Watershed-3 Archives - Ojibwe.net https://ojibwe.net/t/watershed-3/ Preserving Anishinaabemowin for future generations Thu, 10 Nov 2022 03:51:24 +0000 en hourly 1 https://ojibwe.net/wp-content/uploads/2020/09/cropped-Favicon-Transparent-32x32.png Watershed-3 Archives - Ojibwe.net https://ojibwe.net/t/watershed-3/ 32 32 The Dress of the Poem https://ojibwe.net/the-dress-of-the-poem/?utm_source=rss&utm_medium=rss&utm_campaign=the-dress-of-the-poem Sun, 07 Aug 2022 00:17:14 +0000 https://ojibwe.net/?p=9393 The Dress of the Poem by Khaled Al’Saa’i About the Art Khaled Al-Saa'iAnokii Dubai-ing, 1970 gaa-ondaadiziDebani-ayi’iingMinjimendamowin Inakamigad2020Gaaskiiginowaaboo ningaasimooniigining gaye naabinigaadeNamanji-ayi'iingIzhi’omagad Naagadaajimowin2020Gaaskiiginowaaboo ningaasimooniiginingNimiigwechiwenimaanaan GaazheninjigedMishigami Gichigabegikendaasowigamig izhi-Ganawendaanaawaan Gaazheninjigaadeg waabanda'inegwaa ge Wayekwaajiwan izhiseg wenji-nanaandomangid GaazheninjigedMii igo izhi-zhizhoobii'igaadewan omaa, Khaled Al-Saa'i aanikanootaanan gaa-ozhibii'igaadeg dazhindaagwag Gichigami wayekwaajiwanong - mii wenji-izhichiged - dash atood gizhibaabideg dibishkoo gizhibaajiwang. Izhi- [...]

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The Dress of the Poem by Khaled Al’Saa’i

Two large framed pieces are hanging on a dark green wall. They are too far away to see details, but they are swirled with shades of blue, white, and brown.

The Dress of the Poem by Khaled Al’Saa’i, 2020

Acrylic on canvas and Map of the Memory, 2020, acrylic and collage on canvas. Courtesy the artist © Khaled Al’Saa’i Installation photography by Charlie Edwards, courtesy of the University of Michigan Museum of Art

About the Art

Debani-ayi’iing Minjimendamowin Inakamigad (in Anishinaabemowin)

Khaled Al-Saa’i
Anokii Dubai-ing, 1970 gaa-ondaadizi

Debani-ayi’iing
Minjimendamowin Inakamigad
2020
Gaaskiiginowaaboo ningaasimooniigining gaye naabinigaade

Namanji-ayi’iing
Izhi’omagad Naagadaajimowin
2020
Gaaskiiginowaaboo ningaasimooniigining

Nimiigwechiwenimaanaan Gaazheninjiged
Mishigami Gichigabegikendaasowigamig izhi-Ganawendaanaawaan Gaazheninjigaadeg waabanda’inegwaa ge Wayekwaajiwan izhiseg wenji-nanaandomangid Gaazheninjiged

Mii igo izhi-zhizhoobii’igaadewan omaa, Khaled Al-Saa’i aanikanootaanan gaa-ozhibii’igaadeg dazhindaagwag Gichigami wayekwaajiwanong – mii wenji-izhichiged – dash atood gizhibaabideg dibishkoo gizhibaajiwang. Izhi- Minjimendamowin Inakamigad (debani-ayi’iing), okaadenang mazinaakiziganan gii-mazinaakizang Gichigaming, gaa-izhi-ayaad niswaaki, gaye daso-nitami-jakibii’iganan izhi-izhinikaadeg daso gichigamiin ozhibii’igaadeg Arabic-mong. Gakina dash ogii-giizhenindaanan izhi-nisidawendaagwag gakina minjimendang iw apii bagizod Gichigaming gaye, iw apii ombigid, Euphrates ziibiing gaa-wenjibaad Mayadeen, Syria. Noongom dash apiichi miigaadiwag Syria-ing anoonji apii midaaswaaki gaye bwaa-gimiwang wenji-banaajichigaadeg, bwaa-gitigewaad gemaa bwaa-adaawewaad, gaye nandoobiiwaad moozhag.

Izhi’omagad Naagadaajimowin-ing (namanji-ayi’iing), Al Saa’i ogii-giizhenindaan gegoo izhi-nisidawendaagwag gaganoonidiwaad gaazheninjigejig ezhi-inendamowaad Gichigamiin. Wa’aw gaazheninjiged ogii-ombi’igod Keith Taylor-an gaa wenjibaanid Gaa-gaashka’aanig Oodenang ge ozhibii’aminid Gichigami miinawaa Gimiwan: Gichigami Michigan (2014) (anaami-ayi’iing) – mii dash igo gaa-ombi’igonid James Abbott McNeil Whistler-banan (1834–1903) dash gaa zhizhoobii’aminid Gichigami miinawaa Gimiwan (1865). Al-Saa’i aanikanootaan naagadaajimowin dash atood wiikwebii’igeng dash izhinikaadang “gaawitaabii’igaadeg” dash ezhi-inaagwag gakina gaa-ozhibii’ang dibishkoo digowag.

Gichigami miinawaa Gimiwan
Keith Taylor

Niimiwag jiigibiigong aabitooya’iing
zaaga’igan miinawaa nengawan
endazhi-bangishimog e-aanakwak.

Aabitooya’iing niibidebii’iganan
waabiziwang, nengawaandeg
zhiibingwaandeg bangii,

ombaaniteg biinish niimid
zaagijitakokiid zaaga’igaansing.
Mii dash gakina debwemigad.

بحيرة ومطر :بحيرة ميشيغان
قصيدة :كيث تيلور
ثمةَ رقصة عند حدود الماء
حركة بين البحيرة
ورمالها
والأفق
حيث تصير البحيرة سحاباً
بين تلك الأسطر عالمنا
نقعُ خفيف من ألوان باهتة
بيج و رمادي. مع ومضة من بياض
شبه مجرد، إلى أن تطأ
خطى الراقصة حوض الماء
لتجعل الكل حقيقةترجمة : رشيد اعدناني.

Khaled Al-Saa’i
Syria, works in Dubai, born 1970

RIGHT
Map of the Memory
2020
Acrylic and collage on canvas

LEFT
The Dress of the Poem
2020
Acrylic on canvas

Courtesy of the artist
Commissioned by the University of Michigan Museum of Art for Watershed

In these two paintings, Khaled Al-Saa’i translates texts about the Great Lakes watershed—a source of inspiration for his practice—into a swirling sea of calligraphic forms that suggest the movement and experience of water. In Map of the Memory (right), he interweaves photographs of the Great Lakes region, where he spent three years, with the first letters of the names of each Great Lake rendered in Arabic. His combination of image and text evokes his joyful memories of swimming in both the Great Lakes and, as a child, in the once-mighty Euphrates River in his hometown of Mayadeen, Syria. Now severely affected by drought, Syria is experiencing water scarcity that has curtailed agricultural production and caused economic instability, further exacerbating the effects of more than a decade of civil war.

In The Dress of the Poem (left), Al-Saa’i creates a dynamic conversation between artists representing the Great Lakes. The painting is inspired by Ann Arbor-based poet Keith Taylor’s Sea and Rain: Lake Michigan (2014) (below)—which was, in turn, inspired by UMMA’s painting Sea and Rain (1865) by American artist James Abbott McNeil Whistler (1834–1903). Al-Saa’i translates the poem into fluid calligraphic forms, creating what he calls a “universe of words” in which the lines of poetry depict a lake’s waves.

Sea and Rain: Lake Michigan
Keith Taylor

There is a dance at water’s edge,
a movement between the lake, its sand
and the horizon where lake becomes cloud.

Between those lines our world’s
a thin wash of muted tones, beige
and gray with a hint of white,

almost abstract, until the dancer
steps out into the pool.
She makes the whole thing real.

بحيرة ومطر :بحيرة ميشيغان
قصيدة :كيث تيلور
ثمةَ رقصة عند حدود الماء
حركة بين البحيرة
ورمالها
والأفق
حيث تصير البحيرة سحاباً
بين تلك الأسطر عالمنا
نقعُ خفيف من ألوان باهتة
بيج و رمادي. مع ومضة من بياض
شبه مجرد، إلى أن تطأ
خطى الراقصة حوض الماء
لتجعل الكل حقيقةترجمة : رشيد اعدناني.

Translated by Rachid Aadnani

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]]> From the Night Coming Tenderly, Black Series https://ojibwe.net/from-the-night-coming-tenderly-black-series/?utm_source=rss&utm_medium=rss&utm_campaign=from-the-night-coming-tenderly-black-series Sun, 07 Aug 2022 01:03:40 +0000 https://ojibwe.net/?p=9397 From the Night Coming Tenderly, Black Series (Gaa-onzikaawan Dibikad Bi-Izhiseg Negaaj, Makadewaag) About the Art Dawoud Bey Gichimookomaanakiing, 1953 gaa-ondaadizi Namanji-ayi’iing ako debani-ayi'iing Bwaa-izhinikaadeg #1 (Michikan gaye Gitige-waakaa'igan) Bwaa-izhinikaadeg #18 (Ziibiins gaye Waakaa'igan) Bwaa-izhinikaadeg #24 (Gichigami Erie-ing) Bwaa-izhinikaadeg #25 (Gichigami Erie gaye Giizhig) Gaa-onzikaawan Dibikad Bi-Izhiseg Negaaj, Makadewaag 2017 Waabi-zhooniyaawaaboo mazinaakiziganan Nimiigwechiwenimaanaanig Carl [...]

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From the Night Coming Tenderly, Black Series (Gaa-onzikaawan Dibikad Bi-Izhiseg Negaaj, Makadewaag)

Four framed pieces are hanging on a dark green wall. It's difficult to see details. From this angle and distance, all four pieces appear to be entirely black.

From the Night Coming Tenderly, Black Series, 2017

Gelatin silver prints. Courtesy of Carl and Joan Schneider Installation photography by Charlie Edwards, courtesy of the University of Michigan Museum of Art

About the Art

Gaa-onzikaawan Dibikad Bi-Izhiseg Negaaj, Makadewaag (in Anishinaabemowin)

Dawoud Bey
Gichimookomaanakiing, 1953 gaa-ondaadizi

Namanji-ayi’iing ako debani-ayi’iing
Bwaa-izhinikaadeg #1 (Michikan gaye Gitige-waakaa’igan)
Bwaa-izhinikaadeg #18 (Ziibiins gaye Waakaa’igan)
Bwaa-izhinikaadeg #24 (Gichigami Erie-ing)
Bwaa-izhinikaadeg #25 (Gichigami Erie gaye Giizhig)
Gaa-onzikaawan Dibikad Bi-Izhiseg Negaaj, Makadewaag
2017
Waabi-zhooniyaawaaboo mazinaakiziganan
Nimiigwechiwenimaanaanig Carl gaye Joan Schneider

Dawoud Bey ogii-mazinaakizaan Dibikad Bi-Izhiseg Negaaj, Makadewaag Cleveland, Ohio-ing besho gaa-noogishkaawaad Gimooji-Zhaabosewin – zhaabosewinan gaye waakaa’iganan gaa-aabajitoowaad makade-bemaadizijig is apii giimiiwaad ji-dibenindizowaad – jibwaa Zhaaganaashakiing. Bey ominwendaan mazinaakizang ziibiin ge giizhenindang waabanjigaadewinan ge izhiseg Gimooji-Zhaabosewining, dash noogishkang izhi-zaagidawijiwanong Gichigami Erie. Ogii-mazinaakizaanan ge giizhigag aanawi mazinaakiziganiked zhiibingwaag daa-inaagwag gaa-ezhiwebag dibikag, dibishkoo awiiya gimooji-babaami-ayaad dibikaabaminaagwag.

Gaazheninjiged izhinikaadaan o’o izhichigaadewin dibishkoo Langston Hughes-banan izhinikaadaminid naagadaajimowin Bagosendamowin Dinookaanan gaa-ozhibii’ang 1926 (anaami-ayi’iing), mii gaye igo izhi-nisidawendaagwag dibenindizowin:

Bagosendamowinan Dinookaanan
Langston Hughes

Niwii-dazhonike
Endazhi-ombishkaag giizis,
Ditibaabimishimoyaan
Biinish ishkwaa-giizhigak.
Mii dash wii-anwebiyaan
Anaamimitig onaagoshig
Ani-dibikak bishagiishkaak
Ge bishagiishkaanzoyaan—
Mii sa niwii-bagosendaan.

Niwii-dazhonike
Onjishkawitawag giizis,
Ditibaabimishimon!
Biinish miinawaa giizhigak.
Minogwaaman onaagoshing . . .
Bibagimitig ishpigaabawid
Ani-dibikak maakadewaandeg
Ge maakadewaanzoyaan.

Dawoud Bey
United States, born 1953

LEFT TO RIGHT
Untitled #1 (Picket Fence and Farmhouse)
Untitled #18 (Creek and House)
Untitled #24 (At Lake Erie)
Untitled #25 (Lake Erie and Sky)
From the series Night Coming Tenderly, Black
2017
Gelatin silver prints
Courtesy of Carl and Joan Schneider

Dawoud Bey’s series Night Coming Tenderly, Black was made in Cleveland, Ohio, near some of the last stops on the Underground Railroad—a network of secret routes and safe houses used by Black Americans fleeing slavery—before the Canadian border. Waterways figure prominently in Bey’s series as he creates a visual trail of real and imagined views along the Underground Railroad, ultimately ending at the open water at Lake Erie. He photographed the sites during the day but printed his images with muted gray tones to give them a nocturnal feel, as if from the perspective of a person moving furtively along the secret trail at twilight.

The title of this series is borrowed from Langston Hughes’ 1926 poem Dream Variations (below), which likewise expresses a sense of liberation:

Dream Variations
Langston Hughes

To fling my arms wide
In some place of the sun,
To whirl and to dance
Till the white day is done.
Then rest at cool evening
Beneath a tall tree
While night comes on gently
Dark like me—
That is my dream.

To fling my arms wide
In the face of the sun,
Dance! Whirl! Whirl!
Till the quick day is done.
Rest at pale evening…
A tall, slim tree
Night coming tenderly
Black like me.

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]]> Resolve https://ojibwe.net/resolve/?utm_source=rss&utm_medium=rss&utm_campaign=resolve Sun, 07 Aug 2022 01:18:44 +0000 https://ojibwe.net/?p=9402 Resolve (Zhiibendamowin) About the Art Michael BelmoreAnishinaabe, 1971 gaa-ondaadiziZhiibendamowin2022Asin, desimiskwaabikNimiigwechiwenimaanaan GaazheninjigedMishigami Gichigabegikendaasowigamig izhi-Ganawendaanaawaan Gaazheninjigaadeg waabanda'inegwaa ge Wayekwaajiwan izhiseg wenji-nanaandomangid GaazheninjigedMiskwaabik aapiji babaami-ayaa Gichigami wayekwaajiwanong. Anishinaabeg aapiji ochi-inenimaawaan miskwaabikoon, mii igo dash izhi-inendaagwag onjibaad iw apii miigaadiwaad animikiig ge daawaad giizhigong gaye mishibizhiwag ge daawaad nibiing. Iw apii zaagiskwagiziwag miskwaabik dash ishkosed, mii dash wenji-bimaadiziwaad [...]

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Resolve (Zhiibendamowin)

Dozens of white/gray rocks are arranged in a pattern on a gray platform. They are grouped together into curved lines. The edges where the rocks meet have a bit of metallic color showing.

Resolve by Michael Belmore, 2022

Stone, copper leaf. Courtesy the artist © Michael Belmore. Installation photography by Charlie Edwards, courtesy of the University of Michigan Museum of Art

About the Art

Zhiibendamowin (in Anishinaabemowin)

Michael Belmore
Anishinaabe, 1971 gaa-ondaadizi

Zhiibendamowin
2022
Asin, desimiskwaabik
Nimiigwechiwenimaanaan Gaazheninjiged
Mishigami Gichigabegikendaasowigamig izhi-Ganawendaanaawaan Gaazheninjigaadeg waabanda’inegwaa ge Wayekwaajiwan izhiseg wenji-nanaandomangid Gaazheninjiged

Miskwaabik aapiji babaami-ayaa Gichigami wayekwaajiwanong. Anishinaabeg aapiji ochi-inenimaawaan miskwaabikoon, mii igo dash izhi-inendaagwag onjibaad iw apii miigaadiwaad animikiig ge daawaad giizhigong gaye mishibizhiwag ge daawaad nibiing. Iw apii zaagiskwagiziwag miskwaabik dash ishkosed, mii dash wenji-bimaadiziwaad manidoog. Zhiibendamowin-ing asiniig gaa-izhi-ayaawag nibiing bagwaji-ashi’indwaa, aanawi endaso weweni mazinikonigowaad gaazheninjigenid wii-naabinaminid. Izhi-aanikoobijigaazowag, aanind asiniig agwani’igowaad desimiskwaabikoon – mii dash inaagoziwag dibishkoo akakanaakideg. Belmore aapiji Onanaagadawenimaawaan manidoon gaye gaa-wenjibaanid daso asiniin; ishkodeng gaa-izhi-giizheninjigaadeg giiwitaawigamig.

Michael Belmore
First Nations (Anishinaabe-Ojibway), born

1971
Resolve
2022
Stone, copper leaf
Courtesy of the artist
Commissioned by the University of Michigan Museum of Art for Watershed

The Great Lakes region includes some of the world’s largest copper deposits. Copper has particular resonance in Anishinaabe culture, where it is celebrated as the blood produced by the conflict between the animikiig (thunderbirds) who reside in the sky and the mishibizhiig (panthers) beneath the water. These battling forces beget blood in the physical form of copper, which is the life source for manitous (spirits). In Resolve, water-worn stones are arranged in a seemingly natural pattern, yet each one has been carefully carved by the artist to join seamlessly with others. At the intimate points of connection, the stones are gilded with copper leaf; together they appear to glow like a fire’s embers. For Belmore, this visual energy links his work to manitous and to the original state of the stones themselves—molten fire that formed the land on which we live.

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]]> Gray’s Anatomy IV and This is My Desire https://ojibwe.net/grays-anatomy-iv-and-this-is-my-desire/?utm_source=rss&utm_medium=rss&utm_campaign=grays-anatomy-iv-and-this-is-my-desire Sun, 07 Aug 2022 01:47:47 +0000 https://ojibwe.net/?p=9409 Gray's Anatomy IV (Gray's Biinjiwiiyaw IV) and This is My Desire (Mii O'o Nimisawendaan) About the Art Senghor Reid Gichimookomaanakiing, 1976 gaa-ondaadizi Namanji-ayi'iing ako Debani-ayi'iing Gray's Biinjiwiiyaw IV 2022 Gaaskiiginowaaboo ningaasimooniigining Mii O'o Nimisawendaan 2022 Zhizhoobii'iganaaboo ningaasimooniigining Nimiigwechiwenimaanaan Gaazheninjiged miinawaa M Oshki Giizheninjigewinan Senghor Reid ogii-mazinibii’idizo niizhing ge naagadawaabandang ezhi-giizhinenjigaadeg gaye ganawenjigaadeg nibi akiing. [...]

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Gray’s Anatomy IV (Gray’s Biinjiwiiyaw IV) and This is My Desire (Mii O’o Nimisawendaan)

Two large canvas paintings are hung on a dark green wall. They're too far away to see details, but they each depict a middle-aged Black man. In one, he has text bubbles all around his body. In the other, he appears to be standing in a waterfall.

Gray’s Anatomy IV and This is My Desire by Senghor Reid, 2022

Acrylic on canvas and This is My Desire, 2022, oil on canvas. Courtesy the artist © Senghor Reid and M Contemporary Art Installation photography by Charlie Edwards, courtesy of the University of Michigan Museum of Art

About the Art

Gray’s Biinjiwiiyaw IV and Mii O’o Nimisawendaan (in Anishinaabemowin)

Senghor Reid
Gichimookomaanakiing, 1976 gaa-ondaadizi

Namanji-ayi’iing ako Debani-ayi’iing
Gray’s Biinjiwiiyaw IV
2022
Gaaskiiginowaaboo ningaasimooniigining

Mii O’o Nimisawendaan
2022
Zhizhoobii’iganaaboo ningaasimooniigining

Nimiigwechiwenimaanaan Gaazheninjiged miinawaa M Oshki Giizheninjigewinan

Senghor Reid ogii-mazinibii’idizo niizhing ge naagadawaabandang ezhi-giizhinenjigaadeg gaye ganawenjigaadeg nibi akiing. Grey’s Biinjiwiiyaw IV (namanji-ayi’iing) naagotaaniwang ezhi-gagwejiid. Maazinibii’igewin izhinaagwad Maamakaadendaagwag Waawiyekamig gaye Awenen Aawid maazinibii’igaadeg Naandagekenjigejig Wawiiyajimowinan Waawiyekamigong. Ge waabanda’aanan ezhi mashkawizid gaye niinamaadizid, Reid aapiji aawenang gichi-inendaagwag nibi aabajichigaadeg wii-mino-ayaayang gaye agoozoyang. Mii O’o Nimisawendaan (debani-ayi’iing) mookibii Reid izhi-gimiwanibiisaamagag giiwitaa-ayi’iing. Gichi-inendaagwadoon daso biisaag dash izhi-nisidawendaagwag onzikaag daso wiiyaw biisaag gaye. Ge Reid mamaajise gaye biigoshkang biisaag, daa-nisidawaabandamang ezhi-inishkamang nibi gaye daa-gichi-apiitendamang.

Senghor Reid
United States, b. 1976

LEFT TO RIGHT

Gray’s Anatomy IV
2022
Acrylic on canvas

This is My Desire
2022
Oil on canvas

Courtesy of the artist and M Contemporary Art

In these two self-portraits, Senghor Reid meditates on water as an elemental force that gives and sustains life. In Gray’s Anatomy IV (left), he closely examines his body’s abilities and traits. The painting’s format is borrowed from the Official Handbook of the Marvel Universe and DC comic-style Who’s Who dossier pages detailing the origins and powers of various superheroes. As he catalogs his strengths and weaknesses, Reid emphasizes the importance of water consumption and mindfulness in maintaining one’s physical and emotional health. This is My Desire (right) presents an almost primordial scene of Reid emerging from an effervescent field of water droplets that float weightlessly around him. The droplets seem to make visible the body’s hidden molecular structure. Reid’s inquisitive movements disrupt and break up the droplets, suggesting our effect on water and responsibility to treat it with reverence.

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