Indigenous

Like many other Indigenous people, I have a complicated relationship with the education system. Racism, underfunding, and the legacy of residential schools make it harder for Indigenous students to graduate from high school and post-secondary, but innovative solutions can change this. This is how one Indigenous person and one Indigenous community has navigated the education system through three decades.

As an Indigenous woman, I often feel caught between two worlds. Intergenerational trauma, displacement, and my ongoing struggle for self-acceptance have lasting effects in a society that doesn’t fully accept me.

Every year there are headlines about Manitoba First Nation communities evacuating from natural disasters. For communities, the story continues long after the news cycle has moved on.

When life feels chaotic, we take a step back to see the full picture. We do the same to understand chaos on our planet — but the full picture has layers woven together by the Earth’s most ferocious force: the wind.

In the family tree, trauma’s roots run deep. After losing a family member to addiction, one young woman confronts the pain of her past and reconnects to her Indigenous identity.

Learning about where you come from is an important part of figuring out where you belong. But when I began unearthing the buried Métis roots of my family tree, inherited feelings of shame and guilt were also brought to the surface.

Beadwork for these three Métis artists is more than art — it connects them to their culture, identity, and ancestors.

Joseph Sevillo, creator of the all-Filipinx musical “Ma-Buhay! A New Musical”, and Julia Ulayok Davis, an Inuit performer and aspiring creator, are ushering in a new — more diverse — era for musical theatre in Manitoba.

Organizations too often use land acknowledgements as a token in their bank of social goodwill. Many guides online show you the “how” of writing land acknowledgements — here’s the “why” of writing land acknowledgements.