Ursula Johnson

Scalping is a practice that dates back to the founding of Halifax and the 1756 Scalping Proclamation has remained in legislation despite a public apology by the Nova Scotia Government in 2000.

For the performance Johnson wore a headpiece made from traditional Mi’kmaq basket weaving techniques, covering her eyes and trailing down her back like hair.

She began the performance by being led through downtown Halifax by a guide and a group doing parkour who embodied the idea of energy flowing through the surroundings.

At 9 pm the performance culminated on the steps of the Grand Parade (Halifax).

Johnson then invited a member of the audience to remove her headpiece and symbolically scalp her.

Ursula Johnson (born 1980) is a multidisciplinary Mi’kmaq artist based in Halifax, Nova Scotia, Canada.

Her work combines the Mi’kmaq tradition of basket weaving with sculpture, installation, and performance art.

In all its manifestations her work operates as didactic intervention, seeking to both confront and educate her viewers about issues of identity, colonial history, tradition, and cultural practice.

Ursula A. Johnson was born in Sydney, Nova Scotia, in 1980.

She was raised in Eskasoni First Nation, Cape Breton, which lays claim to be the largest Mi’kmaq community in the world.

She was taught basket weaving by her great-grandmother, renowned artist Caroline Gould.

Johnson pursued a secondary education, first enrolling in the Theatre Arts Program at the University of Cape Breton (1998-2000) in nearby Sydney, NS.

She then moved to Halifax in 2002 to attend NSCAD University, earning an interdisciplinary BFA degree in 2006.

Johnson then became the first Artist-in-residence at Cape Breton University.

Many of Johnson's exhibitions and performances include basket weaving, emphasizing traditional Mi’kmaq techniques and forms.

Johnson's work in basket weaving draws attention to the way in which baskets have traditionally been placed in anthropological and historical exhibits instead of being celebrated as a continuing indigenous cultural practice.

Her work blurs the line between baskets as artifacts, commodities, and art objects.

In her 2006 piece for Nations in a Circle in Halifax Johnson wove a basket around herself, employing the traditional methods for the first time since her move off the reserve in an exploration of her self-defined identity as an Urban Aboriginal artist engaged with traditional Mi’kmaq cultural production and traditions.

As part of her residency at Cape Breton University, Johnson developed and taught a course called “The Role of the Mi’kmaw Basket in Contemporary Fine Craft”.

Johnson has also taught basket weaving through NSCAD's extended studies department.

The panel, a “side event of the Eighth Session of the United Nations Permanent Forum on Indigenous Issues”, featured representatives of various Indigenous Youth Organizations brought together to discuss the engagement of indigenous youth with “the global community in a digital age” Johnson took part as the Director of Kitpu Youth Centre, located at the Mi’kmaw Native Friendship Centre, Halifax, NS, from April 2006 to May 2009.

On May 22, 2009, Johnson participated in the UNICEF sponsored panel “Taking Advocacy Digital: Emerging Online Indigenous Networks”, in New York, USA.

For the 2010, Nocturne Festival and the Prismatic Festival Johnson created a performance piece called Elmiet, a Mi’kmaq verb meaning “to go home”, drawing attention to the history of scalping in Nova Scotia.

Johnson declared the performance the last scalping in Nova Scotia.

Several of her experimental basket works were shown in O’pltek (It's Not Right), a solo show at the Thunder Bay Art Gallery in 2011.

Johnson organized a 30-year retrospective of Caroline Gould's work Kloqowej (Star) at the Mary E. Black gallery before Gould's death in 2011.

Johnson has produced multiple projects for multiple iterations of Nocturne: Art at Night, an annual free art festival in Halifax, Nova Scotia that takes place between 6pm and midnight:

For Nocturne 2013, Johnson collaborated with Soto Pow Wow dancer, Bert Milberg, to create a response to the 2012 No Doubt music video for Looking Hot.

For the performance Milberg danced from 6pm to midnight in the storefront window of a luxury shop on Spring Garden road.

He danced in full regalia to Looking Hot on a loop, intermittently stopping to sit and pose as viewers took pictures and video.

The piece was a response to the appropriation and commodification of indigenous cultures and identity.

On January 25, 2014, as part of the Ideal Law Conference hosted by the Social Activist Law Student Association of Dalhousie University, Ursula Johnson performed a durational song as a form of social resistance, joined by a Mi’kmaq elder.

For the performance Johnson called “IKATK” (“She Protects”) the two women extended invitations for audience members to join in their performance or to stand in solidarity with them.

The protest lasted four hours, from 9 am to 1 pm, and was held at the Schulich School of Law in Halifax, Nova Scotia.

In 2017, she won the Sobey Art Award.

For Nocturne 2018 (curated by Raven Davis), Johnson and partner, Angella Parsons performed as Kinuk (their performance duo).

Throughout the event, they performed three durational and mobile performances across Halifax and Dartmouth.

Speaking to each other in their first languages, Johnson in Mi'kmaw and Parsons in English, the conversations engaged with themes of vulnerability, intimacy, and more immediately, their surroundings.