On entering the grounds of Casino Rama, the first thing you=re impressed by is that the building is literally covered in aboriginal art. From footings to roof-top, the walls of Casino Rama are alive with original designs, all of which were created by Mnjikaning First Nation artists to conform to a single theme which becomes evident as you tour the building.

In no other artifact of the people is the colourful background and proud history of the Chippewas of Mnjikaning First Nation more apparent than in this Art Wall. Its development began with a request from the casino architect, Raymond Moriyama of Moriyama and Teshima Architects. Moriyama was looking for help making something beautiful out of what resembles nothing so much as a giant mall. So, a visioning process was established, where Mnjikaning community members were asked to name values to be incorporated into this artistic project.

Many suggestions were made. Chief among these were the gifts of the Creator to the Anishinabe people (honesty, strength, sharing, kindness) and the nation=s seven clans along with its traditional values. Suggestions also included scenes from the Anishinabe migration which led to the settling of Rama Township along with images of people who figured in the history of Mnjikaning First Nation.

When the Elders of the Mnjikaning First Nation were consulted, they spoke of the past, as Athe time when we were magnificent.@ This is a reference to that not-so-distant era when the Mnjikaning people inhabited lands between Lakes Couchiching and Simcoe at what is now known as the Atherley Narrows and were the protectors of the more than 5,000 year-old fish weirs in the waters there. So, some of the Elders requested the artists make some attempt to portray village life at the Narrows.

The Artists

The ten artists - all members of the Mnjikaning community - chosen to bring this project to life found the challenge of respecting the community=s vision extremely difficult at first. Eventually, after they called for the vision and assistance of Anishinabe Elder Jim Dumont, a theme arose.

Mel Benson, chosen by the Mnjikaning community to be the male lead of the Art Wall team (later to be known as the Mnjikaning Art Studio), says the creative process ended up as a healing process for all of the members of the team. The ten different artists (including co-female leads Theresa Desormeaux and Marie St. Germain, Tim Stinson, Chris Valliere, Raymond Sharpe, the late Faron Snache, Sandy C. Benson, Brent Noganosh, and Duane Sharpe) began with very different ideas on how to proceed. Conflict seemed inevitable.

What pulled them all together says Mel, the elder of the Benson brothers who were part of this team, was the inspiration from the visioning process established by Elder Dumont to make wampum belts a key feature of the wall. As you glance at the Art Wall, you=ll see these wampum tie all of the divergent pieces of art together. Within these belts, all of the competing visions of the artists are given a unity they would never have had alone.

The belts, or wampum, depict the seven clans of the Anishinabe people. Taken together, the murals represent a wampum of faith by the Mnjikaning community, faith in Anishinabe culture, faith in all First Nations and faith in a better, healthier and more balanced future for all people in Canada. As such, the murals represent the journey back to magnificence by First Nations people.

A Tour of the Art Wall

In touring the art wall, a visitor is asked to start in the lobbyof the casino. There, two murals representing the sun and the moon, face off against each other across the waterfall which is the centre piece of the lobby. This, we are told, is life in balance. The sun, which in the Anishinabe Creation Story, was the first act of creation and the Grandfather of the Anishinabe, was also the first protector of the people. The moon, Grandmother of the people, is also a protector whose special province is women and small children. Thus in the lobby life is reflected to be in balance: darkness with daylight, male with female.

From here, the tour goes outside. Beginning at the front of the building - at its far left - and travelling clockwise, the art runs through each of the seven Anishinabe clans. What makes each section uniquely Mnjikaning is that, in each clan section, members of Mnjikaning=s past and present are given prominence.

The first clan featured is the bird clan. This section of the wall is recognizable because Mishomis Migizi (Grandfather Eagle) presides over flights of other Eagles, blue jays and geese. Among the Anishinabe, Bird Clan members are the sowers of seeds, the planters and cultivators of the community. Of all of the Clans, the Birds are figured to be the most spiritual because the Chief of the Clan - the Eagle - flies the highest and acts as the link between the Anishinabe and the Creator.

Next, at the doors of Casino Rama, comes the Hoof or Deer Clan. These clan members are most noted for their capacity to live in peace with creation. Because of the importance of these beautiful creatures to the survival of the Anishinabe, the people attribute to them the inspiration to create harmony through music, dance and voice.

Like its Clan animals, the Hoof Clan are said to possess the gifts of beauty, grace and rhythm. These are the artists of the people. And, because the Chippewas of Mnjikaning were known as the Deer Tribe to other members of the Anishinabek, this Clan Belt has been placed at the front entrance of Casino Rama as a way of welcome from the people of the community.

Travelling south along the front (or west) face of the casino, the next clan to come into focus is the Marten Clan. This belt features two huge martens flanking a centre piece made up of weapons mingled with olive branches. While all First Nation people traditionally help each other out, the Anishinabe say the Marten Clan, with its love of family, community and territory, was the first to historically offer help, even if that meant defending against an attack. For this reason, the Marten Clan is the warrior society of the Ojibway. The paintings on this section of the wall show scenes of veterans from the Mnjikaning First Nation who went away to war.

Next on the tour, beginning on the north face of Casino Rama, are the leadership clans of the Anishinabe. Of these, the Crane Clan is traditionally mentioned first and is featured first on the Art Wall. Anishinabe oral history says that when the Crane speaks, he can be heard from all over because of his ability to fly so high. The Crane is also often outside the boundaries of the community. So, among the leaders, the Crane is given responsibility for Aforeign affairs.@

On this section of the Wall, Mnjikaning=s George W. St. Germain is given prominance not only as the first visionary to favour the Casino Rama project, but because of his long days of travelling while gathering information on Casinos from other communities. Another portrait featured here is an homage to Chief Yellowhead, a powerful medicine man who led the Mnjikaning people to Rama.

Continuing in a clockwise direction, the Loon Clan is featured next, representing another facet of community leadership. Just as the Crane is known for its high flying, the Loon is known for the distinctiveness of its voice. When the Loon calls, everyone turns to listen. Because his territory includes the land, the air and the water, he has a varied knowledge of his local environment and is given the responsibility for successfully bringing order to the community. This section of the wall features a portrait of Mnjikaning honourary Chief Big Wind and a stylized view of two loons in the sunrise.

The first clan featured on the east face of the casino is the Fish Clan. The Fish is unique among the traditional Anishinabe leadership clans because it was chosen to mediate between the Cranes and Loons in case of conflict. In the organization of the Clans, it is said that the Fish think so deeply they know how everything is tied together and, so, are often called on to show how the ideas of the Loon and Crane can fit together and complement each other. Appropriately, all of the artists pitched in together to complete the various fish which distinguish this section of the Wall.

Finishing off the east face of Casino Rama is the Bear Clan. The gifts of this clan are considered to be natural strength, stature and a dignified presence. But, what he is noted for is the ability to live in balance with the laws of nature. The Bear=s understanding of land and nature, then, makes this the healer clan of the community. But more than this, because of his constant patrolling to find healing plants, the Bear is understood in these modern days to be in charge of the role of policing the community as well. As you view this section of the wall, you will see the artists have chosen to honour those who have kept the peace of the community while wearing the uniform of the police.

The 37,000 square foot Art Wall is a great source of pride to the people of Mnjikaning. It has served to bring the life, history, culture and spirituality of the people together in a way that can be shared with the world. So many of these creative individuals owe a debt to one of the leading North American First Nations artists who blazed the trail they now follow - Arthur Shilling. His studio is still in Mnjikaning as a symbol of the beauty of his people.

A gracious Gchi Miigwech to the Mnjikaning Art Studio and the Art Wall brochure, files from Elder and Art Studio advisor Merle Assance Beedie.