In contemporary discourse, acknowledgment of reconciliation at the commencement of gatherings of people — when such gatherings take place in Parliament, the Legislature, or at meetings of municipal Councils, or more informally at other types of political meetings, in churches, at housing co-operative meetings, or even when people gather to take in a screening at the Vancouver International Film Festival’s VIFF Centre — has gained considerable attention and importance.
The land acknowledgment serves as a recognition of past injustices and a commitment to moving forward with mutual respect and understanding.
Today on VanRamblings, we’ll explore the significance of the reconciliation acknowledgment in fostering inclusivity, building relationships, and promoting healing within organizations and communities.
One significant catalyst for the reconciliation acknowledgmentwas the global recognition of the need to address the historical and ongoing impacts of colonization on Indigenous peoples. This recognition was spurred by advocacy efforts from Indigenous communities, grassroots organizations, and allies pushing for truth, justice, and reconciliation.
In Canada, the Truth and Reconciliation Commission (TRC), established in 2008, played a pivotal role in raising awareness about the legacy of residential schools and advocating for reconciliation between Indigenous and non-Indigenous Canadians. As part of its Calls to Action, the TRC called on governments, organizations, and individuals to recognize and respect Indigenous rights, cultures, and traditions, through the acknowledgment of traditional territories and treaties.
By acknowledging the traditional owners of the land and recognizing the histories of colonization and marginalization, a space is created where all participants feel valued and respected. This acknowledgment extends beyond geographical boundaries, encompassing the acknowledgment of past wrongs against Indigenous peoples, marginalized communities, and minority groups.
The voicing of the land acknowledgment signals a commitment to equity and diversity, creating an environment where everyone’s voiceis heard and valued.
Acknowledging reconciliation at the outset of meetings builds trust and strengthens relationships among participants. It demonstrates a willingness to confront uncomfortable truths and engage in meaningful dialogue about the legacy of colonialism, oppression, and discrimination.
The land acknowledgment also opens the door for honest conversations about privilege, power dynamics, and systemic injustices, fostering empathy and understanding among individuals with diverse backgrounds and experiences. Through the reconciliation process, relationships based on mutual respect and solidarity are cultivated, laying the foundation for collaborative action and social change.
Reconciliation acknowledgment is an essential step towards healing historical wounds and addressing intergenerational trauma. By acknowledging past injustices and their ongoing impacts, it validates the experiences of those who have been marginalized and oppressed.
This acknowledgment is not merely symbolic but serves as a tangible commitment to truth-telling, justice, and reconciliation. It provides an opportunity for healing and restoration, allowing individuals and communities to confront the legacies of the past and work towards a more equitable and inclusive future.
Canadians grieve the finding of the mass graves at the Kamloops Indian residential school, the 215 children lost to their families when they were taken by the government, but also for their lost lives.
Joanne Mills, the Executive Director of the Fraser Region Aboriginal Friendship Centre, has expressed concern about overuse of the the word reconciliation.
“Reconciliation in Canada is more about the acknowledgement that there were wrongs, but there isn’t a lot of action attached to it. It’s difficult to be talking about reconciliation while one party is in power and another is still asking for rights from the former.
There definitely isn’t an equal power distribution. We’re not coming to the table as peers, we’re still coming to the table as have and have-nots,” she says.
Joanne Mills says for reconciliation to take shape, there needs to be an honest attempt to restore to Indigenous people what was taken at the time of colonization.
“I just don’t want to talk about the stereotypes anymore. People should go and educate themselves and learn the truth,” Mills says.
Mills says inequality remains in areas of provincial jurisdiction, such as the high rates of Indigenous kids in foster care in B.C., access to education and over representation of Indigenous people in prison.
B.C. has seen changes in elementary and secondary school curriculum to include more education about Indigenous people, but there have been bumps along the way. Some teachers say they are at a loss on how to teach Indigenous content. Others say they lack sufficient resources.
The adoption of reconciliation acknowledgments reflects a broader societal shift towards acknowledging and confronting the injustices of the past, promoting dialogue, understanding, and working towards an inclusive and equitable future. While the genesis of the reconciliation acknowledgment vary across contexts, its underlying principles of recognition, respect and reconciliationremain universal.
Dream pop duo Azure Ray — composed of Orenda Fink and Maria Taylor — employ graceful harmonies, patient folksy song structures, and touches of electronic production to create otherworldly songs that balance tranquility and intensity.
The pair met at the age of 15 while attending the Alabama School of Fine Arts in Birmingham. Together, they fronted a band called Little Red Rocket, which released two CDs, Who Did You Pay (1997) and It’s in the Sound (2000), with the band breaking up shortly after the release of the latter album.
Orenda Fink and Maria Taylor decided to head out to Athens, Georgia, striking out to find a career, forming Azure Ray soon after arrival in their new home.
“My boyfriend had just died and we had written all of these songs that were helping us cope with everything. We had a night where all of our friends and family got together. We played those songs, which later would turn into the songs on our first Azure Ray record, which we released shortly thereafter,” says Taylor.
Their self-titled début album is a quiet, gentle set of lovely and soul-searching songs that incorporate elements of folk, pop, and light electronica.
Following the unexpected death of Taylor’s boyfriend, the two musicians used songwriting as a method of coping with their grief. The intensity of that loss informed the mournful tone of the group’s earliest work in 2001, and would carry through in their sound to some degree from that point on.
The song Sleep was later featured in the 2006 Academy Award-nominated movie The Devil Wears Prada, featuring Anne Hathaway. In February 2015, Taylor Swift included Sleep on a six-song “breakup playlist” made for a fan via her official Tumblr account.
Camilo Arturo Leslie in Pitchforkhad this to say about the début album …
Their album cover is simple: just an old, sepia-toned photograph of a little girl. She looks like my grandmother as a child. Nostalgia and melancholy rub off the liner notes and stain your fingertips. The little girl clutches her palms to her ears and wears an inscrutable expression that vacillates from pouty to fearful to verge-of-tears, depending on what mental angle you hold it at.
Azure Ray’s indie music aesthetic is built on pretty, easy-on-the-tympanum pop acoustic guitar strumming. No fuzz, no indigestible chords, just polished production and evocative arrangements. Lap steel guitar, cello, violin, church bells, piano, brass, and tape loops make appearances on these 11 tracks.
The draw of their music is, of course, the duo’s vocals, Azure Ray’s gentle trills offering a haunting balance between the ethereal and corporeal, as well as an understated, yet distinct feminine strength, not unlike the early music of Linda Ronstadt.
Indie label-ghetto obscurity has kept Azure Ray from attaining massive popularity.
But an indie-ghetto habitué such as yourself shouldn’t have any trouble digging up a copy of Azure Ray’s début CD, or maybe a vinyl copy.
Red Cat Records on Main Street, or Zulu Records on West 4th Avenue, if they don’t have it in stock, could certainly order it for you.
Beautiful, expertly crafted pop songs keep a room in your heart’s hotel (under an assumed name, naturally).
You could also listen to Azure Ray on Spotify, or Apple or Amazon Music, or purchase their music from either of the two latter providers of digital music.
My aunt Freda was a vagabond, but a vagabond who typed at 80 words a minute, and took shorthand at up to 120 words a minute — her stenographic skills much in demand across all of Canada, for many many years.
For 50 years, my aunt traveled the country — there was no city or medium-sized town where she didn’t work, and given her skill set, jobs were easy to come by, references at the ready from previous employers.
My aunt would work two or three jobs a year for two to three months each time — in St. John’s Newfoundland (the only place she ever worked twice), Regina, Edmonton, Hamilton, Windsor, Saskatoon, Halifax and Victoria.
My aunt Freda would write to me from these far flung places across Canada where she’d taken employment, promising always to return in “just a few weeks.”
Vancouver’s crown jewel, the 1000 acre Stanley Park, the photo above taken in 1958
Throughout my young life, my primary caregiver was my aunt Freda.
Given that my mother, almost throughout the entirety of my life, worked three jobs at the same time, 16 hour days six days a week and a 24-hour day on the seventh day, I rarely saw her, she simply wasn’t a presence in my life or in my home, with the exception of summer, when we — my sister, my mother and I — would travel for a two-week vacation to wherever my aunt was located.
During the first 10 years of my life, my Aunt Freda cared for my sister and I, fed us, bathed us, took us to Stanley Park in the years we lived in Vancouver, took us on summer vacations, made sure that we enjoyed ourselves, and would learn about the world during the days, weeks and months that she cared for us, and otherwise provide love for the both of us.
Generally, my aunt would stay in our family home three times a year, sometimes more, for an average of six weeks on each visit.
In fact, my Aunt Freda was the only person who ever told my sister and I that she loved us. My father didn’t do that or even hint at it, love seeming to be a word not in his vocabulary, and most certainly my mother never told my sister and I that she loved us — although I think she showed it in many ways — and neither did anyone other than my Aunt Freda.
Aunt Freda was, for all intents and purposes, my mother— that’s the role she chose to play.
I was her favourite — any depth of insight into life, I gained from her.
Our conversations lasted hours — she wanted to introduce me to the world, to make me aware of my environment, to help me to see that I was part of a human collective of those who lived around me, and as the years went by, farther afield, as she helped me to see that I was part of the world community.
In the summer months, as I write above, my mother, sister and I would travel to whichever western Canadian city she was working in — in the summer, she always took employment in an easily accessible by rail western Canadian city .
My mother, sister and I would stay with her in her small, one-room “apartment” (more like a tiny hovel, but still), in order that we might attend Klondike Days in Edmonton, or the Calgary Stampede, or the Red River Exhibition in Winnipeg, or whichever town had a fair that summer that my aunt felt was recommendable and worthy of my family — always sans my father — visiting and staying with her, always enjoying our truncated time together.
Of course, part and parcel of that was the train ride to and from whichever western Canadian city we were visiting, but that’s a story for another day.
When my family — including my father — moved to Edmonton in the summer of 1959, I spent the month of July in High River, Alberta staying with my grandfather on his massive family farm, and much of August in Lethbridge with my aunt Anne, uncle Dave and their children, my cousins, before moving into the rental home my parents had found for us in Edmonton, where I began Grade 4 in September 1959 — a fortuitous circumstance that would change my life.
In the late 1950s, Alberta had legislated an academic programme of excellence for students into which I was enrolled. In British Columbia, the province had adopted two educational streams: academic and vocational.
If you happened to live in a working class area of Vancouver, you were almost automatically streamed into the vocational programme.
When I returned to Vancouver for Grade 7, in the late summer of 1962, as I had been enrolled, and done well in Alberta’s Enterprise Programme of Excellence — as it was called at the time — upon my return to Vancouver to attend Templeton Secondary school, of all my friends with whom I had attended Grades One through Three, I was the only child / student who now found himself enrolled in the academic programme at Templeton.
I recall at the graduation ceremony in 1968, how disappointed many students were to find that graduating in the vocational programme did not make them eligible for entry into college or university, that they’d have to start all over again.
Rank class discrimination, that’s what it was plain and simple — kids came from poor families, and they’d become the “worker bees” as we were so often told while attending Templeton Secondary.
Two stories about my aunt, both of which are Edmonton-based.
Borden Park, in northwest Edmonton, at 148 acres one of the city’s largest parks
In the summer of 1960, after my family had moved to north Edmonton from the inner city, on my August 11th birthday that year, my parents had taken my sister and I down to play at Borden Park, in northwest Edmonton, not too far from where we lived, a massive green space in that area of the city, sometimes used as fairgrounds, with a community centre, tennis courts, a pool, and two outdoor pools, one for younger children, another for teenagers and adults.
The day was sunny and bright, the sky a deeper and richer blue that I can ever recall having seen prior to that date.
As it happened that year, my aunt Freda had not come to stay with us during the first seven months of the year — her services were required in St. John’s, as she found herself working on an inter-governmental project of some great import to both the province and the federal government. Of course my aunt wrote to me frequently, but beautifully handwritten letters aside, I missed the dickens out of her, and in my letters to her, I begged her to come and stay with us in Edmonton.
But it was not to be, for all the reasons she explained in her correspondences.
While playing on the park’s roundabout, along with a number of other children pushing the roundabout to go faster, despite the hot sun beating down from above, I felt a chill run through my body, a pang that was so chilling as it shot through my veins that I alighted from the roundabout, and moved away onto a quieter green space nearby, just standing there shivering, for a moment wondering what was happening to me.
Turning away from the screaming children on the roundabout I began, alone, to walk north, away from my sister. Neither my younger sister Linda nor I had seen my parents in awhile, who’d told us they had some business to attend to, that we’d be fine in their absence, and I was to take care of my sister Linda.
I continued to move north along the green grasses, at first slowly, hesitatingly, when looking off into the far distance, I saw three figures walking closely together, indefinable figures, the sun obscuring my vision, the distant figures almost apparitions, as another pang of cold shot through my body, at which point I began to run, to run faster in the direction of the three apparitions than I had ever run in my life, because I knew who the middle person of the three was, even if I could not properly see who it was.
And I began to cry, running across the green field sobbing, running as fast as I could in the northerly direction of the three figures who I could not quite make out, but I knew were my parents and my aunt, and I ran and ran and ran, tears now gushing down my cheeks on that 10th birthday summer’s afternoon in August of 1960, on a day I will never ever forget.
And when I was upon my parents and my aunt, I jumped into my aunt’s arms, wrapping myself around her, my head on her right shoulder, the two of us holding each other as tightly and closely as we could, both of us now crying, my parents standing back in wonderment, their faces lit up smiling.
Placing me back on my feet, my aunt looked at me and said, “Raymond, I have arrived in Edmonton just this day, only an hour or so ago, so that I could be here for your birthday, to take you and your parents and Linda to dinner tonight. And I have presents for you, as well, which I will give you when we return to your home, and before we go to dinner tonight.”
The presents? There were two, as promised: an Underwood typewriter that would allow me to type ever longer letters to my aunt as she found herself in some far flung location in Canada — with the facility to type easily and well, a salutary talent and much-used skill I employ to this day — the second present, a toy 8mm movie projector that both reinforced my love for film, and a device that would bring me much joy in the months to come.
Running across that green field in Borden Park on the day of my 10th birthday resides in me still as a much cherished event in my young life, making me aware, if I was not already, that there are more than three dimensions in our existence — because I knew that my aunt was in the park minutes before I saw her and ran into her arms, when she told me she loved me, as I knew she did, and as I loved her.
My aunt stayed with my family to the beginning of my Grade 5 school year at Eastglen Elementary School, after which she was off again, this time to Saskatoon, where she worked through until February, when she returned to Edmonton for three weeks, then after traveling back to Saskatoon, where my mother, sister and I would spend the better part of July 1961 with her.
In the winter of 1962, my aunt made one of her now more infrequent visits to stay with my family, my mother working three jobs still, my father working at the Post Office, my sister and I alone at night.
One near frozen mid-winter February evening, after making and serving dinner to my sister and I, a dinner almost needless to say in which a delicious salad was featured prominently in the dinner — having arranged with a neighbour for babysitting for my sister, my aunt asked me if I’d like to go to see a film with her on the south side of Edmonton, near the University of Alberta campus.
Of course, I said yes.
That evening, I saw my first foreign film, my first Fellini film, and a film that would go on to win the Best Foreign Language Film Academy Award late the very next month: La Dolce Vita, a film I fell in love with, as did my aunt, a film my aunt and I talked about all the way home on the bus, a film that began my life long love affair with sensuous European women onscreen, with foreign language & world cinema.
In all the years of my young life there was love in my life only when my aunt Freda would arrive to stay with us in our home. Not until I met Cathy in late 1969 did I feel love from anyone other than my beloved aunt Freda.
My aunt remained a fixture in my life through all the years of my attendance at university and throughout the years of my marriage, my aunt Freda the woman I look upon as my “real” mother, the mother who loved me, and cared for me, who knew me better than any other person in this world, and the person — along with each of my two children — I will always love most.
Every three decades, or roughly once a generation, Hollywood experiences a seismic shift. The transition from silent films to talkies in the 1920s. The rise of broadcast television in the 1950s. The raucous cable boom of the 1980s.
It’s been happening again, for some while now, as most folks have observed.
The long-promised streaming revolution — the next great leap in how the world gets its entertainment — is finally here in all its glory.
Warner Bros. Discovery studio in Burbank, Califoria, one of the oldest and largest Hollywood studios
In the 115-year history of the American film industry, never has so much upheaval arrived so fast and on so many fronts, leaving many writers, directors, studio executives, agents and other movie workers disoriented and demoralized. These are melodramatic people by nature, but talk to enough of them and you will get the strong sense that their fear is real this time.
“The last four years have shaken the movie business to its bones,” Jason Blum, the powerhouse producer whose credits range from The Purge series to Get Out and the BlacKkKlansman.” recently told Los Angeles Times film writer, Justin Chang.
Streaming, of course, has been disrupting the entertainment business for some time. Netflix started delivering movies and TV shows via the internet in 2007.
In 2024, however, the shift towards streaming has greatly accelerated, with Netflix, Disney+, Apple TV, Crave/HBO, Prime Video, YouTube Premium, CBC Gem and Kanopy, among other streaming platforms, competing for your movie attention.
Adding to Hollywood’s misery is the abrupt changing of the guard in Hollywood’s highest ranks. Nine of the top 20 most powerful people in show business have left their jobs, including Universal’s Ron Meyer, whose 25-year Universal career ended in 2021. David Zaslav is now in firm control of Warner Bros. Discovery, with Kevin Tsujihara exiting his role as chairman and CEO of Warner Bros.Entertainment, a job he held for six years. Paramount Global CEO Jim Gianopulos was removed, in favour of Bob Bakish, also now on the way out, with the company up for sale.
“It’s not clear that full normal will return even well into the fourth quarter of 2024,” Warner Bros. Discovery Chairman David Zaslav, told Chang in an interview on how Hollywood is faring against the streaming wars, and the slow recovery from the pandemic.
An empty cinema with no patrons. Is this picture an indication of what presages cinema in the future?
Will young people — trained during the pandemic to expect instant access to new movies — get into the habit of going to the movies like their parents and grandparents did? Generation Z forms a crucial audience: About 33% all moviegoers in 2023 were under the age of 24, according to the Motion Picture Association.
“Cinema as an art form is not going to die,” Michael Shamberg, the producing force behind films like Erin Brockovich and The Big Chill” told the New York Times’ Manohla Dargis in a recent interview. “But the tradition of cinema that we all grew up on, falling in love with movies in a theatre, is over.”
In other words, the art may live on, but the myth of big screens as the be-all and end-all is being dismantled in a fundamental and perhaps irreversible manner.