b'ANEMKI ART COLLECTIVEprivate and meant just for you. [Other times] there are pieces that come with messages that makers want to share. I love that about bead-work. It can be really quiet, or really loud. CONTINUITYWhile the pieces created by Indigenous makers in the Collective are all unique, there is a thread of continuity that ties them all together: their relationship with the land. Its so intricately connected, says Marshall. Its The Anemki Collective often uses natural materialsthe one thing we always have in common from the land like birch bark and tanned moosehideas Indigenous peoplesour connection to to create a range of stunning items the land and love for it. All these women are working with materials from the earth.My hope is to lift these artists and valueWhile the quality of the Collectives art isAlthough the Anemki Art Collectives name their work, adds Marshall. Many of theseexceptional, Marshall says that there is moreimplies artistic expression, there is no word women have been oppressed for so longto it than standards. Everyone invited [to they dont see greatness in their work.IFAF] did great work, but its not just aboutfor art in the Anishinaabe language. You Theyre unable to look at the time andthat, she explains. Its also about howhave crafters, you have carvers, but they value of their work as significant.[members] expressed themselves, and howdont ever call themselves artists thats a this connected them back to communitynew word for our people, says Marshall. A hide tanner herself, Marshall knowsand showed their value as resilient women. Indigenous art practice is the way people live the amount of time and effort that goestheir lives and, with the evolution of time, its into each piece. [These women] oftenNon-Indigenous purchasers of Indigenousnow [about] people creating contemporary would say This isnt worthy, when theart tend to question the fine line betweenthings out of earths material. truth is that they should be saying Wow, Iappropriation and appreciation, so for am amazing. Marshall, in-person attendance of AnemkisAlong with an existing connection to the land makers at IFAF was important. Connectingcomes an even deeper linkage for Indigenous There is a significant amount of timeIndigenous art to mainstream fashion youmakers: reconnection with their heritage. invested in each piece that is part of thefind a lot of non-Indigenous folks asking,We have this entire generation of young Collectives work. All of us in this groupCan I wear this if Im not Indigenous? shepeople who have been disconnected from are bead workers, leather workersthesays. Of course, you can! The entire pointtheir heritage for so long but want to recon-slow art movement, explains Marshall.is to support these makers; it doesnt matternect, and this is one way they are doing this, Everything is unique and takes an incred- who you are.comments Marshall.ible amount of time to create, which is why the collective has 20 members. ThereWhats important, continues Marshall, isHelping to lift Indigenous women from is no way I could have had an event at athat those who buy the work educate them- generations of systemic oppression is booth selling what I made in a yearthereselves about who the maker isthey areimportant. My hope is to lift these artists, wouldnt have been enough. Thats how theall different and unique. People are going toall these women who have been systemically Collective came together.ask you where you got it, if it was gifted oroppressed for generations, Marshall says. purchased. You should be able to help tellWhen people they dont even know come to SHARING KNOWLEDGE a story about the piece; its about sharingadmire their work and express love for their an identity, where the maker is from andcraft, it truly makes a difference for them. Bringing Anemkis work to Toronto was awhat youre doing with their art. Essentially way to showcase not only its talent, but alsoyoure carrying a stamp signifying cultureLike with all art, it is the creative cultural the transference of cultural knowledge in aand identity.expression that is deeply personal to both the form of storytelling to the mainstream worldmaker and the consumer. Theres a conver-of fashion. It allowed people in an urbanMarshall explains how even a pair ofsation about cultural assimilation around area to talk to the makers and express theearrings can carry significance: Theyre not[Indigeneity], says Marshall. The beautiful time it took to make them, says Marshall.just aesthetically beautiful, there are storiesthing about Indigenous Fashion Arts (IFA) is [Its about] sharing the knowledge andto them that are deeper than you think.celebrating the fashion and the makers. Its stories behind each piece, which people areYoure buying the piece, but youre also interested in hearing, as opposed to simplybecoming part of the process of healing andokay [for non-Indigenous people] to wear focusing on cost. Its enabling knowledgereconciliation behind that. Its subliminalthese things celebrate life with us, but with transfer from the crafter to the consumer.but very beautiful. all things, its extremely important to educate yourself and to be respectful. Bringing the Collective to Canadas largestNot everything has to carry a story, city also helped boost the platforms of indi- however. Marshall explains this throughIn summary, says Marshall, I really love this vidual makers. When people with largerher own relationship with bead working,opportunity to transfer knowledge through public profiles buy these pieces, it generatesand the diversity of storytelling throughAnemki because all the work is inspired by more interest in Indigenous makers andIndigenous art creations. As a beaderland and water, and when youre able to our stories, which then self-generates,myself, I never really talk to people or feelempower others with this knowledge, its a notes Marshall.the need to, she says. Sometimes its justbeautiful, powerful thing.34Fall/Winter 2022'