I Am YEG Arts: Frances Whitford

It’s been said that grandparents are the voices of the past and the door to the future. For Frances Whitford, there are few truer sentiments. It’s why she describes her business, Beadwork & Bannock, as a creation of love and legacy to her grandparents and Métis culture. Lucky for us, that gratitude and knowledge are both gifts she’s eager to share with everyone. From passing down traditions to her children to championing the Indigenous Artists Market Collective (I.A.M), Frances looks forward to continuing to promote and support the perseverance of Indigenous art and culture in our city. Artist, advocate, granddaughter, and teacher — this week’s ​“I Am YEG Arts” story belongs to Frances Whitford.

Tell us about your connection to Edmonton and why you’ve made it your home.

I have a lot of family here. I’m from northeastern Alberta, just outside of Fort McMurray, so Edmonton was the closest major city and our go-to for everything — so we’ve always been connected to it. Even as a kid, we’d go to Lac Ste. Anne every summer, and then to K‑Days because my grandmother had sisters and family here. From there we’d go around to Lac La Biche to the powwow before heading back home. So ever since I was a small child, I’ve spent a few weeks of every single summer here.

As an adult, what really drew me to Edmonton were the opportunities for my three children to grow. Being in a small community is great — the support you have is good, everyone knows your name, and your history, and all of those types of things — but sometimes that can put a real damper on personal growth when it comes to just wanting to spread your wings and be yourself. So all the genres of opportunities presented to them here were very alluring to all of us.

I also found the Indigenous Artists Market Collective (I.A.M) here, and that was amazing. I always say that when I found them, I found my tribe. As Lorrie Lawrence always says, it’s like a melting pot of Indigenous artists.

Tell us a bit about Beadwork & Bannock and how it came to be.

I grew up raised largely by my grandparents. They were very old-school, very Métis lifestyle, so I spent a lot of my youth on our family trapline, which my brother still runs with my cousin Jason. Despite being so immersed in my culture throughout my life, I didn’t realize then how blessed I was — not until 2011 when my grandmother passed away. She had developed Alzheimer’s around 2006, so it really felt like we lost her a lot sooner, but during that time was when I really began to realize that, wow, once she goes, all of this is gone.

My grandmother was an artisan herself and used what she earned to help supplement the family income. I loved watching her work, and a lot of time I’d get to play around sorting beads… but watching her create all these amazing things and seeing every part of the process — from trap to this beautiful pair of moccasins — was pretty cool. So when she passed away, I made my decision to allow myself to dream about making a living preserving my culture and being able to share it with others and teach my kids. Beadwork & Bannock was the answer. And there’s just so much good that has come from it. It is literally a legacy of love for my culture, my grandparents, and everything they’ve instilled in me. There were quite a few years of dreaming it up in my mind and wanting to be where I am now, but just knowing that this knowledge is for me to pass on to as many people as I can reach makes me very happy.

What inspires your design choices and the stories that your beading and clothing tell?

Again, it goes right back to my grandparents and realizing how much culture they preserved in me that I didn’t realize I carried until I was older. A lot of my beadwork designs are inspired by the work of my grandmother and from learning and exploring our Métis culture. As I did my genealogy, I realized just how far-reaching my Métis ancestry is when it comes to Canada and the United States. Because we were the landless people, we travelled so often that there are bits and pieces of my grandfathers’ and great grandfathers’ and great-great grandfathers’ families from Montana all the way through Saskatchewan and Manitoba. It’s pretty amazing to see that. So often I’ll look at all this beadwork from all over these places and feel such a connection to it. And at first, I don’t understand why until I realize it’s that ancestry that draws me in.

What’s one piece of advice you wish you’d had when starting out? And what’s something you knew instinctively that’s still serving you?

The advice I wish I’d had starting out is don’t limit yourself — don’t limit yourself to what you can and cannot do. When I first started, I felt very much that I was in this box and had to stick to mitts and moccasins and the traditional things my grandmother made. But as I’m evolving as an artist, I like to bring in contemporary elements and incorporate new-age thinking with the old — like repurposing fur coats. It’s conservation in itself. And a lot of what we do as trappers is conservation work. Some people have the misconception that we’re out there hauling out these furs and mass-producing and selling them. But, no. We’re actually doing a lot of environmental monitoring. So, for example, if there’s a species that’s low, we’re not going to harvest it. We’re going to refrain. Or if we’ve noticed a species is diseased, we’re submitting that all to the government to be tested to make sure that it’s not something invasive to these species.

The something I just knew from the get-go would probably have to be the importance of transferring knowledge. That was just the biggest driver for me after losing my grandmother and realizing that a lot of her knowledge was gone. Though I only have bits and pieces of it, I’m learning and growing on it every day, remembering more as I carry on. I also realized how important it is for us through truth and reconciliation to share that knowledge back and to give it to our future generations so that they can continue to grow on it and ground themselves with it — because that’s what it did for me.

I strongly believe that the knowledge and traditional practices I was given were meant for me to transfer, not to hold. Letting everyone know there is space for all of us to share and learn these things is something I’m very happy to do.

Tell us about someone who mentored you or helped set you on your path.

That would be my brother. I can really say that my brother has always been one of my biggest supporters and champions. When my grandmother passed away, the two of us sat down and had a conversation about my kids really needing to go to the trapline with him. They were all very small then, but I knew they needed to go with him alone because at that age Mom is everything — Mom, do this. Mom, do that. The trapline is a very wonderful and magical place, but it can also be very dangerous, so I knew they needed to build their relationship with him and the respect he required for them to safely enjoy trapline living — and to learn to grow their wings and be independent. So when my son was around 6 and my other daughter was 10 or 11, they went for their first weekend on the trapline with my brother. And that all started it. That’s when we both realized that if we didn’t transfer that knowledge, it’d be gone. From there, we started to talk about all the things that Grandma would make and decided to give it a try. The rest is history!

Who’s someone inspiring you right now?

Right now, I would probably say the artists with I.A.M. They have so many stories and inspire me so much with their resilience. There’s such an incredible amount of knowledge coming off each of these artists that stems from their families and their histories. And it’s just so inspiring to me to see our art coming back and being appreciated for what it is. The dedication each and every one of them shows to their craft is incredible. We even have one artist, Agnus Jones, who I believe is 89 years old. She does a lot of the similar work that I do, and the last time I saw her at the market I told her that, in my eyes, I am just an apprentice, she is a master, and that — one day — I hope to be as good as her.

Last year, you and your son designed a T‑shirt for Orange Shirt Day. What was that experience like for you?

Normally, T‑shirts are right out of my element, but I just felt called to tell this story (of our family’s journey of truth and reconciliation) — and to include my children. Part of our coming to knowledge of our past with residential school really shed light on understanding that we have our own story to tell. Knowing that the world is seeing the truth now, we needed to stand in our own truth. So I just really wanted my children to understand their history, as much as I can teach it, and as much as I can learn it myself to pass it on to them so they can understand why we are the way we are these days and which direction we need to move in. I needed a positive outlet to empower them to know that healing is possible, and necessary, and important for them to think about. That’s the real legacy I’d like to leave — that we need to move forward in a positive light, and that sometimes extracting a positive from a negative situation is the best way to grow and heal. That’s what I hope my T‑shirts will do.

Tell us a bit about what you’re currently working on or hoping to explore next.

What I’m working on right now is focusing more on my beadwork detail. I just want to grow a little bit more, and explore a little bit more, and venture out into making new things, like satchel-style purses.

I’ve been exploring new mediums and playing around with caribou tufting, too. And it’s like, as soon as I understand my connection to these animals and these things, all of a sudden the creative comes in and I want to work with parts of them!

The kids and I are also working on more Every Child Matters T‑shirts and collaborating on some other designs.

What do you want people to understand about the importance of buying Indigenous products from Indigenous artists?

It truly is a preservation of culture and of legacy. Our Indigenous art tells the story of our history, of our connectedness to other cultures and other places, and reminds us of the unity that we need to continue to share. I think it’s good to walk in your individual light and be proud of who you are and where you come from, but it’s also good to be proud of other cultures too — to raise them up and know that you stand in unity with them. So that’s what I’d like people to know: that when they purchase Indigenous art, they’re not only supporting an artist, they’re actually preserving a culture. And that’s an amazing thing.

Describe your perfect day in Edmonton. How do you spend it?

My perfect day in Edmonton would probably be spent exploring one of the many festivals or attractions that you literally find every weekend and everywhere you turn. Spending it with my kids, of course, because I love that.

You visit Edmonton 20 years from now. What do you hope has changed? What do you hope has stayed the same?

Well, I do hope that all the festivals and everything have stayed, but what I really hope to see is more reflection of the Indigenous presence that is here in the architecture and everywhere you turn. It’s starting to look like that now, but I’d really like it to be strongly visible. For example, the history behind the river lot that was here really needs to come to the surface — and in a good way. Because even though it’s a dark history, it’s a very positive place, and I love being there.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about Frances Whitford, Beadwork & Bannock, and more.

About Frances Whitford

Frances Whitford is originally from Anzac, Alberta, but now calls Edmonton home. She was raised by her grandparents and grew up surrounded by Métis culture and craft, spending much time on the family trapline. Frances learned most of her craft from her grandmother, a Métis artisan, who made various pieces for the family and to sell in an effort to supplement the family’s income. Her grandfather was a trapper who would supply the furs and hides needed for her grandmother’s craft. Today, Frances’s brother has stepped into the role of trapper and supplies a large amount of the hides and furs that allow Frances to continue to learn and hone her skills.

Frances’s pieces, such as moccasins, mukluks, gauntlet mitts, and other Métis-oriented items, are made mainly of traditional and commercial-tanned moose hides, as well as beaver, fox, lynx, rabbit, and various other types of furs. Some of her Beadwork & Bannock pieces also include her beadwork.

As Treasurer of the Indigenous Artists Market Collective (I.A.M), Frances looks forward to continuing to promote, support, and participate in the advocacy and perseverance of Indigenous art and culture that she sees thriving in this city.