Norway’s Storebrand Goes NoDAPL.

NorSR

© C. Ford. All rights reserved.

More and more efforts are directed at divestment, and Norway’s largest private investor has decided to go No DAPL.

The largest private investor in Norway has pulled out of three companies connected to the Dakota Access Pipeline (DAPL) because of the conflict at Standing Rock.

Storebrand, an Oslo-based financial-services company that specializes in sustainable, socially conscious investing, has sold off nearly $35 million worth of shares in Phillips 66, Marathon Petroleum Corporation, and Enbridge, the company announced on March 1.

“Storebrand has made the decision to withdraw all investments from the controversial Dakota Access pipeline, including positions in the North American companies Marathon Petroleum Corporation, Enbridge Inc. and Phillips 66,” said Storebrand in a statement on March 1.

“Our conclusion is that these are poor long-term investments, both for our pension customer and from a sustainability point of view,” the company said.

Storebrand had investments of $11.5 million in Philips 66, $7 million in Marathon Petroleum Corp. and $16.2 million in Enbridge Inc., for a total of $34.8 million, said the company. According to its website, it has been in operation since 1767 and was managing pension funds since 1917, pre-dating Norway’s social security system by 50 years.

“There is too much uncertainty, for us as an investor, as to whether there has been a good process that ensures the rights of all parties in the conflict,” said Matthew Smith, Head of Sustainable Investments. “There has been involvement by the United Nations, by President Obama, and President Trump. Caught in the middle are the people directly impacted by the pipeline.”

[…]

Storebrand tried numerous tactics to enact change, Smith said in the statement, but none of them worked.

“Generally, it is our belief that we can have a more positive effect on companies and situations by using our position as an owner to effect change. We have successfully done so on many occasions, but it doesn’t always work,” Smith said. “Storebrand has been in direct contact with the companies, and has worked with international groups of investors. Our most recent initiative is an investor letter, representing 137 investors with $653 billion assets under management, that encourages involved banks that have lent money to the project to use their position and influence to engender positive change and a reconsideration the routing of the pipeline.”

Storebrand was forced to conclude that “active ownership is not going to deliver a better outcome,” he said. “We do hope that this can give a final indication to the involved companies to reconsider the routing of the pipeline.”

The investor joins a growing number of companies and entities that have pulled funds from Wells Fargo and other banks that are financing DAPL, ranging from the City of Seattle to individual account holders. Others, such as New York City, have put DAPL banks on notice.

The decision was not easy, Smith told The Guardian.

“Divestment is a last resort,” he said. “When you divest from companies, you give up your possibility to influence companies to come to a better solution.”

Full story at ICMN.

Fighting for Cultural Survival.

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Everything Anywhere.

A steel blindfold covers the head of a human female figure, yet, unlike Lady Justice, her arms and legs too are bound. Fiber, in an interlocking braid, ties her wrists, wraps her neck and belly, and snakes down to hitch her legs at the ankles. Over her shoulder, however, her hands clutch the means to freedom from her bondage: a soft white blade digs beneath the rope around her neck. Salvation via ceramics.

Artist Cannupa Hanska Luger was born on the Standing Rock Reservation. He is of Mandan, Hidatsa, Arikara, Lakota, Austrian, and Norwegian heritage. A graduate with honors from The Institute of American Indian Arts, in 2016 he was the recipient of the Native Arts and Cultures Foundation Artists Fellowship Award for artists who “represent the cultural continuity of Native peoples in contemporary contexts, and are the creative voices of their communities.” His work in sculpture is figurative yet imaginative, assembling a panoply of cultural symbols—feathers, bones, textiles—into signifiers all his own. More mythopoeic than surreal, it frames him as a medium, a psychic intermediary between colonizer and Native, ancient tradition and modern understanding, soft clay and hard ceramics.

Nature.

Nature.

 

The Creators Project has an interview with Cannupa Hanska Luger, you can see and read much more!

http://www.cannupahanska.com/

The Police State of America.

Area

Back in 2014, this was one sentence in a long comment written to an oblivious ass about events in Ferguson, Missouri:

A lot of us recognize the dire nature of this situation, and that sooner or later, that rumble will mow down our towns.

The rumble is here. It’s been here for a while, those at the No DAPL camp got to see it up close and personal, more than once. That noise you hear is the boot stomp of a police state, soon to be wherever you live in the States. Legislators have been busy for a while, coming up with various ways to strip people of their rights, and to punish them severely for attempting to exercise those rights. We’re not only back to the bad old days of COINTELPRO (don’t need that anymore, they have Palantir), it’s much worse now. Lately, I’ve been posting a bit of music every day, from the bad old days, which reflected the protests and fights we were in, music which helped to mobilize people. Turns out, we need that more than ever now. Young people, unlike old farts like myself, don’t have the experience of just how far our government is willing to go to shut down dissent. While past experience informs my current alarm, what’s happening now is worse. Much, much worse. Don’t be thinking it’s okay because you aren’t the protesting kind of person – your rights have been shredded and tossed to the wind too. Once open dissent is shut down, it’s never long before it isn’t safe to criticise or be thought unloyal. The loyalist business has already infected the white house, and that’s gotten worse too, with people being fired for having been critical of Trump.

Flint Taylor, a founding partner of the Chicago-based People’s Law Office, told AlterNet that he believes that Trump’s three executive orders on crime and policing have emboldened these state-level initiatives. One decree, titled “Preventing Violence Against Federal, State, Tribal, and Local Law Enforcement Officers,” is premised on the false claim that there is a war on cops. The order instructs the executive branch to “develop strategies, in a process led by the Department of Justice (Department) and within the boundaries of the Constitution and existing Federal laws, to further enhance the protection and safety of Federal, State, tribal, and local law enforcement officers.”

Sessions, who heads the DOJ, has said that he does not believe systemic police brutality is a problem worth addressing.

“The language of this executive order is focused on ‘preventing violence,’ which was the exact language of the memoranda that former FBI director J. Edgar Hoover wrote justifying the neutralization—i.e. destruction—of everyone from Martin Luther King Jr. to the Black Panthers,” said Taylor. “One of the key aspects of COINTELPRO was to ‘prevent violence.’ That was the cover for destroying movements.”

“Together with all the other preliminary indications from the Trump administration, this executive order bodes extremely ill, particularly for communities of color, in terms of unleashing the already awesome and racist power of police departments in cities across the country.”

Meanwhile, right-wing Republicans in Congress, with apparent backing from the Trump administration, are advancing efforts to declare the Muslim Brotherhood a terrorist organization. The initiative, which emanates from far-right conspiracy theories that the Sunni Islamist group is infiltrating the U.S. government, is aimed at crushing Muslim civil society organizations at the core of resistance to Trump.

Amidst a climate of authoritarianism, anti-protest laws are advancing alongside so-called Blue Lives Matter bills that protect police officers under hate crime laws meant to safeguard historically oppressed communities. These initiatives are spreading across the country, with Republicans now in control of roughly two-thirds of the partisan legislative chambers in the United States.

“I definitely think there are a lot of Republicans who feel that Trump is a dog whistle to start writing bills that infringe on people’s rights, because we’re seeing that on a federal level,” said Grimm. “They are taking advantage of this time to make sure that people who don’t agree with them don’t have the right to express that. This is how you move toward fascism and nationalism, by getting rid of dissent.”

That’s just a bit of the full article running down all the current legislation looking to strip rights and quash dissent.

There’s also this:

Upon entering Spicer’s second floor office, staffers were told to dump their phones on a table for a “phone check,” to prove they had nothing to hide.

Spicer, who consulted with White House counsel Don McGahn before calling the meeting, was accompanied by White House lawyers in the room, according to multiple sources. There, he explicitly warned staffers that using texting apps like Confide — an encrypted and screenshot-protected messaging app that automatically deletes texts after they are sent — and Signal, another encrypted messaging system, was a violation of the Federal Records Act, according to multiple sources in the room.

The phone checks included whatever electronics staffers were carrying when they were summoned to the unexpected follow-up meeting, including government-issued and personal cell phones.

Spicer also warned the group of more problems if news of the phone checks and the meeting about leaks was leaked to the media. It’s not the first time that warnings about leaks have promptly leaked. The State Department’s legal office issued a four-page memo warning of the dangers of leaks — that memo was immediately posted by the Washington Post.

But with mounting tension inside the West Wing over stories portraying an administration lurching between crises and simmering in dysfunction, aides are increasingly frustrated by the pressure-cooker environment and worried about their futures there.

Full story at Politico. It should not need to be said that open, transparent governments don’t need to fear leaks. Authoritarian regimes, however…

This Is Our Land.

Water Protectors Leave Oceti Sakowin Reluctantly.

‘Absolutely False’: No Contact From Trump Administration, Archambault Says.

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NODAPL; The Last Stand © Marty Two Bulls.
 
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No DAPL; Beware the Early Thaw © Marty Two Bulls.

Arizona Goes for Full Protest Suppression.

Women's March on Washington (Photo: Sarah Burris/RawStory).

Women’s March on Washington (Photo: Sarah Burris/RawStory).

The myth of professional protesters continues to be spread by rethugs, and Arizona rethugs have passed legislation which would allow the cops to seize the assets of anyone who attended a protest which turned violent in any way, along with the power to arrest those who planned the protest, although they did not commit any violent acts. The rethugs are extremely unhappy with The Resistance, and are doing everything they can to shut it down. We are all going to have to stiffen our spines and our resolve, and refuse to back down in the face of blatant rights violations.

The Republican-controlled Arizona Senate has passed a bill that would let law enforcement officials seize the assets of people who participate in protests that turn violent — even if those people had nothing to do with any violent incidents.

[…]

The bill would allow police to seize assets of anyone who attended a peaceful protest that happened to turn violent, and it also gives cops the power to arrest people who planned the events, even if they did not personally commit violence.

State Sen. John Kavanagh (R-Fountain Hills), who supported the bill, explained to the Arizona Capital Times that it’s aimed at curtailing the activities of “professional protest” groups whose goal is to start riots and damage private property.

“You now have a situation where you have full-time, almost professional agent-provocateurs that attempt to create public disorder,” said Kavanagh, a former police officer.

Bald-faced fucking liar. :spits: I’d like to see this flaming asshole address all the violence at Black Lives Matter protests, as the violence was all perpetrated by cops. I’d like to see this asspimple address the overwhelming violence committed by cops against all those at Standing Rock. Fuck you, Kavanagh. People are marching and protesting and protecting because it’s the only recourse we have. It’s not like we can look to our government for help.

Via Raw Story.

Confronting the Lasting Legacy of Colonialism.

Installation view, PARADISE COVE 1.0, 2015.

Installation view, PARADISE COVE 1.0, 2015.

At its best, Hawai’i’s art community reflects a multi-ethnic heritage as well as a critical desire to confront the legacy of colonialism that plays out in the present day against the people, land, and natural resources of the islands. For many long-time Hawai’i artists, there is an acceptance of a place where the market is not a priority. This is important work, hard work, work that must be done in the face of personal and economic sacrifice and the growing lack of institutional support, despite near-constant development and a booming tourist economy.

At its worst, Hawai’i’s art community is dated and alienating: full of the racist undertones and an underlying bitterness stemming from a lack of opportunities. Artists here can be unapologetically territorial. “Watufaka!” Given the whitewashed colonial injustices committed against Hawai’ians and throughout the Pacific, does it really come as a surprise? Meanwhile, artists trying to make a living face tremendous pressure to conform to touristic expectations and often end up sacrificing their vision to produce uninspired tropical seascapes or “designed by committee” public commissions for the state. Neither promotes meaningful engagement. Some artists go for broke and move to “the mainland,” never to be seen or heard from again. Some move home to surf or start a career, when they are jaded and tired, in their 40s. The rest just stop.

The whole essay, part of 50 States of Art, is at The Creators Project, and excellent reading. There’s more to see, too!

Crispus Attucks: A Shared Narrative.

Getty images - Simon and Schuster.

Getty images – Simon and Schuster.

Gyasi Ross has an excellent article up about Crispus Attucks, and the shared narrative between Black people and Indigenous people.

Since white colonization of this continent, Black and Native lives have always been valued less than other people.  The story of Crispus Attucks was an early illustration of how there seems to always be a reason why black and Native people get killed that somehow exonerates the authorities of guilt when they harm us.  “Self-defense.”  But, perhaps most importantly, the story of Crispus Attucks is about combined Native and black lineages that resisted, suffered, but through that resistance caused a revolution.

The year was 1770 and the scene was the Massachusetts Colony.  Boston was hot with anger and resentment toward England. 150 years after Pilgrims originally occupied the homelands of the Wampanoag people, the descendants of those Pilgrims felt like they were losing control of the land they called “home.” At that time slavery was legal in the Massachusetts Colony—white colonists enslaved Natives and blacks alike in Massachusetts.  For example, in 1638 during the so-called “Pequot Wars,” white colonists enslaved a group of Pequot women and children. However, most of the men and boys, deemed too dangerous to keep in the colony. Therefore white colonists transported them to the West Indies on the ship Desire and exchanged them for African slaves.

[…]

Crispus Attucks was both Indigenous and black and a product of the slave trade. He was brilliant in the survival skills that is common and necessary amongst both Indigenous people and black people since the brutal regime of white supremacy came to power on Turtle Island.  His mother’s name was Nancy Attucks, a Wampanoag Native who came from the island of Nantucket. The word “attuck” in the Natick language means deer. His father was born in Africa. His name was Prince Yonger and he was brought to America as a slave.

Attucks was himself born a slave. But he was not afraid to actively seek his own (or others’) liberation. For example he escaped from his slave master and was the focus of an advertisement in a 1750 edition of the Boston Gazette in which a white landowner offered to pay 10 pounds for the return of a young runaway slave.

“Ran away from his Master, William Brown of Framingham, on the 30th of Sept. last, a Molatto Fellow, about 27 Year of age, named Crispas, 6 Feet two Inches high, short curl’d Hair…,”

Attucks was not going back though—he never did.  He spent the next two decades on trading ships and whaling vessels.

[…]

The story of Crispus Attucks is powerful. Native and black people have been facing the same tribulations and common enemies for a very long time.  For most of the time since white people have been on this continent, black folk and Native folk have had no choice but to work together and have.  If we look at statistics today—from expulsion/suspension from schools, to the blacks and Natives going to prison, to getting killed by law enforcement—not a lot has changed.  We still share very common narratives and need each other.

We still need to work together.

Click on over to Indian Country Media Network for the full article.

Arctic Hysteria.

A still from Arke’s 1996 video Arctic Hysteria shows the artist naked and crawling across a photograph of Nuugaarsuk Point in Greenland. Photo courtesy of the Louisiana Museum of Modern Art. Acquired with funding from Anker Fonden 
Poul Buchard/Brøndum & Co.

A still from Arke’s 1996 video Arctic Hysteria shows the artist naked and crawling across a photograph of Nuugaarsuk Point in Greenland. Photo courtesy of the Louisiana Museum of Modern Art. Acquired with funding from Anker Fonden 
Poul Buchard/Brøndum & Co.

Most people have never heard of Pia Arke, which is a shame, because she was an artist who took on one huge subject: the colonial takeover of indigenous peoples by those who termed themselves “explorers” and “discoverers”. There’s a great deal of horror inherent in any indigenous peoples experiences with colonialism. Unsurprisingly, indigenous women got the worst of it.

In the spring of 1995, Danish-Greenlandic artist Pia Arke was digging through the archives of New York City’s Explorers Club. She was searching for maps, ethnographic images, and scientific miscellany that she could repurpose into collages that confront Greenland’s colonial past. Arke knew early 20th-century adventurers often, by turns, demeaned and romanticized her Inuit ancestors. Even so, one photo from American explorer Robert E. Peary’s collection shocked her: a native woman, topless and screaming, restrained by two fur-clad and seemingly untroubled white men. A curator told Arke the woman could have been suffering from a madness called Arctic hysteria.

More than 20 years later, Arke’s mesmerizing film Arctic Hysteria, which she created the year after she found that dark photo, was looping endlessly in an alcove at Denmark’s Louisiana Museum of Modern Art. Situated in a small town along the Baltic Sea about 50 kilometers north of Copenhagen, the Louisiana Museum enjoys the kind of international acclaim that makes it a dream exhibit space for most artists. Arke’s work was part of last year’s star-studded exhibit Illumination, which featured such luminaries as Ai Weiwei, Cindy Sherman, Jeff Wall, and Gerhard Richter. The flashiest Arke piece on display was Legende I-V, a series of five collages of Greenlandic maps and sepia-toned family snapshots layered with imported commodities such as rice, sugar, and coffee. Legende I-V is physically imposing—it dominated an entire gallery wall—and hauntingly beautiful. The foodstuffs function both symbolically and texturally, the photographs evoke the warmth of kinship, and the cartographic lines of Greenland, stamped with place names referencing colonial explorers (Peary Land, Humboldt Glacier, and Kane Bassin, for example), loom insistently over everyone.

Arke’s Arctic Hysteria is equally magnetic. The performance, which lasts six minutes, is silent and consists almost entirely of one scene: Arke crawling naked across a giant black-and-white photo of Nuugaarsuk Point, a spit of land at the terminus of a C-shaped bay. The artist lived there, outside the small town of Narsaq, Greenland, with her parents and siblings in the late 1960s. In the video, Arke strokes the artificial landscape, rolls across it, and sniffs it like an animal. Then she methodically rips the entire thing to shreds, gathers the curled shards of paper, and lets them fall across her shoulders and thighs. The intimacy of the performance and the title’s historical allusion are classic Arke.

[…]

Historical context points to alternative interpretations. Inuit women labored at the very bottom of the social hierarchy on Peary’s expeditions and in his camps, expected to sew, fish, carry wood, and submit to the Americans’ sexual desires. Peary, for example, fathered two sons with his Inuit laundress, Ahlikasingwah. His navigator, Robert Bartlett, viewed one woman’s hysteria as simple protest, or “pure cussedness.” Accounts described women who seemed intent on escape or dissent leaping over the ship’s railings or shouting for a knife. Expedition member Donald MacMillan recounted finding a woman named Inawaho naked and screaming, presumably unaware of her surroundings and out of her mind. But as soon as MacMillan pulled out his camera, Inawaho hurled huge chunks of ice at him and later begged him to destroy the photos. Were these women, in fact, crazy? Or were they reacting perfectly rationally—even bravely—to their circumstances?

You can read and see more here.

Right Now, Trump Is…

From a Native American's perspective, Trump is acting more like the Founding Fathers than Hitler.

From a Native American’s perspective, Trump is acting more like the Founding Fathers than Hitler.

Donald J. Trump has been called a lot of things. A bigot. A misogynist. A racist.

And I agree with these descriptions of the new president. He’s earned those titles, especially given all he has spewed over the decades about women and racial minorities, and just about anyone he disagrees with, or who disagree with him.

But Mr. Trump is also unoriginal.

Many of the controversial policies and plans he’s setting into motion have already been executed in this country.

Think about it.

Mr. Trump has vowed to evict millions of undocumented individuals. Brown folks, mostly.

But, of course, this wouldn’t be the first time a sitting U.S. president would forcibly and eagerly evict the indigenous peoples of this continent from their homes.

One of the first of such evictions in this country’s shady history occurred in the 19th century, back in 1830, when president Andrew Jackson signed the Indian Removal Act, which coercively extirpated thousands of Native Americans from their ancestral homelands.

The brutal act prompted the “Trail of Tears,” a vicious campaign that resulted in a forced westward march of men, women, and children through ice, snow, and freezing temperatures. More than four thousand Native Americans died during that rotten trudge.

“But Mexicans aren’t Indians,” a white man recently said to me at an eatery on the north side of Denver, Colorado, during an impromptu discussion on Trump’s unoriginality.

[Read more…]

*Spits*

19-6

© C. Ford.

North Dakota legislators have been pushing a raft of draconian bills through to make any protesting impossible to do, if you’re actually outside your abode. The worst of them is one which would allow drivers to ‘accidentally’ hit a protester without penalty. Thankfully, it didn’t pass, but the shit-filled asshole who authored it still wants it to be enacted, because:

Republican state Representative Keith Kempenich told local media that he sponsored the bill after his mother-in-law was caught in a protest while driving.

Kempenich defended the bill Monday before a vote, saying current laws had failed to protect citizens, and that the much publicized bill was mischaracterized by the media.

“I’d like to see this bill passed forward. I think that it shows that we are willing to stand up for the citizens of this state,” he said.

How about you say what you mean, you piece of shit? You want that bill to pass because you think us nasty Indians ought to be killed. We sure as hell obviously aren’t citizens of this state in your colonial, genocidal eyes. Fuck you, Kempenich.

Via Raw Story.

Oh, that fucking wall.

An agent of the border patrol, observes near the Mexico-US border fence, on the Mexican side, separating the towns of Anapra, Mexico and Sunland Park, New Mexico, on January 25. CREDIT: AP Photo/Christian Torres.

An agent of the border patrol, observes near the Mexico-US border fence, on the Mexican side, separating the towns of Anapra, Mexico and Sunland Park, New Mexico, on January 25. CREDIT: AP Photo/Christian Torres.

The projected cost for President Donald Trump’s border wall continues to rise, and Trump has no good plan to contain it.

On Thursday, Reuters reported that the border wall will be much more expensive than the $10 billion figure Trump repeatedly cited during his campaign or the $12–$15 billion cited by Senate Majority Leader Mitch McConnell (R-KY) and House Speaker Paul Ryan (R-WI) last month.

“Trump’s ‘wall’ along the U.S.-Mexico border would be a series of fences and walls that would cost as much as $21.6 billion, and take more than three years to construct,” Reuters reported, citing a U.S. Department of Homeland Security document the outlet obtained.

And it could end up costing even more than that.

“Bernstein Research, an investment research group that tracks material costs, has said that uncertainties around the project could drive its cost up to as much as $25 billion,” Reuters reports.

On Saturday morning, Trump responded to that news by assuring Americans that costs of constructing the wall will come “WAY DOWN” as soon as he gets involved in the negotiations.

<Tweets snipped.>

But Trump’s citation of the reduced cost of F-35s should give no one confidence he’ll be able to bring down the exorbitant cost of his border wall.

That’s because on January 30, Trump took credit for cost cuts to the fighter jets that were already put in place before he got involved. A Washington Post fact-check gave Trump’s claim that he was responsible for cutting $600 million from the F-35 program “Four Pinocchios.”

[…]

Trump has repeatedly taken credit for deals that were in the works long before he won the election or became president. For instance, he’s overstated his role in deals with Intel, General Motors, Fiat Chrysler, Ford, and Sprint to take credit for saving American jobs.

[…]

Last year, Reuters reported that U.S. Customs and Border Protection agents don’t think the type of border wall Trump has long supported is necessary for national security. Instead, they seek better equipment and technology.

Not only is this wall idea the epitome of idiocy, people tend to forget a different cost of such idiocy – the high cost imposed on animals, the environment, and various ecologies. This sort of arrogant assholery is little more than a chest-pounding display of cruelty, a game for bully boys. Unfortunately, such people don’t much give a shit about the planet which gives them life, or the diversity of life on our earth, which has no use for the concrete idiocy of naked apes intent on warring with their neighbours. You can read a bit about this high cost here.

Full story at Think Progress.

Shame and Prejudice.

The Scream shows Indigenous children being taken away from their families by the Catholic church. (Courtesy of Kent Monkman).

The Scream shows Indigenous children being taken away from their families by the Catholic church. (Courtesy of Kent Monkman).

There’s a good article up about Canada 150 and whether or not Indigenous artists chose to participate. For some, it was an opportunity to get a sharp point of view home, and for others, it was nothing more than a celebration of colonialism and genocide, especially given how Indigenous people continue to be treated across Canada.

As Canada 150 celebrations extol the glory of Canada’s past and present, one group of artists is not so quick to join the party. Indigenous artists view the sesquicentennial with mixed feelings, with some using it as a platform to tell their peoples’ side of the story, and others opting to boycott the celebrations altogether.

“People come out and want to hear all these stories about Canada, and sometimes they don’t want to take the bad with the good,” says Vancouver-based playwright and composer Corey Payette, whose new musical, Children of God, tells the story of Cree children in residential schools. […] “For me it’s about educating non-Indigenous people, educating mainstream audiences, on what would this have been like if this had been your child? What would that have done to your family and the future of their children and the intergenerational trauma of that?”

But photographer Nadya Kwandibens feels the only right way to respond to Canada 150 is to boycott it.

“The way I see it is, these celebrations are a celebration of colonialism and, as an Indigenous person, I’m choosing not to celebrate colonialism,” said Kwandibens in an interview with CBC News from her home on Animakee Wa Zhing First Nation in northwestern Ontario. Her photos are positive, empowering images of young Aboriginal professionals thriving in urban centres and of elders teaching children. But Kwandibens doesn’t want to see them used in the context of Canada 150.

The Full story is here.