Caroline Monnet is an Anishinaabe French artist from Quebec, who combines sculpture, painting, garment development, and fashion, with dance, music, and film.
She is a multidisciplinary artist whose person and work reflect her rich ancestral heritage, one rooted on the one hand in her indigenous background and on the other hand in her connection to France and French culture. I would first come into contact with her world through her 10 short films when I attended an event entitled “Rendez-vous Québec – La Face de la diversité” at the Metropolis Kino in Hamburg, Germany on the evening of January 29th.
That same evening, I was fortunate enough to be allowed to conduct interviews with the filmmaker Caroline Monnet herself, as well as with the moderator of the evening, David Kleingers from the DFF, the Deutsches Filminstitut und Filmmuseum in Frankfurt am Main. Both interviews can be seen and listened to in full on my website cultureum.com.
It is difficult to describe Caroline Monnet’s films or to make some quick, general statement about them. In fact, I found myself unable to formulate poignant questions about her films during my interview. By watching Caroline Monnet’s short films once, I gained very brief and very intense impressions that I needed to first digest over the next several weeks.[1] Her films almost require 2 or 3 viewings to give them the respect that they merit and to reach the depth of interpretation and understanding that they deserve.
I will touch on each of the films at the end of this article and provide you with a quick summary and a few insights and comments about them from Caroline Monnet. To do these short films justice and to delve into them and analyze them, though, I would honestly need to see them again and again, and then speak with the artist in a more detailed and intimate chat. But perhaps this too shall one day take place. I certainly hope so.
What I can share with you in this article are the many thoughts that were fueled by this evening and some of my reflections on the societal issues and struggles discussed.
With these blog articles that I write, I aim to intellectually challenge both myself and you and to introduce you to many perspectives on performing and visual arts, and on sociocultural matters in general. I shy away from the strictly academic and see these pieces as attempts to initiate dialogue and further exploration.
With this in mind, here are the thoughts and questions I took with me from this event.
Caroline Monnet explained how the Anishinaabe and other indigenous communities believe that we should pay homage to seven ancestral generations before us, but live in a way that we can serve as examples for the seven generations to come. This emphasis on the continuity of our existence and the long-term impact of how we live and what we stand for during our lifetime is something that I believe is sadly missing from many aspects of our modern societies.
Caroline Monnet places great importance on her ancestral heritage, on revisiting the past, and on paying respect to all members of her family and community. Her art work and her films center around indigenous cultural expression through traditional garments, adornment, dances, ceremonies, and every-day events.
This resonated with me on a personal level, and I had to think about what parts of my identity are still closely linked with my Hungarian ancestry. In addition to maintaining the language and culinary traditions, the burial grounds of my grandparents still closely connect me spiritually and physically to Transylvania, which is where my parents are originally and generationally from.
Even though my parents have been living in the United States for over 40 years now, the burial grounds of our ancestors continue to receive significant attention and respect. For example, I felt the need to take my husband to my grandmother’s grave before I agreed to marry him. My mother, becoming aware of her increasing weakness, made one last trip to her mother’s grave in Kolozsvár (Cluj in Romanian). A large portion of my parents’ will and testament is dedicated to how these burial plots should be passed on to me, and to how I am to preserve them for generations to come.
While watching Caroline Monnet’s short films, I had to wonder where this sentiment and respect for ancestry and heritage can be found in modern societal life, and whether it is displaced, if not completely lost in our fast-paced, digitalized, outsourced, and individualist world. And I was thankful for the reminder of how important it is for us to value it and pay attention.
Caroline Monnet’s identification with and allegiance to First Nations communities is in some ways a manifestation of our need to belong to something other than just the concept of the nation-state. Societally, we have been seeking out groups that we can identify with beyond our national affiliation, and the concept of nationality has become more complex and often needs to include countries of origin, passport countries or countries of citizenship, heart homes, etc.
Inuit, Métis, and Indigenous communities in Canada have preferred to identify as First Nations since the early 1970s. This term was officially adopted by the Canadian government in the 1980s.[2] The driving force behind Caroline Monnet’s work is the recognition, advancement, and protection of her Anishinaabe community and of First Nations communities in general.
With everything she does, Caroline Monnet tries to raise public awareness for all matters concerning First Nations communities worldwide. While she focuses on subjects and protagonists from her own community, her connection with this larger group of Indigenous peoples spreads from Quebec, Canada all the way to New Zealand, and encompasses the entire globe.
This had to make me think about the role of our national identity nowadays. In a recent class discussion on cultural vs. national identity, my students surprised me with a few of their statements. Many said that while their parents hang up flags from their countries of origin, they themselves would never do so. A few of them talked about their identification or lack thereof with the German flag. But one student shed even more light on the complexity of the question.
He was born in Turkey, grew up in France, and currently lives in Germany. When different scenarios were presented to him, he said the following: In case of a war, he would definitely fight for France, because it is the country that took his family in, gave him freedom, safety, and an education. On the other hand, Germany is the country that he most identifies with ideologically, and the country he hopes to make his own home in.
But, if given the chance to partake in the Olympics, he would however have to represent Turkey as an athlete, because his national and ancestral heritage would inspire him to do so. At the same time, he added that almost more importantly, the only two flags he would ever put up in his home are the LGBTQ flag and the Peace flag.[3]
At this point, I have to refer to “Emptying the Tank,” Caroline Monnet’s short film that features a young female boxer whose goal is to make her indigenous community proud. She fights in order to draw attention to the strength of her people and of the women in her community in particular. Her training and all fights always begin with a ritual that recognizes her ancestors, gives thanks to them, and asks them for guidance and support.
The imagery in the entire film is beautiful, as we see this young boxer train in the fields, symbolically run up a hill towards her victory, or box in a ring lit up with white lights and situated in the middle of a forest, where she appears to be dancing in nature. At the end, she also sings with an authentic, simple voice that echoes both the gentleness and vulnerability as well as the power and purity of her being and of her endeavors.
Some fear that the whole concept of nationality might be endangered by the voices of minority groups, or by things like dual citizenship, or regional or indigenous languages. But I think that we can cultivate a sense of national belonging to a passport country, where we pay taxes, abide by the laws and rules, contribute to the society at hand, and make a home for ourselves that we are proud of and find beauty in.
At the same time, we can still allow for another sense of belonging that has to do more with ancestry, spirituality, or identity. I realize that the discussion of these concepts and issues cannot be reduced to a few lines, and so my message is simply that I was touched by Caroline Monnet’s portrayal of ancestral belonging that went beyond Canadian citizenship or the fact of being from Quebec, and I liked the idea that a sense of nationality has to be organically cultivated alongside people’s spiritual, religious, and personal needs.
Cultural appropriation is another delicate topic that we have been trying to discuss societally and that Caroline Monnet and I also talked about in my interview with her.
Most people have a sense of what is meant with traditional indigenous apparel and personal adornment. But I think few people actually know the cultural and spiritual significance of certain garments, jewelry, tattooing, etc. I was, for example, surprised to find out what great symbolic meaning headdresses carried. I am quite embarrassed to admit this, but as you know from my previous articles and interviews, I always own up to my shortcoming and mistakes. While I think ignorance should never be used as an excuse, it can be part of the explanation, which can then turn into a conversation, and perhaps lead to mutual understanding.
My conversation with Caroline Monnet about cultural appropriation brought up, as an example of what not to do, the wearing of a headdress by someone who did not earn it through acts of bravery throughout a lifetime and who is not a distinguished and respected leader of a certain community, or using it in a ceremonial setting. As such a symbol, I think it becomes obvious to anyone that an indigenous headdress or war bonnet cannot and should not be worn as a mere prop or accessory.
I had to think of an incident that happened in the summer of 1997, when I took a group of US-American exchange students to the flea market at Porte de Clignancourt in Paris. We were a large group of about 30 people, so we spread out all over the market. At some point, a fight broke out among one of the merchants and three of my female students, who, unaware of what they were actually purchasing, had bought hijabs, only to wrap them decoratively around their waists. The merchant was greatly offended that this Islamic symbol of modesty and faith was desecrated in front of his very eyes. The girls returned the hijabs and we left the market quite quickly.
The mistake on the part of the students was one of ignorance and not malicious intent. Nonetheless, the incident underlined and strengthened prejudices on both sides, I am sure. The students were frightened and saw the merchant’s behavior as a gros overreaction, even after a lengthy explanation from my part. Although I cannot be sure, I would guess that the merchant attributed all sorts of negative stereotypes of disrespect, as well as lack of information and caring to the young American students.
My conversation with Caroline Monnet and my ignorance of the great spiritual and symbolic significance of headdresses would weigh on me for several days, and I found myself searching for more examples of where misunderstanding, and unintentional disrespect might occur. One thing that kept coming to my mind was how difficult it was for my parents to go to church when they first moved to the US.
Church services in Romania in the 1970s and 80s were something that occurred in spite of the Communist regime and carried gravitas. In the Református tradition[4] that my mother observed in Romania, you had to take time to prepare yourself for communion. You had to consciously pray and repent for a period of time before allowing yourself to receive communion, and it was considered a sin, or a mockery to partake in the ceremony unprepared.
My mother initially had a lot of trouble with the lighthearted nature of services in the US, in which people sang and hugged and laughed, and in which, compared to what she was accustomed to, everyone seemed to take communion indiscriminately and with such ease and lack of care.
When stepping out of our own customs and traditions to discover our beautiful, rich, and diverse world, it is sometimes difficult not to make a mistake. What it comes to, though, is that we always strive to keep an open mind and take the time to inform ourselves about people’s heritage and culture. It is also essential that we correct mistakes as soon as we become aware of them.
Caroline Monnet’s work as an artist presents her community in all of its activities, facets, and lights. She chooses to educate, to connect, and to facilitate dialogue and shared experiences. Her contribution extends beyond the acknowledgement and beautiful portrayal of her community and the artistic and cinematographic representation of Indigenous people. She compels audiences to reflect on pressing issues that resonate on a global scale. Her work functions as a catalyst that helps us face such questions respectfully, constructively, and effectively.
Allow me to briefly present each of Caroline Monnet’s short films that I had the pleasure of viewing at the Metropolis Kino.
IKWÈ (2009)
[4:45 minutes]: Narrated by the voice of Caroline Monnet herself, this short film lets the viewer in on an intimate, surreal conversation between a young woman and her female ancestor. This film uses extreme close-ups and then extrapolates from them into nature and the vastness of our existence. It talks across time and across generations. I very much enjoyed the juxtaposition of the two main voices: one, young and hopeful, almost dreamy, and the other very old, and wise, and serene. The imagery is quite beautiful, and I was very willing to join in on the journey. And yet, I am not sure that I fully grasped the film in its entirety and have a feeling that I might have missed some of the symbolism and hidden meanings. I would love to see this film a few more times.
GEPHYROPHOBIA (2012)
[2:21 minutes]: This short film hones in a bridge that crosses the Outaouais river that otherwise separates two quite different communities. The flowing water and its purity contrasts with the idea of division and the fear of crossing a bridge. I have to admit that this short film did not resonate with me as much as others, and I felt I may not have fully understood or appreciated it.
THE BLACK CASE (2014)
[13:20 minutes]: Caroline Monnet wanted to draw attention to the atrocities committed as part of the Indian Act of 1876, which allowed for authorities to take First Nations children out of their homes and place them in white schools, orphanages and other facilities. What she came up with is a terrifying short film that recounts a brief segment in the life of two Indigenous children suffering from tuberculosis. Their fate rests fully in the hands of the white nurse and doctor caring for them. Shot in black and white, horror film tradition, this short film has an eerie vibe from beginning to end. I loved the music, the camera angles, the close-ups, the character development, and the way the story was told. I liked how the doctor’s bag took on a different meaning and purpose throughout. What an innovative and powerful way to use a simple prop! I quite appreciated the mirror that was held up in the face of humanity, only to expose the cruel, petty nature we can sometimes manifest. I thought Caroline Monnet’s goal was brilliantly achieved with this short film. Truly magnificent.
ROBERTA (2014)
[9:00 minutes]: Roberta is a First Nations grandmother, trying to conform to her suburban life by tending to her house, playing with and taking care of her grandson, and washing down pills with alcohol. This is an intimate view into the mundane life of a woman whose identity has been stripped of any actual meaning. In one scene, Roberta is outside in her yard, and it is perhaps here that she comes closest to being herself, as she rolls in the grass and grasps for oxygen. This movie is full of sad humor, and it both broke my heart and made me smile. This short film is quite different in style from the others. It is reminiscent of the 1970s, and it has an almost funky, retro touch to it. The use of colors and lighting is great. The rhythm of the story makes it truly fun to watch. Caroline Monnet hopes to make more movies like this, where she can focus on the daily issues and concerns of her community, and hone in on things like love, relationships, ambitions, etc. It is with great anticipation that I await her new creations in this style.
TSHIUETIN (2016)
[11:00 minutes]: This movie is narrated by an Indigenous conductor of the First Nations Railway and takes us into his daily life on the train. We meet every-day First Nations individuals on their trip and see them eat, play cards, speak, and simply spend time together. We are let in on the efforts of the conductor to speak his native tongue more and thereby grow closer to his passengers. Caroline Monnet said that she shot this movie to show First Nations communities engaging in normal, everyday activities that would break with stereotypical imagery, and I think her efforts are brought to fruition.
CREATURA DADA (2017)
[4:00 minutes]: This short film showcases six indigenous women, dressed in beautiful garbs, eating and drinking an exquisite spread of delicacies. For reason that I cannot pinpoint, I experienced the film as somewhat unsettling, yet I would hesitate to comment further without a second viewing.
CEREMONIAL (2018)
[3:12 minutes]: This movie uses very short cuts and jumps from image to image, often superposing them. It shows an elderly Indigenous man preparing to engage in a ceremonial, which, due to its sacred nature, cannot actually be filmed. It is the preparations that we are let in on. I found the film engaging, though its conclusion left me with some questions. A second viewing would likely allow for a fuller understanding.
EMPTY THE TANK (2018)
[10:00 minutes]: This touching short film, one of my favorites, gives us a glance into the life of Ashley Nichols, as she trains as a martial arts fighter and shows how important her Chippewas ancestry is to her life, to her training, and to her success. This short film represents for me, filmed poetry and art. Some of the most powerful images are: the dancing boxer in her illuminated ring, in the middle of nature; the powerful fighter humbled in her prayer ritual; the strong little girl running up the hill to the sound of her own voice singing. I liked the choice of topic. I liked the physicality of the footage. And I liked how this female warrior connects the past to the present, the surreal to the real, and the natural to the godly. In 2012, Ashley Nichols was recognized as a National Aboriginal Role Model, and she went on to become a champion in mixed martial arts, kickboxing, and Muay Thai. She tragically passed away in 2024, at the age of only 37.
MOBILIZE (2025)
[3:50 minutes]: This short film is a testament to all the hard-working, ambitious, efficient, and contributing First Nations individuals who have helped shape the cities and societies many of us live in. It showcases modern First Nations individuals in motion, working, creating, and making things happen. The elegantly dressed young Indigenous woman in a bright, lime-green dress connects the dots as she walks down busy streets. Caroline Monnet put this film together from segments taken from archival footage, and a good thing she did, because it is absolutely brilliant.
PIDIKWE (2025)
[10:00 minutes]: This is Caroline Monnet’s latest movie, and in it, she bridges the gap between her Anishinaabe and French identities. Her all-female protagonists are dressed in 1920s fashions, yet they slowly engage in traditional First Nations movements and dances. Young and old remember through the motion of their bodies, and connect the past with the present. Caroline Monnet purposely goes back to the Roaring 20s, or Les Années Folles, and alludes to a period in which norms were questioned, a lot of changes came about in all aspects of social and cultural life, and many communities prospered. From this period as a starting point, the protagonists can travel in time back and forth. They can bring the traditional dances of their ancestors into focus and perform them in contemporary times. A beautifully realized short film!
In closing, I would like to write a few words about the location: the Metropolis Kino in Hamburg.
The Metropolis Kino is located on the Kleine Theatherstraße in Hamburg, right next to the Hamburger Staatsoper, overlooking the artists’ entrance to several of the rehearsal stages as well as the Opera Stabile. The location of this small, at the same time old-fashioned and very avant-garde movie theater, already implies a certain affinity to a form of theater that goes beyond the mainstream and values truly artistic undertakings.
The NDR[5] describes the Metropolis movie theater as a “Kunsthalle für den Film,” or as an art gallery for movies, and the description, while somewhat figurative is nonetheless quite accurate. The Metropolis Kino is a cultural hub, and not just a standard commercial screening space. Managing director and head of programming, Manja Malz, finds just the right artistic balance for the Metropolis, one that lies between promoting contemporary German artists and filmmakers and bringing in international films, classics, rarities, documentaries, experimental cinema, and themed retrospectives. Rather fortunately for all of us living in Hamburg, Ms. Malz decided to host the “Rendez-vous Québec: La face de la diversité” project and Caroline Monnet’s movies at the Metropolis Kino.
This was also the first time that I met David Kleingers, who moderated the evening at the Metropolis Kino. David works for the DFF, the Deutsches Filminstitut und Filmmuseum in Frankfurt am Main.
His introduction and later extensive interview of Caroline Monnet on the stage of the Metropolis Kino, right after the projection of her 10 short films left a very positive impression on me. He was an eloquent, attentive and charmingly informed interviewer. It was a true honor for me to be allowed to, in turn, interview him as well.
[1] I now have many questions that I would like to ask her about each and every one of her films, the impact of which first had to sink in with me, before the questions could arise. And so, I hope the opportunity to speak with Caroline Monnet will present itself again in the near future. And I will be sure to keep you all posted on that as well.
[2] In the United States, the terms Native American and American Indian continue to be more widely used.
[3] It is with the student’s explicit permission that I share this information with you.
[4] A Calvinist Protestant tradition
[5] The Norddeutscher Rundfunk is the one of the most important government-subsidized radio and television broadcasters in Northern Germany. Its equivalent on a national level in the US would be NPR (National Public Radio) and in France RFI (Radio France International). All three are broadcasters that I greatly admire and listen to on a daily basis.
My full interviews with Caroline Monnet and with David Kleingers can be found on my website cultureum.com.
Thank you to everyone who made these interviews possible, and thank you for including me in this wonderful event.
Caroline Monnet
carolinemonnet.ca
@coco.monnet
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