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Introduction
The problems of indigenous people in the context of the ethnic revival process activation, the spread of the ideas of multiculturalism as an integral characteristic of a modern legal state are gaining increasing political importance. In this regard, the experience of a country such as Canada, due to some unique geographical, climatic, and demographic characteristics, seems to be the most interesting. It should be noted that the historical trauma of the Indians of Canada is a kind of psychological baggage that is passed from one generation to another and covers many lives (Vizenor, 2019). Recently, the Canadian government has done a lot to mitigate this trauma. However, the best way of smoothing and acceleration of reconciliation process in Canada is to provide favorable conditions for this. It can be done through facilitating the manifestation of creative talent and popularizing the work of artists representatives of the indigenous population, in particular, visual artists, one of the prominent representatives of which is Daphne Odjig.
Main body
This distinctive artist (born 1919), who is truly considered the grandmother of Indian folk art , paints her works in the Woodland Style (Vizenor, 2019, p. 12). The founders of this style, formed in the early 1960s, were Ojibwa artist Norval Morrisseau and his apprentice Carl Ray from the Cree tribe (Vizenor, 2019). The style is based on structural forms, in the absence of rigor and symmetry characteristic of the Northwest Coast art, but with the inclusion of its varying width of contours.
The artist was born and spent her childhood in the Wikwemikong village, located on Manitoulin Island. She is Potawatomi, Odawa, and English, and her strongest traditional roots in Native culture make her proud of the artistic tradition of her ancestors, which she tries to follow, bringing also some elements of postimpressionism (White, 2016). The works of Odjig, this indefatigable ambassador of Indigenous art, have been awarded several honorary awards, in particular, the Governor Generals Award and the Order of Canada.
Odjig was among the founders and inspirational figures in the Indian Group of Seven Professional Native Indian Artists Association. The group greatly contributed to bringing First Nations art to the forefront of the Canadian art community. To break with the imitation of European painting, the Group of Seven resorted to the effects of increased sonicity of color, broad spots, the play of dark and light silhouettes (White, 2016). All this can be seen in Odjigs works, striking in their childish spontaneity and, at the same time, clearly shaped the authors style. Odjig said about her inspiration: As an artist and as a person, I have been impressed since childhood with the process that takes us from the inner image to the external reality of an image (Bearclaw Gallery, n.d.). Her early works were rather realistic but later she tried to experiment with expressionism and cubism, ultimately shaping her unique style a bright mix of First Nations arts and modern European styles and techniques.
Conclusion
The works of Odjig, associated mainly with Algonquin mythology, show ancient rituals and myths that were traditionally not disclosed to an outside listener, and even within the tribe some of them could not be talked about. These rituals have been transmitted orally by shamans from teacher to disciple for generations (White, 2016). Such a depth of imagery and a lively connection of a genuine attitude and creativity can hardly be found in the works of contemporary artists representatives of Western civilization. Even the most magnificent painting technique fades in comparison with the spirituality of the painting, written by the heart. One of the priority tasks that Canada has to solve in modern multicultural society is reconciliation with indigenous peoples and the revival of their national identity. The creativity of artists such as Daphne Odjig has all the necessary potential to become a bridge for achieving mutual understanding and acceptance of Western and Indigenous culture in Canada. This potential of popularization of Indigenous people culture, in such bright examples as Daphne Odjig, can become a real driving force for the reconciliation process in Canada.
References
Bearclaw Gallery (n.d.). Daphne Odjig (Prints).
Vizenor, G. (2019). Native Provenance: the Betrayal of Cultural Creativity. Lincoln, NE: University of Nebraska Press.
White, J. (2016). Daphne Odjig: A Great Indigenous Artist and Humanitarian Has Passed. International Indigenous Policy Journal, 7(4).
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