Browsing by Author "Wilson, Kenneth Clayton"

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Open Access
Responses to Canada’s Colonial Past (and Present): What You Carry and Surrender No. 40
(Faculty of Media, Art, and Performance, University of Regina, 2017-05-01) Wilson, Kenneth Clayton
This critical engagement paper is intended to accompany the play What You Carry and the solo performance text Surrender No. 40. Part one, the introduction, argues that both texts are intended to contribute to the process of reconciliation between descendants of settlers and Indigenous peoples in Canada, by telling the truth about this country’s colonialist history and by making gestures towards reconciliation. Part two outlines the six methodologies employed while writing these two texts: writing and narrative inquiry, autobiography and/or autoethnography, new play development, historical research, walking-as-performance, and solo or autobiographical performance. Part three discusses two theoretical contexts of the two performance texts: trauma theory and truth and reconciliation. Trauma theory has helped me to understand how Joseph, one of the characters in What You Carry, has responded to the abuse he survived in residential school; it has also been useful in thinking about the family violence Gary and Walter experienced as well. While truth and reconciliation is not a recognized theoretical perspective, it was in my mind while I wrote both texts and during the Muscle and Bone performance. My hope is that, in some small way, these two texts can be part of the truth and reconciliation process in this country—that they might help other settler descendants understand something about Canada’s ongoing colonialist history, as writing these texts has helped me to understand that history.
Open Access
Walking and thinking: Critical reflections on “Walking the Bypass: A Meditation on Place”
(Faculty of Graduate Studies and Research, University of Regina, 2022-09) Wilson, Kenneth Clayton; Farrell-Racette, Sherry; Dashchuk, James; Bracht, Kathryn; Irwin, Kathleen; Archibald-Barber, Jesse; Donald, Dwayne
ôma kihci-kiskinwahamasinahikan âpacihtâmakan êsa kwayask itahkamikisiwina taitwêstamâkêmakahk ôma pimohtêwin-êkwa-masinahikêwin kiskinwahamawi-osîhcikâsowin kihci-kiskinwahamasinahikan “ê-pimohtêhk âsokanihk: ê-mâmitonêyihcikêhk ôma itâpatakêyimisowin,” ê-itwêmakahk kwayask âcimowin ôma pêyakwan wîhowin ohci. Nîkân masinahikanêkinohk atamiskawikow ôma atoskêwin, tânisi ê-pimakotêk, êkwa mîna kakwêcihkêmowina: “pimohtêwin cî ka-kî-mêskwacipayin pakwâcaskiy isi ôma kihci-askiy?” êkwa, misawâc ê-kihcêyihtakwâhk, “môniyâwak cî ka-kî-nisitohtamwak ôma ôta askîhk ê isipimohtêcik?”. nîso masinahikanêkinohk pîkiskwêmakan tânisi kâ-pimohtêhk naspasinahikân ôma ê-isi-âniskôstêk isi ôma atoskêwinihk; nôkohcikêmakan nanâtohk âcimowina kâmiyonâkwahk êkwa kâ-isîhcikêhk isi-pimohtêwin êsa ê-kikinikâtêk ôma atoskêwin. Nisto masinahikanêkinohk pîkiskwêmakan tânisi kâ-itahkamikisihk kwayask, tâpiskôc kwayask itahkamikisiwina êwako askiy êkwa kâ-nisitohtamâhk; iyiniwi-kiskêyihtamowin ôma ê-miyoitôtâmiyit askiy êkwa atâhko-kiskinwahamâtowin; êkwa tânisi kâ-nisitohtâsoyahk êsa askiy ohci, ê-mêskwacipayihk itahkamikisiwina, êkwa tânisi kâ-itâpisihkik iyiniwak êwako anima kiskêyihtamowina. nêwo masinahikanêkinohk pîkiskwêmakan kâ-âpacihtâhk êsa atoskêwinihk: masinahikêwina ê-masinahikêhk Willam Least Heat-Moon, Nick Papadimitriou, êkwa Iain Sinclair ohci; tânisi kâ-wîkiyâhk ê-ispayihikoyâhk; pêyako-pimohtêwin; kwayask âcimowina êmiywâsik; êkwa masinâpiskahikêwin. piyisk, iskwêyânihk pîkiskwêmakan tânisi kâ-isiitôtamâhk ê-atoskêyâhk ôma kihci-kiskinwahamasinahikanihk—êkwa nika-kî-itôtênân, kîspin êsa kihci-âhkosiwin êkâ ê-kî-âyimahk ta-atoskêmitoyâhk ôma nîso askîwin aspin ohci. kiskêyihtâkwan kahkiyaw ê-nêstosiyâhk êwako kihci-âhkosiwin, kistêyihtâkwan ta- nisitohtamâhk ôma misawâc ê-miywâsik êtikwê êwako atoskêwinihk, kâ-kî-mêskwacipayihk ayisk kihci-âhkosiwin COVID-19 ê-astêk ôma ôta. This thesis presents a critical, theoretical, and methodological exegesis of the walking-and-writing research-creation doctoral project “Walking the Bypass: A Meditation on Place,” as represented by the creative-nonfiction manuscript of the same title. The first chapter introduces the project, its aims and scope, and its research questions: “can walking turn non-places into places?” and, more importantly, “can settlers come into a relationship with the land through walking?” The second chapter discusses the context of walking art as it applies to this project; it presents accounts of a range of aesthetic and political walking practices that influenced this project. The third chapter presents the project’s theoretical context, including theories of place and space; Indigenous theories of land and cosmology; and object-oriented ontology, affect theory, and Indigenous critiques of those ways of thinking. The fourth chapter explores the project’s methodological touchstones: writing by William Least Heat-Moon, Nick Papadimitriou, and Iain Sinclair; psychogeography; solo walking practices; creative nonfiction; and photography. Finally, the conclusion suggests future directions which this research could take—and would have taken, had the pandemic not made working with others so difficult during the past two years. As much as everyone is tired of the pandemic, it’s important to acknowledge that it may have been the greatest influence on this project, which changed significantly in response to the challenges presented by Covid-19.
Open Access
What You Carry and Surrender No. 40
(Faculty of Graduate Studies and Research, University of Regina, 2017-05) Wilson, Kenneth Clayton; Irwin, Kathleen; Handerek, Kelly; Archibald-Barber, Jesse; Pearce, Wes
This critical engagement paper is intended to accompany the play What You Carry and the solo performance text Surrender No. 40. Part one, the introduction, argues that both texts are intended to contribute to the process of reconciliation between descendants of settlers and Indigenous peoples in Canada, by telling the truth about this country’s colonialist history and by making gestures towards reconciliation. Part two outlines the six methodologies employed while writing these two texts: writing and narrative inquiry, autobiography and/or autoethnography, new play development, historical research, walking-as-performance, and solo or autobiographical performance. Part three discusses two theoretical contexts of the two performance texts: trauma theory and truth and reconciliation. Trauma theory has helped me to understand how Joseph, one of the characters in What You Carry, has responded to the abuse he survived in residential school; it has also been useful in thinking about the family violence Gary and Walter experienced as well. While truth and reconciliation is not a recognized theoretical perspective, it was in my mind while I wrote both texts and during the Muscle and Bone performance. My hope is that, in some small way, these two texts can be part of the truth and reconciliation process in this country—that they might help other settler descendants understand something about Canada’s ongoing colonialist history, as writing these texts has helped me to understand that history.