There’s an Anishinaabeg word to describe the moment: Biskaabiiyang, which means ‘returning to ourselves’ through ancestral knowledge
, a Haudenosaunee from Quebec, is a beadworker and fashion designer whose traditional symbolism creations have a permanent home in the Eiteljorg Museum, the New York State Museum, and commercial partnerships with retailer Simons and Manitobah Mukluks.“I definitely think something exciting is happening,” says Jas Morgan, a professor at Toronto Metropolitan University and governor of the Yellowhead Institute, an Indigenous-led research and education centre based at the university.
“It’s old knowledge, something Anishinaabe people have been doing since time immemorial,” Pelletier says.Article contentShe was in her early 20s, working at Fort William Historical Park in Thunder Bay, when she first discovered it. They were making a traditional wigwam with birch bark panels. “We were raised on the reserve, but I went to school in town and we had none of this,” says Pelletier.
In 2018, she quit her job to focus on her art full time. Next summer she is holding a months-long exhibition at the Thunder Bay Art Gallery.“At first, I felt I didn’t deserve this, this is so beautiful,” says Pelletier. She consulted with elders. “They said ‘continue, keep making. You’re healing. The birch tree is the Anishinaabe tree and our trees are healing you and through this process you’re making and creating beautiful things.
“I would say that there is no such thing, I just happen to be Inuk and a classical singer. The next question asked was, ‘do you throat sing?’ ‘No. I’m a soprano!’ At times, I felt I was a bit of a disappointment, too much of one thing, not enough of another.”Then she learned of the research by Dr. Tom Gordon, a musicologist and professor at Memorial University’s School of Music. He had been working to transcribe classical church music found along the north coast of Labrador.
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