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

When cultural appropriation becomes spiritual violence

For years, non-Indigenous individuals have been using sacred elements from Indigenous cultures for their own gain, claiming to have been "chosen" or "called" by spirits they do not understand. This appropriation of spiritual symbols, songs, drums, or traditional clothing 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 , composed primarily 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 performance. It's usurpation .

Under the guise of "unity" and "healing," Tambour Uni-Son reproduces a colonial dynamic: that of appropriating what does not belong to us, and then exploiting it. The drum is not simply 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 object meant to be given or received in a dream, and not made for commercial purposes.

Such workshops, often led by non-indigenous people, are perceived as a form of "fast-food culture," emptying spiritual practices of their profound meaning and hindering the efforts of indigenous peoples to reclaim their culture.

Isabelle Falardeau: an unfounded claim to identity

Isabelle Falardeau, known as "La Métisse" or "Kun-Nipiu Falardeau," is a Quebec author who has published several works on the Indigenous uses of medicinal plants in Quebec. Although she identifies as Métis, available information does not specify her membership in 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 entirety.

For over a year, she has been presenting her lecture, "Cultural Appreciation: To Better Appreciate Without Appropriating," throughout Quebec. She emphasizes the importance of consent, stressing that even actions motivated by love can be harmful if they disregard cultural boundaries. She also warns against the feeling of entitlement, which she describes as the "I have the right" syndrome.

Catherine Boivin clarifies that she speaks as an Indigenous person living in Quebec and that her remarks are rooted in the history and realities of Indigenous communities. She points out that, in Canada, Indigenous peoples are in the process of reclaiming their culture, that 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 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 followed Catherine Boivin's public denunciation of the self-identification and commercialization of Indigenous knowledge, particularly by non-Indigenous people appropriating cultural elements without legitimacy. The lawsuit aims to silence an Indigenous voice defending the integrity of Indigenous knowledge and identities. In response, a solidarity movement formed under the hashtag #JeSuisCatherine, expressing widespread support for Catherine Boivin and her fight against cultural appropriation.

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

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

This is not spirituality: it is appropriation

It is crucial to distinguish between genuine support for Indigenous cultures and an attempt to gain personal, emotional, or financial advantage from them. To dress in feathers, make drums, sing "inspired" sounds, and lead talking circles while claiming to embody Indigenous wisdom is a lie. It is to usurp the place of those who have always fought to keep alive a spirituality that colonialism attempted 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 someone feels a "spiritual" calling does not give them the right to claim sacred symbols from a culture they have never experienced firsthand.

Genuine admiration, however, comes through respect, listening, and alliance. This means giving a voice to elders, compensating Indigenous artists, supporting legitimate bearers of knowledge, and above all, recognizing that some things do not belong to us and never will.

What you can do

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

• Don't be seduced by the mystical rhetoric of people who invent an indigenous spiritual identity for themselves.

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

• Learn to distinguish between a genuine approach… and an opportunistic exploitation.

Sources and references

– Performances and public statements by Catherine Boivin

– Testimonies from Atikamekw elders on the transmission of the drum

– Research on cultural appropriation published by Native Women of Quebec

– Statements from the Indigenous Nations of Quebec on sacred ceremonies