SAW Video Ottawa, Metis Media Fest 2007

Metis Media Fest 2007,  24 Aboriginal Artists, 50 videos, 25 digital images and 10 audio tracks presented at SAW Video Media Arts Ottawa.


Metis Media Fest 2007 was exhibited at the SAW Video Media Arts Centre in Ottawa Canada on August 30, 2007. The multimedia Installation featured 50 videos, 25 digital images and 10 audio tracks in collaboration with 24 Aboriginal Artists from Australia, The Philippines, Peru, Canada and the USA.

Metis Media Fest 2007 ran from 4-8 PM Thursday on August 30, 2007 in CLUB SAW in the Arts Court Building at 2 Daly Street (corner of Daly and Nicholas in Ottawa’s Market District). The videos, digital images and audio tracks were featured within an immersive installation of computers and video projectors. Excerpts of the works were shown on the main screens with the unedited versions available on the computers within the installation.


Exhibited videos included: “Singing Home the Bones: A Poet Becomes Himself” by Hilary Pryor, “Buried Traces” by Michelle Smith, “Hybred” by Christine Kirouac, “Anwolek- Regatta City” by Dana Claxton, “Sierra’s Song” by John Barnard. VIdeos were digitized and “mashed-up” or “remixed” on 8 large screens. Full length Video, audio and digital images were presented through an interface on 5 available computers.


Marcel Fayant – The 2nd Dumbest Question of the 20th Century

Videos Exhibited – Artist, Title

  • James Diamond Mars – Womb Man
  • James Diamond – Private Property
  • Terry Haines – Skin for Life
  • Terry Haines – Raven Heart
  • Terry Haines – Dragonfly
  • RoseAnne Archibald – Class Clown
  • RoseAnne Archibald – Payuk Sashkeehitowin (One Love) Peuk Nepi,
  • James Nicholas – Meeting Waterwoman
  • Dana Claxton Anwolek – Regatta City
  • Hilary Pryor – Singing Home The Bones: A Poet Becomes Himself.
  • Marcel Fayant – The 2nd Dumbest Question of the 20th Century
  • Marcel Fayant – The 3rd Dumbest Question of the 20th Century
  • Marcel Fayant – The Response to the Dumbest Question of the 20th Century
  • Marcel Fayant – Native Dance Movement

The Metis Media Fest asks “What does it mean to be Metis?”

The films, YouTube videos, audio tracks, digital images, and photographs featured the work of Aboriginal artists from Canada, USA, Australia, Peru and the Philippines that examine issues around Aboriginal/European heritage, including why people of mixed heritage may or may not identify themselves as Métis.


Digital Images by Wayne Phillips

This family-friendly event featured 50 videos, 25 digital images and 10 audio tracks, all presented within an immersive installation of computers and video projectors. Excerpts of the works will be shown on the main screen with the unedited versions available on the computers within the installation.


Anwolek – Regatta City by Dana Claxton

The event will be of interest to audiences of Aboriginal culture as well as those seeking a technological experience. The work ranges from traditional  to experimental. In 2007, The Installation included electronic works of Aboriginal artists from Vancouver, Montreal, Saskatoon, Regina, Fargo, Lima, Baguio and Melbourne.

Darayonan Centre of Coron Philippines

Medicine Wheel Video Installation exhibited in Coron Philippines, February 2005.


North South East West, the New Media Installation, inspired by the traditional knowledge of the Anishinaabe Peoples was shown February 17th 2005 in Coron Philippines at the Darayonan Centre.


The show was part of a 10 city tour of the Philippines and Taiwan, February 12 to March 7 of 2005, that included presentations at the Tamawan Village Art Gallery Baguio, Ateneo Art Gallery Manila, Darayonan Centre in Coron, and the Kamarikutan Gallery in Puerto Princessa. Check out North-South-East-West Online.


As well as the show was also exhibited at the University of the Philippines Mindanao Cultural Centre Davao, Regional Education Learning Centre of Cotobato City, Lumad groups of Cotabato City, Western Mindanao State University in Zamboanga, Pingdong Aboriginal Cultural Park, Taipei National University of the Art, Taiwan Public Television System, National Donghua University, Aboriginal Art Institute, and the ShunYi Taiwan Aboriginal Museum.

Tamawan Village Gallery, Baguio Philippines

Medicine Wheel Video Installation exhibited in the Tamawan Village Gallery, Baguio Philippines, February 2005.


The North-South-East-West Video Installation with Metis storyteller Graham Thompson was exhibited at the Tamawan Village Art Gallery, Baguio Philippines, February 2005.


TAM-AWAN Village is a reconstructed Cordillera village showcasing the traditional Ifugao Huts, and Baguio’s art and culture scene. It was established by National Artist BenCab in 1998 together with Chanum Foundation to promote the local Baguio Artists. Tam-awan is a local word which means “vantage point” an apt name for a colony of Cordillera Huts that sit on a hillside that affords visitors a magnificent view of the South China Sea on a clear day. The Chanum Foundation, Inc., started reconstructing Ifugao houses in Baguio with the intention of recreating a native village accessible to those who have not had the opportunity to explore the different parts of the vast Cordillera region in the Philippines, laying the houses out just like a traditional Cordillera village. Tam-awan Village is also a venue for art exhibits, workshops and other activities that showcase the rich cultural heritage of the Cordillera people.






University of the Philippines Mindanao Davao

North-South-East-West at University of the Philippines Davao February 2005.


The North-South-East-West Video Installation with Metis storyteller Graham Thompson was presented at the University of the Philippines Mindanao Cultural Centre, Davao Philippines, February 2005.


The University of the Philippines Mindanao, also referred to as UPMin or UP Mindanao, has as its main focus of education is Mindanao studies through an affirmative action program in the Autonomous Region of Muslim Mindanao to attract Muslims and Lumad students.


LUMAD is a Bisayan term meaning “native” or “indigenous”. It is adopted by a group of 15 from a more than 18 Mindanao ethnic groups in their Cotobato Congress in June 1986 to distinguish them from the other Mindanaons, Moro or Christian. At present, Mindanao Lumads account for 2.1 million out of the total 6.5 million indigenous people nationally. (1993 Census)


These fifteen Lumads in the Cotobato Congress were the following: Subanen, B’laan, Mandaya, Higaonon, Banwaon, Talaandig, Ubo, Manobo, T’boli, Tiruray, Bagobo, Tagakaolo, Dibabawon, Manguangan, and Mansaka.  They are found in the following towns and cities: Cotobato, Tandag, Dipolog, Kidapawan, Marbel, Tagum, Cagayan de Oro, Davao, Malaybalay, Pagadian, Butuan, Surigao, Ozamis,  Ipil, Digos, Mati and Dipolog.


The presentation was accompanied by The Canadian Ambassador to the Philippines Peter Sutherland and attended by  Professor Antonio G. Moran Dean of College of Humanities and Social Sciences , Fritz “Pavitramesh” Balgos an artist and activist, Denis John Sumaylo, Artistic and Managing Director UPMin Kombuyahan, Carlo Figuerao the tour organizer and Public Affairs Officer of the Canadian Embassy of the Philippines , Steven Reault-Kihara Consellor Political/Economic Relations and Public Affairs of the Canadian Embassy of the Philippines and Professor Ricardo M. De Ungria Channcellor.


Mayor of Davao City – Rodrigo “Rody” Roa Duterte

At the time of the North-South-East-West presentation, Rodrigo Duterte had just been re-elected as mayor in Davao and later would become president of the Philippines. Known for saying things that many would consider unsayable in his quest to fight crime, it is reported that his presidential election speeches contained the following oaths “Forget the laws on human rights. If I make it to the presidential palace, I will do just what I did as mayor. You drug pushers, hold-up men and do-nothings, you better go out. Because I’d kill you…I’ll dump all of you into Manila Bay, and fatten all the fish there.”


Western Mindanao State University, Philippines

North-South-East-West at Western Mindanao State University Zamboanga, February 2005.


The North-South-East-West Video Installation with Metis storyteller Graham Thompson was presented at the Western Mindanao State University, Zamboanga Philippines, February 2005.


Multi-Media Canadian Ethnic Rites Show in WMSU on February 24; Sutherland To Grace Affair, 10 Feb  2005

A CANADIAN aboriginal artist will recreate North American ethnic rites in their native settings through his self-crafted two- hour multi-media show to be held at the Western Mindanao State University (WMSU) on Thursday, February 24.

Dubbed as “North, South, East, West version 2.0,” artist Graham Thompson’s show in traveling in eight cities in the Philippines, a Canadian embassy correspondence to WMSU president Dr. Eldigario Gonzales said.


The media installation is “concerned with enchancing our emotional connection to the earth by creating an immersive audio-visual environment of video monitors, projectors, DVD players, computer workstations, interactive CDROM,” the embassy said.

Canadian ambassador to the Philippines Peter Sutherland will speak during the show.


Thompson specializes in the use of new media, such as digital computer technology, to artfully discuss native and aboriginal cultures, the embassy added. His trip to Zamboanga is intended to share his North American ethnic culture with Philippine lumads.

“‘In North South East West 2.0’, Thompson tries to recreate the hypnotic environment of (Canadian aboriginal) sweat lodge, by emulating the atmosphere of chanting and repetitive rhythms of the rattles within the darkness of the lodge through the use of multiple monitors and sound tracks with a darkened gallery setting. The repetition of audio-visual themes on overlapping displays engages the audience in a complex environment of sounds and images to provoke a feeling of belongingness and inclusion and a feeling of shared         experience,” the embassy said in elaboration.

The show, it added, “was designed to create a ceremonial experience that permitted self-reflection and examination of one’s life stages and to explore our spiritual and psychological relations to the earth.”

WMSU Public Affairs Director Prof. Ali T. Yacub said the show will be held at the university’s Social Hall at 10 to 12 o’clock, February 24. It is open to the public. (Rey-Luis Banagudos, Public Affairs Office, WMSU)

Arko Ni Apo Gallery, Baguio Philippines

Tompalski’s Private Moments exhibited at the Arko Ni Apo Gallery, Baguio Philippines, 2005.


Sherry Tompalski’s Private Moments Series was exhibited as digital images at the Arko Ni Apo Gallery, Baguio Philippines in February 2005.


Private Moments, series of portraits, examines our desire to connect with others and the unknown connections made by others to us. The permanence of the painted images are like the timeless yearnings we have for others. Private Moments poses the questions “Is there such as thing as a private moment? Are all of our private moments filled with feelings about other people?”


The Arko ni Apo Gallery

The Arko ni Apo art gallery, owned by Benhur Villanueva,  is only a few miles from the heart of Baguio City Philippines. Sculptor, painter and educator, Ben-Hur G. Villanueva, was an art teacher at the country’s prestigious university, Ateneo de Manila University.


His celebrated monumental masterpieces are as follows: Kapit-Bisig – a commemorative Narra wood sculpture of four figures locking arms, which was presented by President Corazon Aquino to the Filipino people on the first year anniversary of the 1986 EDSA Revolution. Among Supremo – a sculpture of Andres Bonifacio at Global City Taguig City,  Thy Will Be Done – A sculpture at the campus of Saint Paul University Quezon City, St. Aloysius Gonzaga – A sculpture at the campus of Saint Louis University in Baguio city, and Risen Christ – A statue at Caleruega, Nasugbu, Batangas.  He has served as president for the Society of Philippine Sculptors (SPS), as Art director for the Ephpheta Foundation for the Blind, Inc., and as vice president-treasurer for Unesco’s International Art Association (IAA).


Roberto Villanueva was Benhur Villanueva’s Brother

Roberto Villanueva was born in 1947 in Olongapo, Zambales, the Philippines. After graduating in 1973 with a Bachelor in Fine Arts from the University of Santo Tomas he taught at the Philippine Women’s University. He began his artistic career as a surrealist, but was gradually drawn into the film medium. In 1983 he became a member of the Board of Directors of the United Filmmakers Organization. He has won several awards in documentary film.

Pictured below is Roberto Villaneuva, The Philippines, performance in association with Ego’s Grave 1993 at the ‘1st Asia Pacific Triennial of Contemporary Art’, Queensland Art Gallery, Brisbane, 1993. © Estate of the artist; photograph: Andrea Higgins; image courtesy: Queensland Art Gallery ׀ Gallery of Modern Art (QAGOMA)


When Roberto Villanueva moved to the northern highlands of Baguio in 1980 he was inspired to create art build from the basic materials of the environment. His art acquired a shamanic aura, the source of its powerful energy drawn from ancient but continuing community symbols, rituals and traditions among the animist ethnic groups.

Pictured below is Robert Villanueva, Ego’s grave 1993; installation and associated performance; carved earth figure in outdoor pit; glazed terracotta; installation view at the ‘1st Asia Pacific Triennial of Contemporary Art’, Queensland Art Gallery, Brisbane, September 1993. © Estate of the artist; image courtesy: Queensland Art Gallery ׀ Gallery of Modern Art (QAGOMA)


He won critical recognition for Archetypes: Cordillera Labyrinth set up on the Cultural Center of the Philippines (CCP) grounds in the summer of 1989. Forty-five metres in diameter and 600 metres in length, the installation consisted of a spiral labyrinth made of bamboo and reeds. Its centre was covered with rocks from a river bed, creating a sacred space peopled with spirit figures from which life power emanates.

Another installation was Atang ti Kararua (Soul Offerings) consisting of three bamboo floats carrying offerings on a lake for the souls of those who perished in the big Baguio earthquake. The artists also conducted a ceremony with a shaman to pacify the spirit of Mount Pinatubo.

Roberto Villanueava tries to restore the communal function of art and the priminitve life force it originally possessed but which still survives in Cordillera mountain culture. He also seeks to recover and understand the animistic strain in the heart of Philippine culture.

In 1990 he was invited to New York as Artist-In-Residence of the New York State Council of the Arts and in 1992 won the CCP Thirteen Artists Award.

A recent work, Bridge Across Cultures, which the artist did in Saitama-ku, Japan, shows his preference for setting up water installations to symbolize migration routes linking different cultures. His work acquires an anthropological aspect, calling to mind the celebrated sea voyage of the Kon-Tiki across the Pacific.

With his use of organic materials and natural locations, together with community interaction, Roberto Villanueva creates an art that is integrated with the life of the people.

A reprinted from The First Asia-Pacific Triennial catalogue; written by Alice Guillermo. After the Triennial, Roberto Villanueva was diagnosed to have leukemia. He continued creating art until his death in February 1995.





Kindred Spirit Mag, Darlington England

Survival, Wisdom and Indigenous Digital Culture in Kindred Spirit Magazine, Darlington England, 2005.


Thompson’s article Survival, Wisdom and Indigenous Digital Culture was featured in the Kindred Spirit Magazine of Darlington England in its September/October 2005 issue. See the reprint below.



Kindred Spirit Magazine of Darlington England

Kindred Spirit has been the UK’s go-to guide to spiritual and compassionate living for over 25 years. It combines ancient wisdom with practical advice from contemporary teachers and authors. The magazine showcases new healing modalities, shares insightful interviews with the leading lights of the  Mind, Body & Spirit world, and reports investigations and the latest discoveries in the field of spirituality, well-being and the inner workings of the human mind. KS is a source of information, inspiration and contemplation.


Kindred Spirit was founded in 1987 by Richard Beaumont and Patricia Yates, following the inspiration of ‘The Harmonic Convergence’ in which thousands of spiritual seekers gathered at sacred sites throughout the world. Seeing so many different people and spiritual paths, yet sensing a common direction of deep respect for natural wisdom and a yearning for higher truth, Patricia and Richard created Kindred Spirit to offer a platform to serve such wisdom and higher truths. While the founders have now moved onto different paths and projects, the magazine keeps their wonderful vision alive.

Since the very first issue published in November 1987 the magazine has featured all kinds of discoveries, whether they be in the field of spirituality or physical health and well-being or revelations concerning the inner workings of the human mind. New and progressive forms of complementary healthcare such as Zero Balancing and Holographic Re-patterning appear in Kindred Spirit next to articles on angels and the latest explanation of the workings of Stonehenge. We featured ground-breaking stories such as the inner temple of Damanhur, the psychic surgery of John of God, and the link between our genetic conditioning and the I-Ching – years before such news hits the mainstream publications.

Qtpfsgui 1.9.0 tonemapping parameters: Operator: Fattal Paramete

Since summer 2014 Kindred Spirit has become part of Watkins Books, London’s oldest and largest esoteric bookshop founded in 1893 by John Watkins. Kindred Spirit continues to offer a variety of wisdoms, investigations and windows into the huge remit that comes under the title of Mind, Body and Spirit. We are here to put forward some of the alternatives, in line with a natural wisdom that elevates us all.