Purpose and Problem

In Canada, Indigenous arts activism has emerged in response to the systematic suppression of traditional Indigenous practices, the silencing of Indigenous perspectives, and the enduring ramifications of colonization, including forced assimilation and land dispossession. The implementation of oppressive policies and measures has disrupted the transmission of intergenerational knowledge and hindered Indigenous Nations' way of living. Accordingly, the communal and participatory nature of Indigenous arts serves as a powerful mechanism for reclaiming autonomy and creating spaces for healing, enabling Indigenous peoples to reconnect with their cultural identities. These initiatives aim to transcend the mere preservation of Indigenous culture by utilizing a variety of artistic mediums to strengthen relationality and foster mutual understanding. Community engagement through Indigenous arts highlights the importance of collaboration and inclusivity in promoting equity and knowledge sharing (Laurila & Willingham, 2017). Ultimately, such participatory efforts strive to reclaim agency and foster empowerment while addressing the broader systemic injustices that continue to affect Indigenous communities.

Historical Context

The emergence of Indigenous arts activism in Canada is situated within a broader legacy of colonialism, cultural oppression, and systemic marginalization. Colonial practices such as the imposition of residential schools and the Indian Act have disrupted the transmission of Indigenous knowledge, dispossessed Nations of their lands, and fractured communal relationships (Martin et al., 2016). The cumulative effects of these colonial actions established settler colonialism not as a singular historical event, but as an enduring structure—one that continues to diminish Indigenous presence while reinforcing settler futurity (Tuck & Yang, 2012). Within this context, the arts have become a powerful means for Indigenous communities to resist erasure, reclaim cultural identity, and reassert their presence in their own terms.

Indigenous artistic practices have long extended beyond aesthetic expression, functioning as vital modes of storytelling and relational continuity, and have consequently faced contestation. Colonial strategies deliberately targeted traditional art forms such as drumming, singing, dancing, and regalia to dismantle Indigenous identity (Martin et al., 2016). Although Canada has made attempts at reconciliation—such as the 2008 federal apology and the Truth and Reconciliation Commission (TRC)—these efforts largely acknowledge past injustices through symbolic gestures, while often avoiding deeper issues like ongoing colonial systems, land restitution, and meaningful structural change (Tuck & Yang, 2012; Martin et al., 2016). Consequently, Indigenous artists increasingly engage in art activism as a parallel pursuit of justice, reasserting their presence, sovereignty, and epistemologies, while addressing the embodied consequences of colonialism.

Methodology: Participatory Arts within Indigenous Artivism

The arts are a universal language of expression, a vessel through which identity, memory, and meaning transcend generations and geographies. In Indigenous communities, the arts operate as a mode for storytelling, serving as a tool for the sustained transmission of knowledge systems embedded in ethical responsibility and collective action (Simpson, 2011). Media such as music, dance, and material art forms act as living records, preserving and transmitting teachings that uphold Indigenous worldviews. These practices become particularly powerful in the face of settler colonialism, where artistic expression often serves as an embodied form of resurgence. Hence, artistic activism—or “artivism”—has emerged as a prominent strategy among Indigenous creators to mobilize resistance and sustain cultural continuity (Belarde-Lewis, 2021). Through visual and performative practices, artists challenge dominant narratives, reclaim space, and engage with communities as part of broader efforts toward self-determination.

Participatory arts activities have increasingly gained recognition for their unique interactive ability to transcend barriers, making them powerful tools for community healing and cultural resurgence. By closing the gap between artist and audience, this approach emphasizes sustained cooperation, reciprocity, and relational responsibility. Their universal nature enables the co-creation of meaning and the sharing of embodied knowledge through artistic expression (Conrad & Sinner, 2015).

Within Indigenous artivism, participatory arts are a core methodology which fosters shared ownership in the creative process, providing a platform for individuals to engage in decision-making and collaborate on artistic creation. This method facilitates reflexive dialogue, encouraging active involvement with political, cultural, and historical issues, thereby driving social change. The following key principles underscore the influence, outcomes, and effects of participatory arts:

1. Political Capacity Building: Creating art facilitates social cohesion and confidence, thus increasing political engagement and promoting democratic literacy, which can support informal political participation (Gakhal et al., 2021).
2. Bridge Building: Participation in artistic practices connects diverse social networks, fostering collaboration on shared social issues and encouraging broader community dialogue (Gakhal et al., 2021).
3. Collective Efficacy: Interactions within can empower communities by strengthening communication skills, affirming social identity, and encouraging political engagement (Gakhal et al., 2021).
4. Reclamation of Public Space: Art in public spaces repurposes underused areas, making them more accessible, visible, and flexible while fostering community ownership and agency (Gakhal et al., 2021).

The use of participatory techniques in Indigenous artivism has further been informed by a need to reclaim their voice and decision-making power from institutions that have historically excluded Indigenous peoples. Whether in music, dance, or visual art, the aesthetic choices in Indigenous artivism are deeply political, allowing for multiple voices to disrupt prevailing narratives. These acts are not mere symbols but ongoing interventions that shift how others engage with justice and reconciliation.

Within this narrative, Indigenous artivism builds upon longstanding traditions of resistance and community-based innovation. While participatory art practices have long existed within Indigenous contexts, recent initiatives represent a renewed and deliberate fusion of art, education, and decolonial pedagogy. Participatory arts-based methods enable meaningful engagement with localized histories, relationships to land, and intergenerational trauma, offering transformative possibilities for both participants and facilitators (Conrad & Sinner, 2015). Therefore, the use of participatory processes in Indigenous artivism is neither incidental nor purely therapeutic—it is a purposeful reclamation of Indigenous ways of knowing and relating. These practices prioritize the collective, the ceremonial, and the dialogic as key strategies for cultural resurgence and political engagement. In doing so, they set the stage for the kind of community-led initiatives exemplified by Veronica Johnny’s work.

Introducing Veronica Johnny and IndigenEd

This case study focuses on the initiatives of Veronica Johnny, a multi-disciplinary Indigi-Queer artist of Cree/Dene/mixed heritage from the Athabasca Chipewyan First Nation. As the founder of IndigenEd, Johnny integrates traditional Indigenous knowledge with modern educational practices, offering workshops and resources that support both Indigenous and non-Indigenous communities (IndigenEd, 2022). Her platform highlights the intersection of arts, education, and activism by promoting cultural sustainability, Indigenous language revitalization, and nurturing supportive relationships. As such, Johnny illustrates how music and art can serve as transformative tools for social change, creating spaces for healing, identity building, and dialogue in Indigenous communities across Canada.

Insights from an interview with Johnny, along with observations from one of her hand-drumming workshops, guide this case study and are complemented by scholarly literature that helps frame and deepen the analysis. Altogether, findings reveal how her work preserves traditional knowledge while also engaging with ongoing issues of equity and reconciliation.

In the interview, Johnny noted that while she does not explicitly identify as an activist, she views her work as a quiet yet purposeful effort to support others in sharing meaningful messages, often grounded in her own lived experiences (Tong & Johnny, 2025). Her musical journey began with the guitar and gradually expanded as she was gifted three traditional Indigenous drums, each carrying significant cultural and spiritual meaning. Mentorship and relational learning have played a central role in shaping her creative and educational approach, reflecting the personal and community-oriented values that guide her practice (Tong & Johnny, 2025).

This foundation of the arts, relationality, and subtle advocacy laid the groundwork for Johnny’s creation of IndigenEd. The initiative brings together her commitments to education and the arts, offering a platform to share Indigenous knowledge systems in ways that are both accessible and empowering.

Key Stakeholders, Support Structures, and Funding Sources

The initiatives led by Veronica Johnny through IndigenEd reflect a collaborative effort involving local groups, educators, and government support. The Ontario Arts Council, an agency of the Government of Ontario, has provided essential funding for Johnny's workshops and educational programs (veronicajohnnymusic, 2023). These contributions demonstrate the tangible ways in which public institutions can advance reconciliation by investing in arts-based activities that centre on Indigenous voices and knowledge systems.

In addition to receiving external funding and organizational support, Johnny’s initiatives are grounded in local engagement and strengthened through partnerships with various collaborators, including local institutions like the Art Gallery of Ontario (Tong & Johnny, 2025). Indigenous participants play a central role in shaping programs that address mental health, self-esteem, and cultural identity (IndigenEd, 2022). Even more so, Johnny emphasized that while collaboration is imperative, it must never come at the cost of authenticity: “You have to honour your truth and ensure the work remains genuine” (Tong & Johnny, 2025). Her leadership—supported by these alliances—continues to broaden the reach and impact of Indigenous-led arts and education.

Mobilization Strategies and Participant Engagement

Veronica Johnny’s initiatives, encompassing various workshops such as Indigenous hand drumming, eco-art intuitive sessions, and storytelling, utilize targeted recruitment to engage with a range of demographics (IndigenEd, 2022). These workshops are designed to foster cultural connection, facilitate healing, and encourage creative expression. Recruitment is predominantly dependent on local networks, word of mouth, outreach through social media platforms, and collaborations with educational institutions and community organizations (Tong & Johnny, 2025). This network-oriented strategy facilitates involvement from individuals who are most likely to gain from the programs.

While workshops are open to the general public, they prioritize Indigenous participants to promote cultural sustainability and healing within these communities. Organizers emphasize the establishment of inclusive, secure environments that facilitate profound engagement with artistic expressions and their underlying values (Tong & Johnny, 2025). Although no standardized sampling techniques are employed, the recruitment process emphasizes authenticity and cultural relevance. Participants are sometimes provided with resources—such as a sheet with song lyrics or rhythmic patterns—that can offer long-term educational and emotional support beyond the session itself (IndigenEd, 2022). These efforts underscore the importance of community-driven recruitment in ensuring more attuned engagement and participation.

Approaches and Tools

IndigenEd employs two notable participative techniques: decolonial art-based engagement and community healing practices. Veronica Johnny facilitates activities that use artistic expression as both a method of cultural reclamation and a process of collective healing (Tong & Johnny, 2025). These approaches deliberately emphasize Indigenous perspectives, relational values, and intergenerational knowledge sharing. By grounding her work in decolonial educational pursuits, Johnny stresses the need to restore practices that were once suppressed by colonial systems, including traditional hand drumming, storytelling, and land-based teachings.

Likewise, community healing practices are central to Johnny’s workshops, which draw on a range of participatory tools and techniques grounded in Indigenous knowledge systems. Artistic disciplines such as music, visual arts, storytelling, and land-based practices are utilized to facilitate intuitive expression and promote holistic well-being (IndigenEd, 2022). These practices reflect an understanding of the interconnectedness of ones physical, mental, emotional, and spiritual dimensions —a perspective rooted in many Indigenous worldviews (Laurila & Willingham). Through rhythm, voice, creative making, and land engagement, participants engage in reflective and communal processes. These interactive approaches foster dialogue, shared learning, and skill development, serving as catalysts for cultural resurgence and community empowerment (Tong & Johnny, 2025). In all, the workshops demonstrate how diverse artistic forms can nurture inclusive, healing-centred spaces that honour Indigenous ways of knowing and being.

What Went On: Process, Interaction, and Participation

Veronica Johnny’s IndigenEd initiatives create inclusive spaces grounded in participatory, community-driven engagement, involving people from diverse backgrounds, with a particular focus on Indigenous youth, women, and local community members. Public participation guides every stage of the workshops—from design and facilitation to interaction and reflection. Participants do not act as passive recipients but as co-creators in experiences that foster mutual respect, trust, and cultural exchange.

Furthermore, the approaches and tools previously outlined—decolonial art-based engagement and community healing practices—operate across diverse settings, from art galleries to academic institutions (IndigenEd, 2022). Whether through drumming, storytelling, eco-art, or singing, each session incorporates Indigenous voices and knowledge systems. The techniques invite participants to draw from their own lived experiences, cultural identities, and personal narratives. Instead of relying solely on pre-scripted content, sessions follow a fluid framework that adapts to the unique dynamics and energy of each group. Moreover, program delivery aligns with an accessible ethos, with some sessions run virtually, while others take place in-person within community spaces and natural environments (IndigenEd, 2022). This approach reflects the values of relationality and reciprocity central to Indigenous practices.

An emphasis on responsiveness—adapting to participants’ input—shapes how they engage and helps sustain a strong, collaborative structure. Johnny points to cultivating “Water Warriors”—a term she uses to describe encouraging movement, flow, and the spreading of strength and healing (Tong & Johnny, 2025). In keeping with this method, participation remains voluntary, allowing individuals to engage at their own pace and creating a space that is safe, culturally grounded, and affirming. As both an artist and facilitator, Johnny shares her understanding of supportive environments through her own lived experiences. Attending residential school, entering motherhood, and embracing music shape her inspiration to create healing spaces and art for herself and others, reflecting a broader commitment to collective well-being and cultural connection (Richard & Johnny, 2024). Her willingness to be vulnerable in these settings is not only a source of strength but also an offering—one that helps foster trust and encourages others to show up authentically. By being mindful of each group’s needs in her facilitation, she encourages participants to contribute in meaningful and lasting ways.

Influence, Outcomes, and Effects

The impact of the IndigenEd workshops extends well beyond the sessions themselves, fostering lasting effects on participants and their broader communities. Rather than being formally evaluated or quantified, the outcomes continually unfold, manifesting in renewed confidence, creative expression, and a strengthened cultural connection. Johnny recalled her time facilitating a workshop with an Indigenous youth group at the Friendship Centre, where many participants had experienced profound hardship and grief. Through collaborative artmaking, including the creation of a song titled "In The Light", she witnessed firsthand the healing power of the arts in helping youth process their emotions and find strength in shared experiences (Tong & Johnny, 2025). Many participants were also gifted with the skills of drumming, art-making, or storytelling, which they could incorporate into their personal routines. As Johnny stressed, these initiatives often begin with micro-level change, gradually generating broader ripple effects at the community level (Tong & Johnny, 2025). Such outcomes illustrate how participatory arts can prompt enduring engagement and healing, even in the absence of formal structures or directives.

Importantly, these initiatives reinforced the goals of cultural continuity and intergenerational healing. The emphasis on reclaiming suppressed traditions contributed to a broader cultural resurgence that affirmed Indigenous identity and sovereignty. Participants were active agents in shaping and sharing their experiences, making each workshop both a site of individual growth and collective transformation.

By prioritizing community success, these initiatives challenge conventional metrics of impact. They do not aim for resolution through conformity, but rather honour ongoing processes of reconnection, empowerment, and self-expression.

Analysis and Takeaways

Veronica Johnny’s IndigenEd initiatives offer a notable example of how participatory, arts-based practices can function as both a cultural intervention and a tool for healing. Several key elements contributed to the effectiveness of these initiatives: grounding in Indigenous epistemologies, an adaptive and inclusive workshop structure, and facilitation by individuals with lived experience. Together, these elements created safe, culturally affirming spaces where participants could engage meaningfully with their identities, histories, and one another.

One of the most successful aspects of Johnny’s approach was the emphasis on community-led facilitation rooted in personal experience. Johnny exemplifies resilience and authenticity in her work, which helps to foster a trusting and respectful environment. Participants were invited to share personal stories, express themselves intuitively, and reconnect with cultural practices—an approach that aligns with findings in Creating Together, which shows that participatory processes grounded in lived experience are often more conducive to meaningful impact and contextual relevance (Conrad & Sinner, 2015). The informal nature of the workshops was also a core asset, as it allowed each session to adapt to the unique needs, energy, and contributions of participants.

Although formal evaluations were not the primary goal, anecdotal evidence and public testimonials suggest that there are increased levels of engagement and personal impact. Participants reported feeling more connected to their culture, more confident in expressing themselves, and more capable of applying creative and wellness-based practices in their everyday lives (Tong & Johnny, 2025). These outcomes showcase the long-term potential of participatory arts to support mental health, community connection, and identity restoration, particularly in response to intergenerational trauma resulting from colonial practices (Robinson & Martin, 2016).

However, distinct challenges remain. The informal, decentralized structure of the workshops—while vital for accessibility and adaptability—can hinder institutional recognition and broader integration. Accordingly, efforts like Johnny’s risk being minimized within settler-state reconciliation narratives, rather than addressing the deeper structural conditions they respond to (Robinson & Martin, 2016). Integrating these approaches into larger frameworks requires careful attention to avoid undermining core Indigenous values, such as ethical approaches, community voice, and non-hierarchical knowledge sharing.

Beyond structural concerns, practical limitations also affect long-term sustainability. Although the workshops have a strong local impact, their reach is constrained by funding, facilitator availability, and logistical barriers, especially when trying to engage remote or marginalized communities. Sustaining this work over time requires more than one-time investments; it depends on continued relational commitment and institutional support that respects the grassroots nature of these practices (Conrad & Sinner, 2015). Ensuring that future programming is resourced holistically—financially, emotionally, and culturally—is essential.

Looking ahead, the significance of intergenerational learning and leadership emerges as a crucial insight within participatory arts spaces. Johnny’s experience as a mother, artist, and educator enables her to connect meaningfully with diverse participants, demonstrating how personal experience can enhance the reach of intergenerational models. When others draw on their own lived experiences in similar ways, they too can help expand and strengthen this model. Incorporating youth-led or peer-facilitated components may further deepen participant ownership and support capacity-building within Indigenous communities. Even more so, forming strategic partnerships with schools, health centers, or cultural organizations can increase visibility and legitimacy.

Conclusion

Veronica Johnny’s initiatives through IndigenEd illustrate how artivism—when rooted in Indigenous knowledge systems and guided by principles of mutual respect, inclusivity, and cultural relevance—can foster deeply participatory and transformative forms of engagement. The universal and flexible nature of artistic media allows for a plurality of participatory strategies, accommodating diverse identities, abilities, and lived experiences. These workshops show that under conditions of cultural safety, relational facilitation, and community ownership, participants do not merely attend—they co-create, reclaim, and lead. Through storytelling, drumming, singing, and collective artmaking, participants become contributors to cultural resurgence and personal healing.

This case offers a critical contribution to discussions on participation in development by challenging top-down, institutional models and instead emphasizing the impact of grassroots, embodied, and relational approaches. Participation in this context is not simply a fixed or measurable outcome; it is an ongoing process shaped by shared creativity and lived experience, continuously redefining what inclusive, community-centred development can be. Johnny’s participatory model demonstrates that art is not only a form of expression but a powerful practice of resistance, remembrance, and renewal. While continued structural support and mechanisms for broader integration are needed, the strength of this model lies in its adaptability, cultural grounding, and commitment to relational ethics. It offers a compelling vision of Indigenous artivism—where community and creativity operate in tandem, and participation functions as a respectful means of advancing collective empowerment and cultural resurgence.

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veronicajohnnymusic. (2023). Veronica Johnny on Instagram: “we would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario. @veronicajohnnymusic #indigenousartssupport @ontarioartscouncil.” Instagram. https://www.instagram.com/veronicajohnnymusic/p/CqHFpnStldI/