#IAmCatherine – a strong voice against the appropriation of Indigenous cultures

 

When cultural appropriation becomes spiritual violence

For years, non-Indigenous individuals have been exploiting sacred elements from Indigenous cultures, claiming to have been "chosen" or "called" by spirits they do not understand. This co-opting of spiritual symbols, songs, drumming, or traditional attire is called cultural appropriation. And it constitutes a form of theft. A theft of identity, memory, territory, and spiritual power.

The case of Tambour Uni-Son and "La Métisse"

Groups like Tambour Uni-Son, primarily composed of non-Indigenous people, organize circles, songs, and rituals inspired by Indigenous traditions. Without a direct connection to a Nation, without protocol, without community approval, these practices become spiritual staging. This is usurpation.

Under the guise of "unity" and "healing," Tambour Uni-Son reproduces a colonial dynamic: that of appropriating what does not belong to us, then exploiting it. The drum is not merely an instrument. It is a sacred link between Mother Earth and Indigenous peoples. It is passed down according to strict protocols, with the guidance of elders and the approval of the community.

This issue is not limited to Tambour Uni-Son. Other groups in Quebec offer drum-making workshops without Indigenous legitimacy, drawing criticism for cultural appropriation. For example, a workshop planned in Roberval was denounced by members of Indigenous communities, including Innu poet Joséphine Bacon, who emphasized that the drum is a sacred element that must be offered or received in a dream, and not manufactured in a commercial setting.

Such workshops, often led by non-Indigenous individuals, are perceived as a form of "fast-food culture," stripping spiritual practices of their deep meaning and hindering Indigenous peoples' efforts to reclaim their culture.

Isabelle Falardeau: an unsubstantiated claim of identity

Isabelle Falardeau, known as "La Métisse" or "Kun-Nipiu Falardeau," is a Quebecois author who has published several works on Indigenous uses of medicinal plants in Quebec. Although she identifies as Métis, available information does not specify her belonging to a recognized Indigenous nation. This self-identification without official recognition raises concerns about the legitimacy of her cultural claims.

Catherine Boivin: a strong voice against cultural appropriation

 

Catherine Boivin, an Atikamekw artist from Wemotaci, emphasizes that cultural appropriation deprives Indigenous peoples of their right to reclaim and preserve their culture in its integrity.

For over a year, she has been presenting her conference Cultural Appreciation: How to Appreciate Without Appropriating across Quebec. She insists on the importance of consent, highlighting that even actions motivated by love can be harmful if they do not respect cultural boundaries. She also warns against a sense of entitlement, which she describes as the "I have the right" syndrome.

Catherine Boivin states that she speaks as an Indigenous person living in Quebec and that her words are rooted in the history and realities of Indigenous communities. She reminds us that, in Canada, Indigenous peoples are in the process of reclaiming their culture, from which they have been dispossessed, and that non-Indigenous people have enriched themselves by commercializing this culture, distorting it and reinforcing negative stereotypes.

#Iamcatherine

The #JeSuisCatherine (#IamCatherine) movement emerged in response to a defamation lawsuit filed by Isabelle Falardeau, known as "La Métisse," against Catherine Boivin, an Atikamekw artist from Wemotaci. This legal action follows Catherine Boivin's public denunciation of the self-identification and commercialization of Indigenous knowledge, particularly by non-Indigenous individuals who appropriate cultural elements without legitimacy. The lawsuit aims to silence an Indigenous voice that defends the integrity of Indigenous knowledge and identities. Faced with this situation, a solidarity movement formed under the hashtag #JeSuisCatherine, expressing massive support for Catherine Boivin and her fight against cultural appropriation.

This movement also led to a fundraising campaign on the GoFundMe platform, aiming to support Catherine Boivin in her legal defense. Over $25,000 was raised thanks to the generosity of 480 donors, highlighting the scale of mobilization and the importance of this cause for Indigenous communities and their allies.

The #JeSuisCatherine hashtag thus symbolizes a collective stance against cultural appropriation and for the respect of the rights and dignity of Indigenous peoples.

This is not spirituality: it is appropriation

It is crucial to differentiate between an approach that supports Indigenous cultures and an attempt to derive personal, emotional, or financial benefit from them. Wearing feathers, making drums, singing "inspired" sounds, and leading talking circles while claiming to embody Indigenous wisdom is lying. It is taking the place of those who have always fought to keep alive a spirituality that colonialism tried to erase.

Cultural appropriation is not admiration

It is crucial to understand that cultural appropriation is not a tribute. It is an act of domination. It is the continuation of colonialism by other means. Just because a person feels a "spiritual" call does not mean they can claim sacred symbols of a culture they have never experienced from within.

Sincere admiration, on the other hand, involves respect, listening, and alliance. This means giving voice to elders, compensating Indigenous artists, supporting legitimate knowledge holders, and above all, knowing how to recognize that some things do not belong to us and never will.

What you can do

• Refuse drum workshops led by non-Indigenous people without traditional authorization.

• Do not be swayed by the mystical discourses of people who invent an Indigenous spiritual identity for themselves.

• Support Indigenous artists like Catherine Boivin, who speak truthfully and work for the legitimate transmission of their culture.

• Learn to distinguish between an authentic approach... and opportunistic co-opting.

Sources and references

– Performances and public statements by Catherine Boivin

– Testimonies of Atikamekw elders on the transmission of the drum

– Research on cultural appropriation published by Quebec Native Women

– Communiqués from Indigenous Nations of Quebec on sacred ceremonies