News – Native Women in the Arts

Nuit Blanche East Danforth 2025, Presented by East End Arts, Danforth BIA, and Native Women in the Arts, Illuminates Toronto’s East End with All-Night Art, Music, and Indigenous Storytelling.

Nuit Blanche, Toronto’s sunset to sunrise celebration is the largest contemporary art event in North America. Thanks to our partners East End Arts along with the Danforth BIA, we’re presenting another all-night art experience to our East Toronto communities along Danforth Avenue, between Greenwood + Coxwell TTC Stations.

This year’s City-wide Nuit Blanche theme is Translating the City, which speaks to our desire to centre the hidden artistic stories and voices of the East Danforth neighbourhood with a focus on different languages, cultures, stories and ideas of the neighbourhood not yet explored or platformed.

On Saturday, October 4, 2025, we invite you and your families to join us for Nuit Blanche East Danforth 2025 (#NBED25), in collaboration with East End Arts, enjoy the return of the IN VIEW series, an impressive storefront gallery exhibition featuring Indigenous artist Richael Laking and Wolf⁷a:z; stop into an all-night forest-themed Silent Disco with music from DJ Kookum, and more!

Nuit Blanche – East Danforth 25
Saturday, October 4, 2025 | 7PM – 7AM
Various locations along Danforth Avenue, between Greenwood + Coxwell TTC Subway Stations
Cost: FREE

Plan your trip by visiting the East End Arts Info Hub and online map to help you locate all of the art installations, food and drink, washrooms, and more. RSVP on Facebook.

ART INSTALLATIONS

O’notsta’kha (Shake the Bush) – A Silent Disco Celebrating Art, Nature, and Indigenous Tradition

Location: Bomb Fitness Danforth, 1480 Danforth Ave.

O’notsta’kéha the Kanienʼkehá꞉ka (Mohawk) phrase meaning “Shake the Bush” draws inspiration from the Haudenosaunee social dance, characterized by call-and-response singing and expressive footwork. The dance symbolizes a spiritual dialogue with the natural world, evoking the stirring of life within the forest.

In a vibrant reimagining of this tradition, the event will feature music by acclaimed Indigenous DJ and sound artist DJ Kookum, known for high-energy sets and genre-bending mixes that blend hip-hop, EDM, and Indigenous sounds.

Under the glow of the forest night, DJ Kookum’s exclusive sets will be featured on one of the three silent disco channels, adding a dynamic, contemporary edge to this deeply rooted cultural celebration.O ’notsta’kéha (Shake the Bush) is more than a dance party—it is a sensory experience that fosters reflection, connection, and celebration. It stands as a living tribute to Indigenous resilience, land-based knowledge, and the power of music to unite within the natural world.

DJ Kookum

DJ Kookum is an Indigenous-renowned DJ and producer from the Alexis Nakota Sioux Nation and based in Vancouver, BC. Known for her versatile skills and ability to transcend genres, Kookum is always cooking, keeping the atmosphere alive, fresh, and electrifying. Blending EDM, hip hop, bass music, and global sounds, Kookum creates high-energy performances that resonate with music lovers of all backgrounds. With an extensive music library, Kookum ensures each performance is tailored to the crowd, igniting a shared sense of connection through the power of music.

This international star has taken her performances across the globe, captivating audiences in Germany, Australia, Mexico, and America. Closer to home, Kookum has graced some of Canada’s most prestigious events and festivals including Basscoast, Bastid’s BBQ, Vancouver Indigenous Fashion Week, Nuit Blanche Toronto, Ted Talks after party, and the Vancouver Michelin awards, among many others.Aside from her reputable solo career, Kookum has been DJing for the hip hop duo Snotty Nose Rez Kids for nearly a decade, performing and touring across North America.

Beyond her musical prowess, DJ Kookum is a facilitator, mentor, and motivator. By fearlessly breaking boundaries and celebrating her identity, she sets an inspiring example for aspiring DJs and producers around the world. Through her groundbreaking work and dedication, she leaves a significant mark on the music industry, proving that women play a vital role in electronic music.

Haƞwi – Moon in the Dakota Language

Location: Blossoming Minds, 1530 Danforth Ave.Haƞwi features a shifting projection of the moon, moving through the four sacred colours: red, black/blue, yellow, and white. These colours represent all peoples and all directions around the earth.

The moon pulls us inward while also pushing us toward the shadowed deposits of our existence. It is a reminder of the vast expanse above us, and of the unique home that nurtures the molecules from which we are all formed. The moon holds both the moments we keep quietly in private thought, and the spectacular phenomena we gather to witness together.

The moon carries a name in every language. What are the stories your grandparents told, now carried forward by you?

Richael Laking

Richael Laking (b.1989) is Sisseton-Whapeton of Sioux Valley Dakota Nation and Irish mix born in Toronto Ontario.

She works with acrylic and mixed media on various surfaces. Her paintings explore socio-political issues masked by the media and pop culture, as well as her own surreal world.

Her work is purely expressive and takes place between here and the intricate mysteries of the human subconscious. She invites viewers to explore the hidden meanings through each colour, texture, shape and line.

The Agreements of Turtle Island

Location: Jump for Joy, 1472 Danforth Ave.

The Agreements of Turtle Island is a multimedia canvas piece centred on the powerful image of a snapping turtle—an animal deeply rooted in the creation stories of Turtle Island, the name many Indigenous Peoples use for what is now called North America. Through layered imagery, texture, and symbolic design, this work brings forward visual narratives of peace, governance, and shared responsibility for the land.

The turtle, long revered as a foundational being, carries not only the earth in its cultural significance, but also the layered agreements that have shaped our collective presence on these lands. A symbolic belt encircles the turtle’s form—an echo of historic treaty relationships between First Peoples and settlers, rooted in mutual respect, care, and stewardship.

This piece is a visual reminder that these original agreements were not only made between human nations, but also with the Earth itself. Today, everyone who calls these lands home is called to honour those original understandings—to care for and protect our shared home, Mother Earth.

In Indigenous worldviews, life moves in cycles. The Earth is not a commodity, but a living relative with whom we are in constant relationship. Humans are not above nature, but part of a vast web of interdependence—one that includes the waters, winds, animals, plants, insects, and stars. Each holds meaning. Each plays a role. As the two-legged, we are called to uphold our responsibilities with humility, respect, and care for all living beings.

Key elements in this artwork include:

The Great Tree of Peace, with an eagle perched above and weapons buried beneath its roots—an emblem of the Great Law of Peace, the founding constitution of the Haudenosaunee Confederacy. This law is one of the world’s oldest participatory governance systems and promotes values of unity, peace, and collective responsibility. The eagle atop the tree serves as a guardian, watching for danger and reminding us to protect the peace. The act of burying weapons beneath the tree symbolizes the end of conflict and a commitment to peaceful coexistence. Rooted in deep spiritual and philosophical teachings, the Great Law established a system of governance based on consensus, respect for diversity, and the well-being of future generations.
The Haudenosaunee Confederacy belt, representing the unity of the Six Nations: Mohawk, Oneida, Onondaga, Cayuga, Seneca, and Tuscarora.
Recognition of the traditional caretakers of the Toronto area, including the Haudenosaunee, the Huron-Wendat, the Mississaugas of the Credit, and the Anishinaabe.
The One Dish, One Spoon, One Bowl agreement, a longstanding treaty between the Haudenosaunee and the Anishinaabe.

It teaches three core principles:

Take only what you need
Leave some for others
Keep the dish clean

The Agreements of Turtle Island is a multimedia canvas piece that depicts the alligator snapping turtle, a key figure in Indigenous creation stories of Turtle Island (North America). Layered imagery reflects themes of peace, treaty relationships, and shared responsibility for the land. The work invites reflection on our interconnectedness with the Earth and a call to honour original agreements grounded in respect, care, and balance.

Wolf⁷a:z

Wolf⁷a:z is a Haudenosaunee Two-Spirit artist from the Gayogohó:nǫ⁷ Nation of Six Nations of the Grand River. For over 18 years, they have developed a multidisciplinary practice that spans public mural installation, carving, jewelry, fabrication, welding, and epoxy resin work—deeply rooted in their heritage and lived experience. Through their murals, they actively promote the revitalization of the Gayogohó:nǫ⁷ (Cayuga) language, incorporating it into each project and donating 10% of profits to a language program within Six Nations. Their goal is to Indigenize urban spaces and foster empathy, kindness, and respect through visual storytelling. Wolf⁷a:z has painted murals in Canada, the U.S., Scotland, England, Mexico, and Germany. One of their interactive works in Hamilton features a QR code linking to their YouTube channel, where viewers can hear Cayuga & Mohawk spoken. Their work was featured in The Concrete Canvas Graffiti Book (2023), and they were honoured with the Toronto Arts Foundation Indigenous Artist Award in 2025.

FUNDERS AND PRESENTERS

NUIT BLANCHE TORONTO

Nuit Blanche was originally conceived in Paris, France in 2002, with a mandate to bring contemporary art to large and diverse audiences in public spaces. In 2006, the producers of the founding Nuit Blanche from the City of Paris invited the City of Toronto to join an assembly of more than six founding European cities producing similar art and cultural events. Toronto was the first North American city to model itself based on the City of Paris Nuit Blanche, and has since inspired similar celebrations. The Toronto event is produced by the City of Toronto.

Nuit Blanche Toronto is a free, 12-hour contemporary art event that has a mandate to connect contemporary art to the broadest possible publics and to create opportunities for audiences to explore and engage with contemporary art in public space.

The 19th annual Nuit Blanche Toronto will transform the city’s neighbourhoods and streets on the first day of fall with dazzling art installations, from 7 p.m. on Saturday, October 4 to 7 a.m. on Sunday, October 5. Featuring three exhibitions located in North York, Etobicoke and downtown and more than 85 works by local, national and international artists, the city becomes a living book created not just with words, but through sights, sounds, movements and shared spaces. Entry will be free for the public to engage with the art projects.

Since 2006, this award-winning event has featured almost 1,600 art installations by approximately 5,800 artists and has generated over $489 million in economic impact for Toronto. Browse past art projects. This year’s event hashtag is #NBTO25.

EAST END ARTS

East End Arts is a non-profit community arts organization that serves the east end of Toronto. We provide inclusive arts programming, events and services to our local communities, and we provide professional development opportunities to both emerging and established artists and arts organizations. Our vision is to unite, inspire and enhance the communities of east Toronto with the transformative power of the arts.THE

DAN FORTH MOSAIC BIA

The Danforth Mosaic BIA has everything you need within walking distance on Danforth-East between Jones Avenue and Westlake Avenue. We’re a true mosaic of people and Cultures. The BIA works in partnership with the City to create thriving, competitive, and safe business areas that attract shoppers, diners, tourists, and new businesses. Their vision is to create a vibrant and well-maintained business area with diverse shopping and dining opportunities and services to attract the local community as well as visitors.

NATIVE WOMEN IN THE ARTS

Native Women in the Arts (NWIA) is a not-for-profit organization for First Nations, Inuit and Métis women and other Indigenous gender marginalized folks who share the common interest of art, culture, community and the advancement of Indigenous peoples.

Join us for an in-depth conversation between artist Rosalie Favell, art historian Michelle McGeough, and Ryan Rice, Executive Director and Curator, Indigenous Art at Onsite Gallery.

In conjunction with the exhibition Rosalie Favell | Belonging (1982–2024), this special event delves into the expansive forty-year artistic journey of Rosalie Favell through dialogue centered on her lens-based practice. The conversation will reflect on the curated works featured in the retrospective that foreground themes of identity, belonging, personal discovery, and the complex intersections of Indigenous, 2SLGBTQ+ and Canadian experiences and histories.

Co-presented by Native Women in the Arts.

Admission is free and open to all.

Seating is limited—RSVP required. Visit Registration Page

A reception will follow.

Rosalie Favell is a distinguished Red River Metis artist who has achieved national and international acclaim, with a creative practice spanning over 40 years. Favell has used portraiture in photography, painting, and video to understand and represent her ancestry and identity in works that have been exhibited and collected nationally and internationally. Drawing inspiration from her family history and Red River Metis heritage, she uses a variety of sources, from family albums to popular culture, to present a complex self-portrait of her experiences as a contemporary Indigenous woman.

Dr. Michelle McGeough (Cree /Métis and Settler) is originally from Amiskwaciwâskahikan, located in the Treaty Six region of what is presently referred to as Alberta. Dr. McGeough’s family names are Berard, Moreau, Belcourt, dit Sapin and L’hirondelle. Her father was from Northern Ireland. Michelle is currently an Associate Professor at Concordia University. She received her Ph.D. in Indigenous art histories from the University of New Mexico. Dr. McGeough’s research interests have focused on the Indigenous two-spirit/Indigiqueer identity.

Ryan Rice, Kanien’kehá:ka of Kahnawake, is a Toronto-based curator, critic, and creative consultant. With a curatorial career spanning over 30 years, he has worked across communities, museums, artist-run centres, public spaces, and galleries. Rice currently serves as Executive Director and Curator, Indigenous Art at OCAD University’s Onsite Gallery. He is the 2025 recipient of the Toronto Arts Foundation’s Margo Bindhardt and Rita Davies Cultural Leadership Award.

Onsite Gallery is OCAD University’s flagship professional gallery, dedicated to presenting contemporary, Indigenous, and public art and design. It serves as a platform for advancing knowledge creation through creative and curatorial practices to stimulate local and international conversations on urgent issues of our time.Native Women in the Arts (NWIA) is a not-for-profit organization for First Nations, Inuit and Métis women and other Indigenous gender marginalized folks who share the common interest of art, culture, community and the advancement of Indigenous peoples.

Rosalie Favell | Belonging (1982 – 2024) is the first retrospective of renowned Red River Metis artist Rosalie Favell, showcasing a powerful curated selection of her lens-based works from 1982 to 2024. This exhibition celebrates Favell’s groundbreaking photographic practice—from seminal series like Living Evidence and Plain(s) Warrior Artist to her expansive archive Facing the Camera—which invites us to bear witness and explore the complex themes of identity, empowerment, same-sex desire, community and the nuanced search for belonging through a lens that is both deeply personal and subtly subversive.

Image Credit: Rosalie Favell, I searched many worlds (from Plain(s) Warrior Artist series), 1999, inkjet print. Courtesy of the artist.

Onsite Gallery is generously supported by The Delaney Family.

Native Women in the Arts is proud to introduce the winner and five shortlisted recipients of the 10th Annual Barbara Laronde Award

The Barbara Laronde Emerging Artist Award recognizes outstanding emerging Indigenous (Status and Non-Status First Nations, Métis, Inuit) artists from Northern Ontario who are women or otherwise gender marginalized (transfeminine, transmasculine, non-binary, gender non-conforming, Two Spirit). NWIA recognizes the specific barriers that many Northern artists face, and we aim to support Indigenous artists from Northern Ontario by creating connections, professional development, and performance opportunities through our programming initiatives.

This year’s award winner is Amber Waboose, who will receive a $5,000 prize and be featured on our website in the coming weeks.

Each of the shortlisted artists—Emily Granville, MJ Singleton, Grace Swain, Chevaun Toulouse, and Colleen Toulouse—will receive a $1,500 award in recognition of their outstanding work and artistic promise.

Winner: Amber Waboose

Amber Waboose (Odemin Mkwaa Kwe) is an Ojibwe artist from Batchewana First Nation, Ontario. She practices various art forms, including porcupine quillwork on birchbark and two-dimensional and diverse arts. Through her quillwork, Amber creates both jewelry and visual art. Nature often inspires her designs, featuring birds, flowers, berries, bees, moths, fish, and various animals. She harvests and processes all the materials used in her quillwork. Being in nature gives her peace and a deep connection to her culture. Amber’s work is grounded in the philosophy that everything in the universe is interconnected. A common theme in her paintings is interconnection, depicting the lands, water, sky, and stars. After her introduction to quillwork, you will see elements such as birch bark and sweetgrass in her artwork. Her paintings draw inspiration from her personal experiences, ceremonies, and dreams.

Shortlist: Emily Granville

Emily Granville is an Odawa-Cree musician from Wiikwemkoong Unceded Territory on Manitoulin Island. After attending Cambrian College for Music Performance in piano, Emily is now graduating from the Bachelor of Music program at Laurier. Emily has an interest in composition, collaborative performance, and ethnomusicology from an Indigenous lens. Most recently, Emily has performed, directed, produced and composed their own piece through the Paprika Theatre Festival, performed at the Northern Ontario Music and Film Awards, and volunteers as a piano teacher for the Community Music School of Waterloo Region. Emily is excited to be furthering their education in the MA Ethnomusicology program at The University of British Columbia in the fall.

Shortlist: MJ Singleton

MJ Singleton is a two-spirit Ojibwe artist from Eagle Lake First Nation in the Kenora District. Their artistic repertoire consists of painting, digital illustration, beading and sewing. MJ’s designs for the university’s orange shirts for Truth and Reconciliation Day 2023 and 2024 raised over $54,000 for the Orange Shirt Society, striving to amplify Indigenous voices, and igniting meaningful dialogue towards reconciliation. MJ is a fourth year student at University of Toronto Mississauga, double majoring in Psychology and Criminology, Law & Society.

Shortlist: Grace Swain

Grace Swain is an Indigenous advocate, artist, and communications professional from Swan Lake First Nation on her father’s side (Treaty One, MB) and Wiikwemkoong First Nation on her mother’s side (ON). She creates Woodland-style art inspired by her Anishinaabe roots and is passionate about breaking down barriers for Indigenous artists. Grace curates art for Café 4 Good in Sault Ste. Marie, supporting Indigenous youth, and serves on the Creation Advisory Circle for Indigenous Youth Roots (IYR).

Shortlist: Chevaun Toulouse

Chevaun Toulouse is an Anishinabekwe from Sagamok Anishnawbek and a member of the Ginoozhe (Pike) clan. Growing up in Sagamok gave her an interest in and respect for the environment, as much of her youth was spent trying to catch turtles and snakes in the swamp. Whether snatching snakes or catching turtles, it was on the land interacting with reptiles and amphibians that she found her passion. She recently graduated with an Honours BSc in Indigenous Environmental Studies and Biology from Trent University, building on previous education in conservation, Indigenous environmental leadership, and naturalist research.

Shortlist: Colleen Toulouse

Colleen Toulouse is Anishinaabe from Sagamok Anishnawbek. She is an educator, journalist, and a proud grandmother of two boys. Colleen has written numerous articles for local newspapers, been published in magazines and books, and enjoys writing poetry and short stories. Her most recent story, The True Reflection of the Magpie and the Seed is featured in Indigenous Voices of Canada: Heart, Hope and Land, published by the International Human Rights Arts Movement Literary Magazine Press. Colleen values First Nations stories as a source of learning and understanding her culture. She continuously embraces her life-long learning journey.

We once again extend our heartfelt congratulations to the winner and shortlisted recipients of this year’s Barbara Laronde Award. If you’d like to support the next generation of emerging Indigenous women and gender-diverse artists, please consider donating to the Barbara Laronde Award.

Native Women in the Arts Welcomes New Administrative Director

There have been some exciting changes at Native Women in the Arts lately. We are delighted to announce that Melissa Johns has joined our organization as Administrative Director!

Melissa Johns (Kanien’keha:ka and French Canadian) is a new media artist, educator, and arts administrator, born and based in Tkaronto. Bringing a wealth of experience from her work with organizations such as imagineNATIVE, NIMAC, and the National Film Board of Canada, she is also a practicing artist with a passion for harnessing technology to tell powerful stories.

Melissa Johns is succeeding Ariel Smith who held the position of Artistic and Managing Director from 2018-2023, and Interim Administrative Director from 2023-2025. Ariel is stepping down from her position to focus on family and her own artistic practice in the unceded territories of the Musqueam, Squamish and Tsleil-Waututh peoples in Vancouver. The organization expresses its deep gratitude to Ariel for her contributions and visionary leadership during her tenure at NWIA.

In her new role as Administrative Director, Melissa will be responsible for coordinating the daily operations of the organization, as well as grant writing, fundraising, and financial management.Please join us in welcoming Melissa to her new position!

“I’m incredibly excited for this opportunity with Native Women in the Arts. This work resonates deeply with who I am and what I am passionate about supporting. I’m looking forward to bringing new ideas and energy to an organization that plays such a vital role in supporting Indigenous women and gender-marginalized artists. In a time when our very existence is under threat, this kind of work and representation is vital. I’m deeply grateful to Ariel, Quach, and the NWIA board for their trust and confidence in me.” – Melissa Johns, Administrative Director

Native Women in the Arts looks forward to thriving under Melissa’s guidance, and continuing to empower Indigenous artists across Turtle Island and beyond.

Native Women in the Arts presents the Kwe Performance Series: Voices, on Saturday, March 22, 2025, at the TD Music Hall, featuring Mare Advertencia, Bobby Sanchez, Dioganhdih, and Kimiwan.

Kwe Performance Series: Voices, is a culturally dynamic event that amplifies the perspectives of Indigenous women and gender-marginalized artists. Through a carefully curated lineup of performers including Mare Advertencia, Bobby Sanchez, Dioganhdih, and Kimiwan. Each featured artist brings their own lived experiences, cultural influences, and activist work to the stage, using their craft as a means of resistance, empowerment, and connection.

Through musically immersive soundscapes, this series highlights the ways in which Indigenous artists navigate identity, challenge colonial narratives, and advocate for social change. Whether through Mare Advertencia’s sharp political lyricism, Bobby Sanchez’s approach to gender and decolonization, Dioganhdih’s restorative rematriation methods, or Kimiwan’s sonic storytelling. Voices creates a platform where Indigenous experiences are acknowledged, centered, and celebrated.

Kwe Performance Series: Voices

Saturday, March 22, 2025, TD Music Hall, 178 Victoria Street, Toronto

General Admission – $25, Indigenous Discount Code: VOICES25

Doors 7PM, Show 8PM – 11PM

Tickets on Sale Now

MARE ADVERTENCIA (rapper, zapotec, feminist, and immigrant) is one of the most important Rap references in Mexico: since 2003 she has independently developed her project, she is self-taught, and self-manager.

Rap has allowed her to build her story and question her reality, dealing with uncomfortable issues on three productions, multiple collaborations, and projects as diverse as Narrativas y Memorias de la Desaparición en México (2021) (Narratives and Memories of Disappearance in Mexico), the album Un Canto Por México, Vol. 2 (A Chant for Mexico) of Natalia Lafourcade, and the soundtrack Black Panther: Wakanda Forever (2022), in which she collaborated with Vivir Quintana on the song “Árboles bajo el mar” (Trees under the sea).

She has claimed different political identities through her songs since the beginning of her career ; her voice has amplified and questioned the present reality based on a narrative that evolves constantly. Earlier, her work was more socially oriented, with collective questioning; as of now, she carries out a more introspective process, a process of grief and healing that allows her to embrace all her facets and to build up her new album.

Her path is not defined by a series of hits, rather by reaching places where she still walks while her voice, impact and work is recognized, through two decades; she establishes connections and carries out political and social actions outside of the music scene. She has given workshops at the Escuela para la Libertad de las Mujeres en Oaxaca (School for Freedom of Women in Oaxaca), she has collaborated in projects as the Colectivo Altepee in Veracruz, and she has managed spaces for women and dissents in Mexico City, this will soon grow into a label in which women’s work and dissents in music will make themselves visible.

BOBBY SANCHEZ (she/they) is a 29 year old poet, musician, model, painter, and personal trainer. Bobby identifies as trans as well as two-spirit in honor of her Indigenous ancestry. Her music and artwork cover topics of indigenous identity, environmental issues, LGBTQ+ discrimination and liberation on all fronts.

Some of her biggest accomplishments have been participating at the 2018 National Poetry Slam in Chicago, Performing at 2023 NYC Pride, 2024 Oakland Pride, Tulsa Pride, featuring in The July 2024 Issue of National Geographic, 14th annual Two-Spirit Powwow, and releasing 8 EPs since March 2021.

DIOGANHDIH (They/She) is a two-spirit Mohawk of Akwesasne, musician, MC, producer, and multi-disciplinary artist. Dioganhdih speaks on navigating and finding home through landback, rematriation, decolonization, and sovereignty work across Turtle Island. Dioganhdih’s art reflects the ever present and ongoing importance of honoring your individuality while being committed to uplifting your people and community. They are currently engaged in food sovereignty work across Haudenosaunee territory with their land based project, Iron Path Farms.

Dioganhdih self released two albums, Do it Ourselves (2017) & Rezbien (2021), and currently is working on their next studio album. They have performed internationally at Club Gretchen in Berlin, Asinabka Film & Media Festival in Ottawa, House of Vans in Brooklyn, Women’s Audio Mission in San Francisco, the SoundCloud Summer Party in Berlin, Pride Toronto, The Art House in New Orleans, on the frontlines at Oceti Sakowin Standing Rock, in countless DJ booths, stoops, bodegas, rooftops and park benches.

Dioganhdih’s music has been reviewed in The Fader, CBC Music, Afropunk, BitchMedia, APTN’s Digital Drum.

KIMIWAN is an Indigenous DJ, model, and fashion stylist based in Toronto. She made her debut in 2021 ‘Indigenous Grooves’, which celebrates Indigenous women and nonbinary artists in Toronto, along with sets at TD Music Hall and Toronto Pride, and a feature in Vogue Magazine. She skillfully uses her platform to amplify Indigenous voices and merge cultural heritage with modern creativity, leaving a lasting impact in both the music and fashion industries.

Kwe Performance Series

Voices is presented as part of the Kwe Performance Series which showcases Indigenous women and other gender marginalized Indigenous artists from diverse nations, and communities, leading to a deeper understanding and appreciation for Indigenous arts, culture, and community.

The Kwe Performance Series events include performances and workshops for the community in Toronto as well as outreach to on-reserve and under-serviced communities in Ontario.

City Hall Live Bridges

Kwe Performance Series: Voices, is presented and supported through Allied Music Centre and the City of Toronto City Hall Live Bridges, a new program dedicated to building relationships with venues to amplify local grassroots promoters who represent Toronto’s exciting and diverse live music culture.

This City Hall Live Bridges partnership was formed based on research facilitated by the City of Toronto with local promoters from equity-deserving groups, whose results highlighted that the most requested music facility to work with was Allied Music Centre – Toronto’s new music hub that is home to legendary Massey Hall, TD Music Hall and a new community theatre.

Allied Music Centre

Allied Music Centre is Canada’s new state-of-the-art cultural ecosystem featuring the legendary Massey Hall and three additional venues, all devoted to live music, artist development, community outreach, and educational programming.

About Native Women in the Arts (NWIA)

Established in 1993, Native Women in the Arts (NWIA) is a not-for-profit organization for First Nations, Inuit, and Métis women and other Indigenous gender marginalized folks from diverse artistic disciplines who share a common interest in culture, art, community and the advancement of Indigenous Peoples.

NWIA Presents unique artistic programming while developing, supporting, and cultivating practices in the performing arts, literary arts and publishing, visual arts, customary arts, and community development projects. NWIA’s influence has been felt in communities across Canada. We nourish and transform our communities by pursuing the highest standards of artistic excellence, and by offering development opportunities to emerging artists.