, emotional abuse and neglect as children. A primary theme would be to emphasize the For Vern Harper part of the role of healer and Elder is to share the traditional stories. He feels those traditions ground us with a path that connects past, present and future. instilment of a sense of connection and relatedness and a commitment to change. The Coppers Join The Spirit of Lost Children Special ceremonies for the Sacred Wakinyan Coppers for the Spirit of Awasis would be performed for final blessing, dedication and commitment events. As part of closure in the month of final blessing ceremonies, the Sacred Coppers would be launched onto a final journey to where they would be tossed into the Four Seas to join the ashes and spirit of lost children in their resting place. Four separate groups of paddlers would each take one of the Sacred Wakinyan Coppers for the Spirit of Awasis to one of the Four Seas. The paddles for the journey would be carved and painted to create Sacred Paddles that would also be a Sacred Staff. The paintings, blessings and purifications of the paddles would allow each stroke of the journey to be a cleansing of the water along the paths to the sea. One Sacred Copper would journey North to the Arctic, another Sacred Copper would be carried to the Pacific. A Sacred Copper would travel through the Great Lakes to the Atlantic Coast and one Sacred Copper would travel South down the Mississippi to the Gulf. 12

17 As the Sacred Coppers move through the land, in each area where a Nation existed before the European visitation, a purification ceremony and healing would be performed for the spirit of the wounded child. Any present day community that the Sacred Coppers passed through may have a purification ceremony and healing for the spirit of the child. A community's activity would be of their design and choosing. When the Sacred Wakinyan Coppers for the Spirit of Awasis reach their final destinations they would be ceremonially torn into pieces and tossed into the sea for joining and final resting with children whose spirit has washed through the rivers and out to the Great Seas. The prayer pipes belonging to the Sacred Coppers and the tobacco that was given to Vern Harper and other Elders in ceremonies with the Sacred Coppers would travel with the four Sacred Coppers to be tossed into the seas as part of their role in giving thanks, blessing and purification. 13

18 THE SCULPTURAL WORKS OF SPIRIT ISLAND Sacred Animal Spirits In the centre of the Spirit Island Sacred Sculptural Site would be a large stone fountain fifty to sixty feet wide. The fountain would be composed of large boulders with a cascade of water flowing down on all sides. The water's edge of the pool would come up nearly level with the gently sloping shoreline edge of the fountain. The dry walking surface around the edge would be composed of polished granite riverbed stones. One would walk up to the water's edge as though walking along the stone shore of a lake. Mounted upon the large boulders of the waterfall would be sixteen different Sacred Animal Spirits dedicated to the spirit of the wounded child. The Sacred Animal Spirits would be carved or sculpted by sixteen different Aboriginal artists from across North America. The sculptural works of the Spirit Island Sacred Site would be sculpted by Aboriginal Artists and cast in bronze Enlarging the Sacred Animal Spirit Figures The carvers and sculptors would be commissioned to make their Sacred Animal Spirit in a 24 to 36 inch gallery exhibition size. Each Sacred Animal Spirit would be enlarged in size at the foundry in appropriate proportion to its placement on the rock fountain. The large rocks of the fountain would be created early on in the project and would have an exact fibreglass model created for the sculpting studio where the Sacred Animal Spirit pieces are to be enlarged. This would allow visual and spatial decisions to be made on the various sizes of the Sacred Animal Spirits. When technicians enlarge the In bronze the fine Spirit Island sculptures would last for generations, providing inspiration for children and solace and understanding for many. Sacred Animal Spirits each artist would have an opportunity to spend time in the enlarging studio to contribute to the final say and make the final cuts on the work. Encompassing the North American Continent Each Sacred Animal Spirit from the fountain would have two additional bronze Spirit Twins. One edition of the Sacred Animal Spirit Twins of each artist would 14

19 be mounted in a location in the region of that artist's Nation before the European visitation. The other edition of the Sacred Animal Spirit Twins would be placed in a location selected by the sculpting artist. In this layout the full group of the sixteen Sacred Animal Spirits would be positioned in the centre of the primary central circle of the Spirit Island Site; and thirty-two Spirit Twins would be mounted in meaningful auxiliary locations across the continent. In effect the axis intersection the placement and orientation of the Animal Spirit Twins would sculpturally place the full geography of the Sacred Spirit Island Site throughout North America. Animal Spirit Sacred Dream Catcher A massive thirty-foot copper Dream Catcher would be suspended high above the central Fountain of Sacred Animal Spirits. This Sacred Dream Catcher of the Animal Spirits would gather the memories, thoughts and impressions collected by the Sacred Animal Spirits of Children. The 30-foot Dream Catcher suspended from 90-feet in the air, would gather the memories, thoughts and impressions collected by the Sacred Animal Spirits of Children. Sacred Arch of the Spirit of the Elders Rising up over the Fountain of Sacred Animal Spirits for Children would be a ninety-foot four-sided sculptural arch that would serve as support for the thirtyfoot Sacred Dream Catcher that rests above the Fountain of Sacred Animal Spirits for Children. On the vertical riser of the four sculpted poles would be the names of Elders, Healers, leaders and significant events of the First Peoples of Turtle Island. Hanging down from the centre point of the arch that would be supported by the Elders and ancestors of the Nations would be the Children's Animal Spirit Sacred Dream Catcher. Avian Warrior Spirits Perched on top of each of the four pillars of the Sacred Arch of the Spirit of the Elders would be a Warrior Spirit bird of prey. A life size Eagle, Falcon, Condor and Thunderbird would be sculpted and would be placed overlooking the Animal Spirits of the Sacred Dream Catcher. Avian Warrior Spirits would guard over the Sacred Site while perched above a 30 foot Sacred Dream Catcher suspended from 90 feet in the air. 15

20 Jingle Dancer Figures Two "Jingle Dancer" figures for Spirit Island would be similar to the "Reaching Out" figures created for the original Canadian Child Abuse Memorial. The shawls draping the two figures are comprised of three hundred quilt squares. A central theme of two hundred of the quilt squares would be the cast hand of the individual and any art or writing they want to put on the square. These quilts squares would be created in Spirit Island workshops by Aboriginal youth who are attending Art College or by Aboriginal Elders in workshops at Native centres in cities or on reserves across North America. The "Jingle Dancer Figures" would be in the style of Dr. Irving's "Reaching Out" Series. Seventy quilt squares would have carved into them the "Medicine Wheel" artwork and writing of Native children. Twenty-four of the quilt squares are left a plain smooth bronze. This allows, in perpetuity, the ability of visitors to the site to place their hand in the fountain and then placing the damp hand on the plain square, to leave a hand outline and thereby become a part of the monument and its vision. Michael Irving places bronze patina on a child's sculptural piece of the "Jingle Dancers". In the hollow space inside the large "Jingle Dancer" bronze figures there would be room to place hundreds of thousands of artwork and messages by Native children from across the continent. For these medicine wheel drawings children draw a medicine wheel on an 8½ by 11 sheet of paper and write a message. From these images and writings are chosen the seventy children's medicine wheels and messages that are to be carved into the seventy children's quilt squares on the outside surface of the Jingle Dancers shawls. Mixed in with the children's drawings inside the Jingle Dancers would be Medicine Pouches contributed by Elders and Healers. The art workshop teachers and the project Elder and Keepers would have primary responsibility for gathering the children's drawings and the medicine pouches. The medicine pouches and children's drawings would be placed inside the Jingle Dancer figures as part of the unveiling purification ceremonies. Spirit Island would accept medicine pouches and bundles from across the continent. The bundles would be place inside the Reaching Out figures along with children s medicine wheel drawings and messages. 16

21 The Innocence of Infancy in the Concho Rosettes of the Jingle Dancers The quilt bands between the quilt squares and along the border would be decorated in a traditional Aboriginal geometric design. One hundred and fifty-six two-inch squares would be created where the bands intersect. Oval conchos would be formed into these two inch squares. A different young North American animal would be sculpted cradled in the concave bowl of each of the conches. The infant animal would be depicted in the sweet endearing innocence of the baby. The artistic effect that would try to be achieved with these young animals would be the quality of the young that brings out our intrinsic desire to soothe, cuddle and dote over them. This would likely create the largest homogeneous collection of sculpted animal young. In addition to being on the Jingle Dancers these infant conches would be placed on the Sacred Arch of the Spirit of the Elders. Replicas of the infant animals resting in the conch shells would be some of the keepsake mementoes of the Spirit Island Project. Infant animals from across North America would be sculpted into oval conch rosettes of the "Jingle Dancers". Sacred Spirit Totems Just inside the outer edge of the Sacred Medicine Wheel at the cross section of the four winds would be four groupings of two Sacred Spirit Totems in bronze. Each Sacred Spirit Totem would be carved by a team from a separate Nation and would reflect the artistic style of that Nation. The West wind would have two totems carved by West Coast artists. The Sacred Spirit Totems at the North wind would be a Hopi Kachina and Deni Inukshuk. At the South wind two modern totems would reside. Positioned at the East wind would be the "Jingle Dancer" figures that would be the collaboration of artists, youth and Elders from across the continent. The West and South Sacred Spirit Totems pairs would be forty to sixty feet high and The large Inukshuk "Totem" at the Spirit Island Sacred Site would be cast in bronze and patinied in the exposed ancient copper sometimes found in the North. the Inukshuk and Kachina to the North would be between sixteen and twenty four feet high. The Sacred Spirit Totems would be originally carved in cedar and the completed carvings would have moulds taken from them to form them into the final bronze images. It would be expected that the original wood Sacred Spirit Totems would be housed as an indoor collection separate from the primary Spirit Island site. 17

22 One of the West Coast Sacred Spirit Totems would be done in a traditional hollowed out concave on the backside and the other would be carved in the complete round. The bronze Sacred Spirit Totem in the round would create a hollow cavity in the centre and would have its top placed on during the final dedication and purification ceremonies. In these purification ceremonies with the Sacred Spirit Totem gifts and potlatch items would be placed and sealed in the hollow cavity for removal almost five hundred years in the future in at the point of 1000 years after the initial European arrival on Turtle Island. Sacred Smudge Bowl Sculptures at the Four Winds Directly in front of the four Sacred Spirit Totem groupings along the path of the four winds would be four thirty-six inch sculpted Sacred Smudge Bowls. The Sacred Smudge Bowls would be about the height of a table and would be designed as a sculptural form by an artist. The 30 foot bronze Kachina "Sacred Spirit Totem" would be patinied in traditional Hopi colours. The Smudge Bowl motifs may be a sculpture of a bowl shaped into an animal figure, a kneeling shaman formed into the shape of a bowl, a bowl positioned within the upwardly spread wings of an eagle or some other image/concept created by the four Smudge Bowl sculptors. The Sacred Smudge Bowls at the four winds would be the primary altars for cleansing and purification during the creation of Spirit Island. These Sacred Smudge Sacred Smudge Bowl/Sculpture would be placed in the direction of the Four Winds along the Spirit of the Child Medicine Wheel. Bowl/Sculptures would exist in perpetuity at the site for use in prayer, purification, cleansing and healing for those visiting the site. Sacred Coppers for the Children Whose Ashes Have Washed to the Four Seas Coppers were sacred and valuable items in the North West Nations. Their design was a simple form often in the shape of an abstract salmon, a fish that was fundamental to the community and culture and was reddish like copper. As the Copper was passed as a trusted gift through various hands it increased in worth. Like the potlatch, they were ceremonially given away and eventually given to the realm of the sea. As an act of great reverence and respect these valuable "sculpture/shields" would be 18 The artist through their vision quest would find the designs for the Sacred Smudge Bowl/Sculptures with an elder.

23 taken out into the sea, torn into pieces and thrown to rest with the spirit of the salmon in the sea. It is expected that the four Sacred Wakinyan Coppers for the Spirit of Awasis would be particularly spiritual pieces and would be sculpted by artists who are also Elders or Healers. The Sacred Coppers would remember the children whose ashes and tears have been carried to the seas over the last half a millennium. A vision quest would occur in preparation for seeking and selecting the raw copper. Special purification and blessing would take place throughout the process of preparing the raw copper, forming the sculpture and finishing the works. The Sacred Coppers would continue to be sculpted during the several years leading up to the final month of ceremony and during the journey to the Four Seas. In each carrying case for the Sacred Coppers would be a set of engraving tools that would be designed especially for the Sacred Coppers. Aboriginal leaders and others would use these tools at ceremonies, gatherings and events to add inscription and symbols to the Coppers. The Sacred Coppers would be sculpted by nature and ceremony as they gain a patina or maturing of colour over the time they are resting in the Sacred Smudge Bowl Sculptures during the final month of blessing ceremonies. Coppers were sacred and grew to great value with the passage of time and events. Spirit Island would have four coppers for ritual, ceremony and participation across the continent. In the journeys of the Sacred Coppers to their resting place in the Four Seas they would continue to receive engraving inscriptions and imagery in the communities that have ceremonies and blessings as the copper passed through. The act of tearing the Coppers into pieces and tossing them into the sea would be as much an important part of creating them as an art piece as the other steps to their sculpting process. Sacred Medicine Wheel and the Sacred Path of Childhood Along the parameter of the outside circle of the site and crossing at the direction of the four winds would be a granite Sacred Medicine Wheel that Carved in to the path of the granite Medicine Wheel would be the names of Aboriginal Nations, and their names for child and gift. would be laid into the ground. In the yellow, black, white and red stone would be carved the names of all the Aboriginal Nations that have existed on the North America continent and their words for child and gift. 19

24 Sacred Animal Spirit Mounds Elders and sculptors would work closely in the creation of the Sacred Animal Spirit Mounds of Spirit Island. In consultation with the regional community this is one area where Manitoba sculptor and elder presence was desired. The Sacred Animal Spirit Mounds are clearly an area of the site where the contribution of children and other communities will play a significant role. Within each of the four triangle plots created by the four sections of the Sacred Medicine Wheel, a sculptor and Elder would design and develop a Sacred Animal Spirit Mound and its contents. The Elders may designate specific objects that the sculptors would have responsibility of creating. Buried in each Sacred Animal Mound would be that Animal's Sacred Spirit Staff that was created for the Elder over the period of creating the overall site. Each sculptor would sculpt a stone image of the Animal Spirit to lie on the line of the four winds within their spirit mound. The Mounds would also contain other honouring and purification artefacts that have been created from hide, bone, feathers or claws that carry the spirit of the Animal of that Mound. Each of the four sacred mounds would contain soil and artefacts that honour and carry the protecting and purifying spirit of the Animal of that mound. Children would be asked to create gifts of small fired clay Bears, Eagles, Buffalo and Salmon for placement in the Sacred Animal Mounds. These clay figures would be created in workshops lead by the project workshop team. Clay animal images would also be accepted from children, schools or groups that send them to the project. The Sacred Mounds would come to be through a long layering process of ceremony interspersed with placing objects and laying down sacred soil. The Sacred Mounds would be dedicated to The Salmon, The Buffalo, the Eagle and the Bear. Dirt for each Sacred Mound would be blessed and would come from a special location related to the specific Animal Spirit of that Mound. Recording the objects and process of creation of the four Sacred Animal Spirit Mounds will be a significant element of these works. The records will be associated with the site in such a manner that there will be no reason for those in the future to dig up and deface the Mounds of Spirit Island. Recognition of Metis and Manitoba Aboriginals Having the Spirit Island Sacred Site located at the centre of the continent would clearly imply that the Metis and Aboriginals of the Manitoba region are primary hosts to the Spirit Island Sacred Site. In recognition of this role, entry to the site on the wide foot bridge over the Assiniboine River would incorporate a visual and 20

25 artistic transition past sculptural relief works that tell the role of this region and its people as a gathering and meeting place. The Metis relief on the footbridge would portray the Metis cultural heritage as a bridge between cultures, and that in hosting the project the Metis continue in their role as a "conduit between cultures. Colours of the Metis Sash would be incorporated along side the traditional colours of the medicine wheel. Elders from the area would have a unique role in the cleansing and purification ceremonies that are part of creating the site. Local artists from the region would have a greater presence amongst those selected for creating the sculptural works. A sculpted bronze Metis cart along with the story of its unique meaning and role would be placed near the entry point to the sculptural circle of the site. Chief Denis Whitebird stated in regards to the market for aboriginal art in Manitoba, We have a lot of carvers: wood carvers, stone carvers. We have thousands of graphic artists. This would explode the art sales. The site layout of the larger land area of Spirit Island has incorporated design elements that allow for outdoor art fairs and annual stone sculpture symposiums. These symposiums could allow for a unique featuring of Manitoba sculptors and an opportunity to network with other artists of an international calibre. The Symposiums could also create over a period of time a large repertoire of major stone sculptures for placement around Winnipeg. Children's Sacred Spirit Totems Along the outside of the path of the Sacred Medicine Wheel 16 Children's Sacred Spirit Totems approximately sixteen inches wide by forty-two inches high would be placed like beads lacing a necklace. On each of the four sides of each Children's Sacred Spirit Totem would be a fourteen-inch by thirty-six inch relief sculpture plaque created by children under the guidance of professional artists. These sixty-four children's murals would be gathered from communities across North America. The design of the Children's Sacred Spirit Totems allows their top surface to serve as sculpture display pedestals Honouring the Gifts Placed on top of the sixteen Children's Sacred Spirit Totems would be twenty inch to thirty-six inch family and child sculptures made by Turtle Island artists who create sensitive and powerful family or child themes. The images may be children playing, a family vignette, a mother or father and child, a pregnant woman a nursing child and other family images. The sculptures for Honouring the Gifts would be twenty to thirty six inches high. The works would be gathered from across the continent and would be selected from works that artists have already sculpted. 21

26 Clan Mothers of the Children's Sacred Spirit Totems Each Children's Sacred Spirit Totem would be entrusted to four Clan Mothers, Society Mothers, or Grandmothers. The Clan Mother would give special blessings and purifications to the Spirit Totem in her care. All of the children who made each Clan Mother's Children's Spirit Totem would receive a letter and gift from one of the Clan Mothers. Each Clan Mother would be given a Sacred Medicine Bundle associated with her clan and made especially for her Children's Spirit Totem. The Clan Mother would pass on her charge and her Sacred Medicine Bundle of the Sacred Children's Spirit Totem at a point of her choosing. The lineage of the Clan Mothers would care for the Totems' of the Gifts as long as water shall flow. At one time the Condor reached from Coast to coast and naturally the protection of Condor Clans span the continent. Great Canoes Four traditional watercraft or Great Canoes would be commissioned for provision of the final journey of the four Coppers to the Four Seas. These sturdy crafts would be painted and decorated as sacred vessels specifically for their epic voyage. The Great Canoes would be in the style of four different Aboriginal Nations and would each need to be built sea worthy. Sacred Canoe Paddles Sacred Canoe Paddles would be carved and painted to create a collection of sacred motifs from a wide variety of Nations. The paddles would gain in meaning and sacredness as they repeatedly churn, vibrate and stroke the rivers of many ancient nations on their journey to the great waters. After completing their journey they would be placed at the Spirit Island Interpretive Centre in a grouping with photos of the Sacred Coppers, along with the Sacred Bundles and Ceremonial Objects that travelled with the Coppers over the five cycles of creating Spirit Island. The Coppers would be taken in Great Canoes to the Four Seas to join the ashes of the lost children. 22

27 23

28 Time-Line Early Project Development Conceptualization Assessment of Interest and Support Pre Implementation Seeking Funding and Partnerships Strategic Planning Stage One Initiate Plan Finalize Contracts Implement Project Management Stage Two Site Preparation Initial Sculpting If full funding was committed as needed over the duration of the time line each of the Stages could be completed over one year cycles. An expected time line of 7 to 10 years is reasonable. Stage Three Complete Site Landscaping and Facility Construction Place Sculpture that Define Site Layout Initiate Sculpting Involving Extensive Community Participation Stage Four Place Selection of Works by Local Artists Continue Sculpting Involving Extensive Community Participation Stage Five Continue Sculpting Major Works Complete Sculpting Involving Extensive Community Participation Stage Six Complete Site Sculpture Intensify Community Participation Post Site Development Ongoing Community Participation Facilitate the Functions and Benefits of Spirit Island: Honouring the Child 24

29 SPIRIT ISLAND: HONOURING THE CHILD STAGES OF SCULPTURE PRODUCTION AND COMPLETION 1999 to 2003 Stage One Stage Two Stage Three Stage Four Stage Five Stage Six Stage Seven Early Project Dev. Conceptualization Pre- Implementation Project Funding Community Input Implementation Phase Site Preparation, Creation of Ceremonial Regalia and Bags Site Preparation, Building Construction, Place Dream Catcher and Arch 4 Coppers, Dream Catcher, Arch of Elders, 4 Aviarian Warriors Place Medicine Wheel Path, Fountain, Smudge Bowls Medicine Wheel Path, Stone Fountain, 4 Smudge Bowls 4 Coppers, Dream Catcher, Arch of Elders, 4 Aviarian Warriors Place Family Vignettes, Clan Pedestals, Metis Cart, Host Murals 8 Family Vignettes, 8 Clan Pedestals, Bronze Metis Cart, Host Murals, Medicine Wheel Path, Stone Fountain, 4 Smudge Bowls 4 Coppers, Dream Catcher, Arch of Elders, 4 Aviarian Warriors Place Animal Spirits, Family Vignettes, Clan Pedestals 15 Animal Spirits 16 Family Vignettes, 16 Clan Pedestals, Bronze Metis Cart, Host Murals, Medicine Wheel Path, Stone Fountain, 4 Smudge Bowls, 4 Coppers, Dream Catcher, Arch of Elders, 4 Aviarian Warriors Place Totems, Inukshuk, Kachina, Reaching Out 2 West Cost Totems, 2 Modern Totems, Bronze Inukshuk, Bronze Kachina, 16 Animal Spirits 16 Family Vignettes, 16 Clan Pedestals, Bronze Metis Cart, Host Murals, Medicine Wheel Path, Stone Fountain, 4 Smudge Bowls 4 Coppers, Dream Catcher, Arch of Elders, 4 Aviarian Warriors Post Site Dev. Copper Journey to Seas 25

30 SPIRIT ISLAND: HONOURING THE CHILD CEREMONIES AND DEDICATIONS OF WORKS Sculptures Stage One Stage Two Stage Three Stage Four Stage Five Stage Six Regalia and Bags Create Layout Park and Paths Construction Construction & Dedicate Office Info Ctr Design Construction Construction & Dedicate 4 Coppers Sculpt & Dedicate Arch of Elders Sculpt & Dedicate 4 Aviarian Warriors Sculpt & Dedicate Dream Catcher Sculpt & Dedicate Medicine Wheel Path Sculpt/Construct & Dedicate 4 Smudge Bowls Sculpt & Dedicate Stone Fountain Construct & Dedicate Host Murals Sculpt Sculpt & Dedicate Metis Cart Sculpt & Dedicate 16 Animal Spirits Sculpt Enlarge, Cast & Dedicate Enlarge, Cast & Dedicate 16 Clan Family Vignettes Acquire Acquire, Cast & Dedicate Acquire, Cast & Dedicate Children s Pedestals Sculpt Sculpt Sculpt, Cast & Dedicate 2 Reaching Out Figures Sculpt Sculpt Sculpt Cast & Dedicate 2 West Coast Totems Sculpt Sculpt & Cast Cast & Dedicate 2 Modern TotemS Sculpt Cast and Dedicate Inukshuk Sculpt Cast & Dedicate Kachina Sculpt Cast & Dedicate 4 Mounds Sculpt Sculpt Sculpt & Dedicate 26

31 Time-Line Summary Early Project Conceptualization and Development Sculpture Park/Sacred Site Designed and Proposal Written Spring 1999 A series of ceremonies and purifications were provided by Project Elder Vern Harper to launch the project over the first spring and summer of the millennium. Model Designed and Built Winter/Spring 2003 Winnipeg Community Consultation June 2003 Pre-Implementation Seek Seed Funding Develop Project Plans and Detailed Budgets Sign on Primary Aboriginal Partners Secure Funding Stream(s) Employ Project Management Team Design Park Landscaping Design Office and Information Centre (in progress over Stage One, Two and Three) Develop Materials for Community Involvement and Partnerships STAGE ONE Over Stage One: Project Planning Landscaping and Construction of Park, Paths and Retaining Walls (in progress over Stages One and Two) Implement Contracts Identify and Begin to Enlist Senior Aboriginal Sculptors Sculpt and Construct o Regalia and Bags o 4 Sacred Coppers for the Spirit of the Child Community Involvement o Community consultation for names of gift and child in 800 North American Languages o Community Outreach for Nominations of Names for Arch of the Ancestors 27

32 o Community Presentations and Distribution of Information and Resource Materials o Involve Elders in Blessings and Purifications o Open Community Invitation and Participation in a Community Event During June 21 Four-day Circle Gathering Transition of Stage One to Stage Two -- First June 21 Four-Day Circle Gathering Unveiling and Purification Ceremonies in Relation to: o Site construction preparation o Work completed over Stage One (noted directly above) o Sculptures to be initiated in upcoming year (stage two): Dream Catcher Arch of Elders Project Sculptors to attend Circle Gathering: (5 away; plus local artists) o 4 Sacred Coppers for the Spirit of the Child Sculptors (unveiling artists) o Dream Catcher Sculptor (introduction to artist) o Arch of Elders o Local Representatives From Site Construction Team STAGE TWO Over Stage Two: Continue Construction and Landscaping Park, Paths and Retaining Walls (in progress over Stage One and Two) Begin Construction of Office and Information Centre (in progress over Stage One, Two and Three) Make Final Selection of Artists Sculpt and Construct o Arch of the Elders MCI o Animal Spirit Dream Catcher Community Involvement o Signing and Etching of 4 coppers at community, social and political events o Identify and Sign up Communities for Elder and Aboriginal Children s Participation in Sculpting Clan Pedestals o Identify and Sign up Aboriginal Art School Youth for Participation in Creating Quilt Squares of the Reaching Out figures o Community Presentations and Distribution of Information and Resource Materials o Involve Elders in Blessings and Purifications o Continue Community consultation for names of gift and child in 800 North American Languages 28

33 o Open Community Invitation and Participation in a Community Event During June 21 Four-day Circle Gathering Transition of Stage Two to Stage Three -- Second June 21 Four-Day Circle Gathering Unveiling and Purification Ceremonies in relation to: Work completed and in progress over Stage Two (noted directly above) o Works being initiated in upcoming stage (Stage Three): Medicine Wheel Path of Childhoods MCI 4 Sacred Smudge Bowl Sculptures (3 away &1 local artist) Host Murals (2 local artists) (Metis and First Nations)(in progress over Stages Three and Four) Stone Fountain Reaching Out Figures MCI Children s Clan Pedestals MCI Project Sculptors Attending: (5 away and 2 plus - local) o Arch of the Elders (MCI) o Medicine Wheel Path of Childhoods Sculptor (MCI) o Animal Spirit Dream Catcher Sculptor (unveiling artist) o 4 Sacred Smudge Bowl Sculptors (introduction to artists) o 2 Host Mural Artists Metis and First Nations (introduction to artists) o Local Representatives From Site Construction Team STAGE THREE Over Stage Three: Final Construction and Dedication of Office and Information Centre Make Final Selection of Artists Sculpt o Medicine Wheel Path of Childhoods MCI o 4 Sacred Smudge Bowls o Stone Fountain Sculptures continuing in Progress: o 2 Reaching Out Figures (in progress over Stages Three through Six) MCI o Host Murals (in progress over Stages Three and Four) Community Involvement o Local Metis and First Nation Consultation on Content for Host Murals o Communities Workshops for Elder and Aboriginal Children s Participation in Sculpting Clan Pedestals 29

34 o Workshops for Aboriginal Art School Youth to Participate in Creating Quilt Squares of the Reaching Out figures o Continue Signing and Etching of 4 coppers at community, social and political events o Continue Community Presentations and Distribution of Information and Resource Materials o Involve Elders in Blessings and Purifications o Solicit Donations of Medicine Wheel Drawing and Medicine Bags for Permanent Placement Inside of Reaching Out Figures o Solicit Donations of Potlatch for Inclusion Inside Sealed Bronze Totem o Open Community Invitation and Participation in a Community Event During June 21 Four-day Circle Gathering Transition of Stage Three to Stage Four -- Third June 21 Four-Day Circle Gathering: Unveiling and Purification Ceremonies in Relation to: o Work completed and in progress over Stage Three (noted directly above) o Sculptures being initiated in upcoming Stage (Stage Four): Fountain Animal Spirits (in progress over Stages Four Through Six) Metis Cart 2 West Coast Totems (in progress over Stages Four Through Six) 4 Mounds (local artists) (in progress Stages Four through Six) Project Sculptors Attending: (17 away and 12 local artists) o 4 Sacred Smudge Bowl Sculptors (3 away &1 local artist) (unveiling artist) o Medicine Wheel Path Sculptor (MCI) o 16 Fountain Animal Spirit Sculptors (12 away & 4 local artists) (introduction to artists) o 2 Host Murals (2 local artists) (introduction to artists) o Metis Cart Sculptor (1 local artist) (introduction to artist) o 2 West Coast Sculptors (introduction to artists) o 4 Mound Sculptors (4 local artists) (introduction to artists) STAGE FOUR Stage Four: Sculpting Completion: o Host Murals (cast and completed) 30

35 o Metis Cart (1 local) (sculpt, cast and completed) o 16 Clan Family Vignettes (12 away & 4 local artists) (in progress over Stages Three through Five; selection to be cast and unveiled) o Children s Pedestals (in progress over Stages Three through Five; selection to be cast and unveiled) Sculptures continuing progress: o 2 Reaching Out Figures (in progress over Stages Three through Six) o 2West Coast Totems (in progress over Stages Four Through Six) o 16 Fountain Animal Spirits (12 away & 4 local artists) (in progress over Stages Four Through Six) o 4 Mounds (4 local artists) (in progress over Stages Four through Six) o 16 Clan Family Vignettes (12 away & 4 local artists) (selection to be in progress) o Children s Pedestals (in progress over Stages Three through Five; selection to be completed) Community Involvement o Spirit Island Site Open to Public on an ongoing Basis o Ongoing School and Youth Tours, Events and Activities o Complete Community Workshops for Elder and Aboriginal Children s Participation in Sculpting Clan Pedestals o Continue Workshops for Aboriginal Art School Youth to Participate in Creating Quilt Squares of the Reaching Out figures o Continue Community Presentations and Distribution of Information and Resource Materials o Involve Elders in Blessings and Purifications o Solicit Aboriginal Organization to Sponsor Annual Spirit Island Pow Wow to begin during Final Dedication in Stage Six o Continue Soliciting for Donations of Medicine Wheel Drawing and Medicine Bags for Permanent Placement Inside of Reaching Out Figures o Continue Soliciting for Donations of Potlatch for Inclusion Inside Sealed Bronze Totem o Continue Signing and Etching of 4 coppers at community, social and political events o Open Community Invitation and Participation in a Community Event During June 21 Four-day Circle Gathering Transition of Stage Four to Stage Five Fourth June 21 Four-Day Circle Gathering: Unveiling and Purification Ceremonies in Relation to: o Work completed and in progress over Stage Four (noted directly above) 31

36 o Sculptures being initiated: Inukshuk (in progress over Stages Five and Six) Kachina (in progress over Stages Five and Six) 2 Modern Totems (1 away, 1 local artist) (in progress over Stages Five and Six) Project Sculptors Attending: (3 away and 3 local artists) Host Murals (2 local artists) (unveiling artist) Metis Cart (1 local artist) (unveiling artist) Inukshuk (introduction to artist) Kachina (introduction to artist) 2 Modern Totems (1 away, 1 local artist) (introduction to artists) STAGE FIVE Over Stage Five: Sculpting completion: o Clan Family Vignettes (12 away & 4 local artists) (in progress over Stages Three through Five; final selection to be cast & completed) o Children s Pedestals (in progress over Stages Three through Five; final selection to be cast and completed) o 16 Fountain Animal Spirits (12 away & 4 local artists) (in progress over Stages Four Through Six; selection to be completed) o Inukshuk (in progress over Stages Five and Six) o Kachina (in progress over Stages Five and Six) Sculptures continuing progress: o 4 Mounds (4 local artists) (in progress over Stages Four through Six) o 2 Reaching Out Figures (in progress Stages Three through Six) o 16 Fountain Animal Spirits (12 away & 4 local artists) (in progress over Stages Four through six) o 2 West Coast Totems ((in progress Over Stages Four through Six) o 2 Reaching Out Figures (in progress over Stages Three through Six) Community Involvement o Spirit Island Site Open to Public on an ongoing Basis o Ongoing School and Youth Tours, Events and Activities o Complete Workshops for Aboriginal Art School Youth to Participate in Creating Quilt Squares of the Reaching Out figures o Spirit Island Site Available to Groups, Organizations and Agencies for Healing, Spiritual or Informative Activities or Events o Continue Community Presentations and Distribution of Information and Resource Material o Involve Elders in Blessings and Purifications 32

37 o Continue Signing and Etching of 4 coppers at community, social and political events o Continue Soliciting for Donations of Medicine Wheel Drawing and Medicine Bags for Permanent Placement Inside of Reaching Out Figures o Continue Soliciting for Donations of Potlatch for Inclusion Inside Sealed Bronze Totem o Open Community Invitation and Participation in a Community Event During June 21 Four-day Circle Gathering Transition of Stage Five to Stage Six -- Fifth June 21 Four-Day Circle Gathering: Unveiling and Purification Ceremonies in Relation to: o Work completed and in progress over Stage Five (noted directly above) Project Sculptors Attending: (12 away & 8 local artists) o 4 Mound Sculptors (4 local artists) o 16 Clan Family Vignette Sculptors (12 away & 4 local artists) STAGE SIX Over Stage Six: Completion of Sculpting o 16 Fountain Animal Spirits (12 away & 4 local artists) (final selection to be cast and completed) o Inukshuk (cast and completed) o Kachina (cast and completed) o 4 Mounds (4 local artists) (cast and completed) o 2 Reaching Out Figures (cast and completed) o 2 West Coast Totems (cast and completed) Community Involvement o Spirit Island Site Open to Public on an ongoing Basis o Ongoing School and Youth Tours, Events and Activities o Continue Community Presentations and Distribution of Information and Resource Materials o Spirit Island Site Available to Groups, Organizations and Agencies for Healing, Spiritual or Informative Activities or Events o Involve Elders in Blessings and Purifications o Continue Signing and Etching of 4 coppers at community, social and political events o Open invitation to all artists and families of children who participated to attend final Dedication 33

38 o Continue Soliciting for Donations of Medicine Wheel Drawing and Medicine Bags for Permanent Placement Inside of Reaching Out Figures o Open Community Invitation and Participation in a Variety of Community Events During Final June 21 Four-day Circle Gathering Final Sixth June 21 Four-Day Circle Gathering: Unveiling and Purification Ceremonies in Relation to: o Work completed over year six (noted directly above) o Dedication of Completed Spirit Island: Honouring the Child Sacred Site/Sculpture Park Project Sculptors Attending (17 away and 9 plus local artists): STAGE SEVEN Post Site Development: 16 Fountain Animal Spirits (12 away & 4 local artists) (unveiling artists) Inukshuk (unveiling artist) Kachina (unveiling artist) 2 Modern Totems (1 away, 1 local artist) (unveiling artists) 4 Mounds (4 local artists) (unveiling artists) 2 Reaching Out Figures (unveiling artists) 2 West Coast Totems (unveiling artists) Open invitation to all artists and families of children who participated Spirit Island Site Open to Public on an ongoing Basis Ongoing School and Youth Tours, Events and Activities School Curriculum and Text Developed Using Themes and Stories Associated with the Works of Spirit Island: Honouring the Child Spirit Island Site Available to Groups, Organizations and Agencies for Healing, Spiritual or Informative Activities or Events Community Participation in Blessing the Spirit of the Child as Copper and Grand Canoes Journey to the Four Seas Annual Spirit Island Pow-Wow Sponsored by Manitoba Spirit Island Hosts Launch of Grand Canoes and Coppers to the Four Seas Annual Native Art Fair in Public Access Area Annual Sculpture Symposium in Public Access Area Spirit Twins of Fountain Animal Spirits to be Place Throughout North America Organized International Tourism Tours to Site and Surrounding Winnipeg Amenities 34

39 PROJECT TEAM Project Leaders: Elder Vern Harper and Sculptor/Psychotherapist, Michael C. Irving, Ph.D. The site design/arrangement and conceptual composition of the art works were conceived in a series of vision experiences in 1999 by Michael C. Irving, Ph.D., of Cherokee, Scottish, Irish and Norwegian ancestry. The designation, development and implementation of ceremonies and healing circles are being coordinated by Canadian Urban Elder, Vern Harper of Cree and Scottish heritage. Verne Harper is a spiritual elder, a medicine man and an Aboriginal veteran of the Korean War. Though they carry main responsibility for the project's actualization, Irving and Harper, freely seek consultive and participatory collaboration of other artists, Elders and Aboriginal community members. Both Dr. Irving and Elder Harper endured great suffering in their lives and had to overcome much of the tragic legacy of early hardship before taking roles as community leaders. A Collaborative Effort of Artists and Communities This cultural site would involve the work of more than one hundred Aboriginal Peoples sculptors and carvers from across North America. Each of the bronze works would be a large undertaking. Many of the carvers and sculptors would be working with assistant sculptors and technicians creating teams of three to ten artists. The team members would add more than three hundred Aboriginal artists to this collaborative undertaking. Another two hundred youth/artists and Elder/artists would participate in workshops to create the sculpted quilt squares for the shawls of the Jingle Dancer figures. Dr. Irving's sculpting has led him into a career that includes activities as a researcher, writer and presenter in psychology, art and community healing. Participation in the Spirit Island team would be sought from Aboriginal Artists, Elders and children from across North America Through a campaign called "Give Spirit Island a Hand", Native children and communities would be asked to make medicine wheel drawings and messages on a piece of paper for inclusion inside the bronze Jingle Dancer Figures. The medicine wheel drawings and messages would allow tens of thousands of Native children to be part of the monument site. 35

40 Several dozen artists would be commissioned to create ceremonial objects and regalia. Hundreds of other Aboriginal people would be involved through gifts of medicine bundles for placement inside the Jingle Dancers and precious objects and writings for placement in the Potlatch Totem. This project would truly be a collaborative effort involving aboriginal people from a wide number of diverse regions. 36

41 ADDITIONIONAL FORKS SOUTH POINT SITE COMPONENTS The triangle of land that is being proposed for the Spirit Island Sacred Site is referred to as South Point of the Forks. It is an area boundaried by the Assiniboine River on the North; the Red River on the East Southerly side and the National CN Rail line on the Southerly West side; just to the West of the CN tracks is Main Street and to the North of the Assiniboine River is that abundant Portage Forks facilities. Visiting An Epic Site The community consultative process in Winnipeg in June of 2003 clearly related a sense of the epic nature of the Spirit Island Sacred Site, its layout and sculptural works. There was a sense that standing in and moving about the work would be a powerful experience that one would want to focus on, take in and even be changed by. In this regards it was repeatedly voiced that the work of the site should stand alone and not be compete with or be distracted by adjoined facilities. The size and scope of the site does require some basic building and resource components, among them: washrooms, maintenance equipment storage and a facility for some activities of staff. Office and Information Centre The point overlooking the juncture of the Red and Assiniboine Rivers is one of the most dramatic and yet unutilized vistas in Winnipeg. This point would make a remarkable location for a floor to ceiling windowed building that combined site office, indoors information area and washrooms. A 2000 to 3000 sq.ft. building could allow for the needed facilities. This building, though small, should be exceptional aboriginal architecture with building trimming, ornamentation and furnishings incorporating an extraordinary high degree of artistic adornment. Outdoor Gathering Area Directly to the south of the sculptural site pathway circle a large open area is created that could be covered in grass and designed to provide a multi-use outdoor classroom, gathering and group activity area. 37

42 Public Access Area On the North side of the site, just in from the shore an area can be created with a dozen cement pads that would provide work areas for annual stone sculpting symposiums, summer art exhibitions, and activity centres for daytime summer arts camps. Seasonal canvas awnings could greatly extend the amount of use and value that these pads could provide. This area is on the South Point land but could easily be designed in a manner that it is ongoing open public access that does not interfere with entrance fees or restrictions of the Spirit Island Sacred Site. Maintenance Storage and Staff Building The southerly end of South Point is an access opening that boundaries onto Main Street. It is a visually out of the way. It is situated in a manner that provides vehicular needs of maintenance and allows for equipment storage and access in a manner that does not interfere with the Sacred Site and its visitors and activities. 38

43 Michael C. Irving, Ph.D. Artistic Director, Spirit Island The focused determination of Sculptor/ Psychotherapist, Michael C. Irving, Ph.D. guides his vision that art and cultural activities can bring about meaningful understanding and effect substantial personal and social change. He feels the healing and transformative qualities of his art and poetry are much influenced by his Cherokee heritage. In youth he had a deep connection to nature and created a wide variety of native arts and traditional regalia. Dr. Irving has a private psychotherapy practice, working with a wide variety of issues. Dr. Michael Irving Carving blue marble. His stone and bronze sculptures are in private and corporate collections and have been exhibited internationally. He has received art project grants in the $10,000 to $400,000 range from individuals, foundations, government agencies and major corporations. He has won awards in art, community peace building and for his work in protecting children. Dr. Irving has published and lectured on art, myth and psychology, been featured in newspapers and magazines and has appeared on radio and television. Dr. Irving is currently working on several major public memorials. His design of the Spirit Island and his introduction to Elder Vern Harper were each the outcome of two sets of four day vision experiences in For Dr. Irving, Spirit Island is, in part, a means to address the legacy of the Cherokee Trail of Tears and the beauty and suffering that greeted the Cherokee way of life. The unfortunate consequences of several generations of child abuse, neglect and dysfunction in his family of origin were partly an outcome of this historic native tragedy and loss. His most recent past work, the Child Abuse Survivor Monument Project, was conceived by Dr. Irving in 1990 as a millennium project that would be an expression of community compassion and a form of social acknowledgment and remembrance. Hundreds of survivors of child abuse and community volunteers were actively involved in carrying out the project. 39

44 Vern Harper/Chief Asin Project Elder, Spirit Island Vern (Asin) Harper is a Cree spiritual elder and medicine man who lives in Toronto. The "Urban Elder" as he has been called, is a fifth generation grandson of Mistawasis, "Big Child" - a hereditary chief - and the sixth generation grandson of Big Bear, who fought the last battle between the Cree and the Canadian government in His Cree name, Asin, means stone. Vern Harper affirms the positive value of maintaining one's culture and seeks to convey this to others, whatever their heritage. He reaches into the past for his people's traditions, blending those old ways into the present so that the future can be a time of personal growth and spiritual strength. Vern Harper carries on the lessons that were gifted to him as a chosen storyteller. He is a teacher, a spiritual leader, an activist, a man who, although he lives in the city, remains deeply connected to the spiritual beliefs and traditions of Native culture and seeks ways to foster those connections in every aspect of his life. At the same time, he is aware of the impact of modern twentieth-century culture and looks for ways to integrate it with traditional Native ways. Vern's life is an interesting blend of the traditional and the modern. He is a traditional oral storyteller travelling the "Red Road". Among his many diverse roles, Vern Harper is one of only a few Elders in Canada with chaplain status. He works with Correctional Service Canada, conducting Native spiritual services at federal prisons, helping inmates to rehabilitate themselves through teachings, counselling and traditional ceremonies. With a strong conviction that there is a role for Spirituality in the treatment of mental health and addictions problems Vern Harper works as an Elder with The Centre for Addiction and Mental Health (CAMH). As a Native Youth Court worker, he has counselled Native young offenders and their families on behalf of Aboriginal Legal Services of Toronto. He sees children as our most precious gift that we protect by holding and guiding them in the centre of the circle. 40