POCAM - People of Colour in Advertising & Marketing

Tansi (hello), #CanadianDesignAdvertisingCommunicators, meet Shani Gwin (Mama or Sha for those close), founder of pipikwan pêhtâkwan (pee-pee-gwan pee-tah-gwan), an Indigenous owned, led & majority staffed PR + engagement agency. Shani is Métis, First Nations, European & Panamanian, with 15+ years in the industry, & her agency’s body of work will give you “Holee” (IYKYK) vibes! “The City ward names project is so special to me. I wanted to campaign to help Edmontonians understand the stories & importance of these traditional names. We worked with matriarchs from Treaty 6, 7 & 8 communities as well as Métis and Inuit communities to create a meaningful social media + video campaign to educate & inform Edmontonians on the new ward names chosen to represent and honour Indigenous Peoples, history & culture. Being with these matriarchs in person, hearing their stories, the visiting & laughing was just so loving and beautiful.” Language revitalization is vital to Indigenous Peoples (TRC # 14), so not surprising that Shani’s attraction to the industry is knowing the power of words. Their power “is exciting and terrifying. What really drives me is the value alignment and ethics behind this career. You’re supposed to have integrity to work in this field and that’s incredibly important because you’re behind the scenes creating narratives that can possibly change the trajectory of the world.” Now Shani is using words + AI to address bias and racism. “Indigenous People take on a lot of emotional labour to educate Canadians and beyond about the history of Indigenous Peoples on this land. In an effort to support our communities, we have developed a prototype (wâsikan kisewâtisiwin, which directly translates to kind electricity) that identifies problematic statements and beyond and provides factual information about Indigenous People. The AI in this platform has been educated by Indigenous People and we will continue to develop the tool with Indigenous Peoples across these lands. Their contributions will help take that labour off of our People.” Easy to see a theme of visiting & working with community in all of pipikwan pêhtâkwan’s projects, attributable to Shani’s experience with mentors. “I’ve had so many Indigenous People mentor me - not through the industry so much as through my childhood and adult life. I have parents who worked in community. My dad (Lloyd Gwin), my mom (Carola Cunningham), my kokum (Florence Gwin) and my poppa (Chester Cunningham) have all influenced me in different ways. Also, Elders are the best. Karen MacKenzie, Theresa Strawberry, Lorette Goulet, and Vicki Whalen are a few women who have been so gracious to spend time with me & help guide me.” Shani’s apt advice to Indigenous youth joining the industry. “Connect with us, even for a visit, we want you to get into the industry to help change it for the better. We are stronger together & we want to see you rise in the field. We are here supporting you! Go get em!”

I'm celebrating #nihm and pleased to introduce Tim Neal, a distinguished Cree/nehiyaw Creative Director in Saskatoon, Saskatchewan, Canada, is the visionary owner of The Engagement Party Media & Design. Tim focuses on modernizing First Nations visual communications, aiming to honor the past while looking toward the future. Tim’s early life was marked by significant transitions. Placed in foster care at six months old, he was adopted by two biologists at three. Growing up with a nurturing family, including an older brother and sister, Tim developed a competitive spirit and an appreciation for a structured life filled with unique opportunities. Although he did not grow up within a Cree community, his upbringing instilled in him a profound sense of purpose and resilience. With a scarcity of BIPOC mentors in Saskatoon’s creative fields, Tim thrived through self-directed research and a passion for Indigenous influences in advertising and design. He has developed a practice he calls Modern Traditionalism, integrating historic methodologies with modern deliveries. His work aims to reclaim and redefine Indigenous visual sovereignty, drawing inspiration from both historical and contemporary sources. As the sole proprietor of The Engagement Party, Tim dons multiple hats—Creative Director, Art Director, Copywriter, Designer, and Production Manager—depending on the project’s needs. His studio thrives on the dynamic nature of the creative industry. Tim is particularly drawn to the ever-evolving landscape of creative delivery, societal messaging, and visual inspirations that span human history. One of Tim’s most profound career moments came through his involvement with the Wicihitowin Conference, where he developed branding and advertising and captured the stories of Residential School Survivors on video. These powerful narratives highlight the resilience of Survivors and contribute to preserving cultural history for future generations. This experience, and the warmth he received from the community, remains a cornerstone of his career. Tim’s current focus is on exploring the historical context of nêhiyawîhcikêwin (Cree culture) and developing a graphic style that reflects Cree heritage. He envisions a future where Indigenous visual language is reclaimed and celebrated, contributing to a more diverse and inclusive creative landscape. For young Indigenous talent aspiring to enter the industry, Tim’s advice is simple: don’t give up. He emphasizes the importance of competitive spirit, continuous learning, and finding one’s niche. Tim’s personal motto, “Commit to Delight,” encapsulates his approach to his work and life. It serves as a reminder of the dedicated enthusiasm that drives successful communications and keeps his creative fire burning, even when faced with challenges. This National Indigenous History Month profile was written by Joycelyn Espiritu David, Owner of AVCommunications and member of POCAM - People of Colour in Advertising & Marketing

Aanii! On this National Indigenous Peoples Day we are celebrating the generously talented Mark Rutledge CDP RGD.  He is a proud father, mentor, volunteer from Ojibway / Little Grand Rapids First Nation (Treaty 5), with 28 years in Canadian advertising & marketing, and one hell of a resume. He is the Senior Creative at Know History Inc. - Historical Services, Instructor, Multimedia Communications in the School of Business and Leadership, Yukon University, and the Principal at Mark Rutledge Design.  The multiplicity of our industry drew Mark in as he sought a career across iIllustration, fine art and expressions in multimedia.  Aside from all the graphic designers emerging from universities and colleges back then, his journey in consisted of racism and code switching to hide his true identity. “On paper (Resume and PortfolIo) I appeared to be “white”, you see, being a 60’s Scoop Survivor meant that my Indigenous heritage was removed -My name was changed to Mark Rutledge (an Irish name) - I’d often make it to the interview stage and they’d take one look at my physical appearance and CV, and in their minds, the two didn’t match.” His first role came from within the First Nations community working as an Art Director for Aboriginal Voices magazine. Publisher Gary Farmer (Cauga) from Six Nations of the Grand seemed to intentionally hire Indigenous peoples.  His mentor was former colleague Jeff Ward who to this day he draws inspiration from how he has embedded the Anishinaabe/Ojibway 7-Grandfather teachings into the very way they do business. Through Jeff he’s discovered “it is indeed possible for western ways of doing business with Indigenous culture and knowledge to live cohesively… sometimes referred to as “two-eyed seeing”- a basis in viewing the world through both Western and Indigenous knowledge and worldviews.” Mark served as president for Design Professionals of Canada (DesCan), judged the past 4 The Canadian Academy of Recording Arts and Sciences/The JUNO Awards, and built campaigns for the film The Indian Horse. Today, Mark celebrates his Indigenous roots and faces biases, microaggressions and racism head on. He sees each instance as requiring a nuanced remedy recognizing “it is who am I today!”. He would love to see more BIPOC leaders in positions of power, and educates future generations of what can be accomplished when we overcome intergenerational trauma. He advises they “ask lots of questions and be fearless” and calls on those sourcing Indigenous talent to seek out associations like DesCan, SGDQ, Association of Registered Graphic Designers (RGD) , and ours for help. With a book in development and a documentary on the way, the body of work from this beautiful soul from Red Lake, offers steps we all can take towards reconciliation in Canada and beyond! My latest learnings from our new POCAM - People of Colour in Advertising & Marketing Steerco member: “baa-maa-pii, gi-gaa-waa-baa-min miin-waa” (until later, see you again!).

Is Darian Kovacs ♾️ (he/him) an entrepreneur? A grower of dahlias? A teacher? A mentor? A host and producer? A proud member of Métis Nation British Columbia? The answer is yes. Though Darian would probably say “husband and father,” judging by the family photo he chose to share to represent his life outside of work. Darian is Founding Partner at Jelly Digital Marketing & PR Agency. He’s Partner at Jelly Academy, a digital marketing training school where 55% of students are Indigenous and 75% come from underrepresented groups. He volunteers with the Digital Marketing Sector Council which conducts labour market research for our industry. And he is host and editor at Marketing News Canada our industry’s only Indigenous-led trade publication. What drew Darian to this industry? “It allows artists and creatives to come up with ideas that help grow businesses and cause people to pause and think,” he says, “It brings together art and science to provide a balanced approach to helping the economy and growing ideas. Darian says doing youth work allowed him to be a part of MySpace, Nexopia and Facebook in the early days of digital and made it easier to break into the industry. “(They) gave me an advantage when online marketing became… mainstream,” he explains—much as certifications from Google, Meta, Hootsuite and others now do. To industry peers who wonder how to find Indigenous talent, Darian says, “Simple! Hire—and appropriately pay— professionals, influencers, and creators from historically marginalized communities to tell their own stories.” He exhorts young Indigenous talent, “Know how amazing you are… how lucky the companies are that get to hire you. Get some badass rapid reskilling certifications into your resume and show up and be your amazing self.” Darian mentions three role models in particular. Sabaa Quao, advocated for Darian in Big Agency Land. Darian describes him as “a brilliant mind, advocate and champion.” Dr Wendy Cukier, Black Business Professional Association's Harry Jerome Diversity Award winner threw open the doors to the education and government sectors for Darian. “… a great example of someone using her superpowers for good.” He closes with Terry Fox, “an amazing Métis advocate and leader who created a pretty awesome movement.” To improve the industry, Darian is intentionally training, supporting, and helping underrepresented people get industry jobs through Jelly Academy scholarships. Invited to share a phrase from his Métis language, Michif, Darian unsurprisingly chooses Kaa-wiichihitoyaahk (ka-wee-chi-hi-toy-yahk). It means “we take care of each other.” I was recently at a meeting Darian organized, attended by heads of industry associations from across the country. Dr. Cukier, who facilitated, humorously described it as akin to herding cats. Darian epitomizes all that is good in that. He is unstoppable, irrepressible, vocal, generous, and inspiring. And, as cats go, the coolest cat.

Boozhoo (Hello!), #CanadianDesignAdvertisingCommunicators, meet Krystal Summers (she/her/kwe), Senior Director at Castlemain, a leading Indigenous advisory firm. Krystal is a registered member of Long Lake #58 First Nation, but her family’s traditional territory & community is Nagagamisis [Hornepayne] First Nation. Her role and journey demonstrates the vital role cultural sensitivity and respect play in this industry and why Indigenous representation matters. “My career began as a clinical social worker, working with Indigenous children, youth, and families. My focus shifted towards teaching, community-based research & non-profit management. In 2020, I made the transition to a consulting firm, drawn by the opportunity to contribute to the Indian Day School settlement.” Krystal now works in collaboration with the Claims Administrator for the First Nations Child and Family Services and Jordan’s Principle Settlement. Lack of Indigenous representation in this industry is apparent to Krystal. “A career in this field seems less common among Indigenous peoples, a concern given the need for our presence across all industries. Indigenous professionals need to see inclusion efforts take into account the unique socio-historical context of Indigenous peoples, communities and Nations. Addressing systemic inequities requires executive leaders to commit personally and organizationally to continuous learning & embrace diverse ways of thinking, being, and working.” Krystal leans on her experience to deal with bias, microaggressions and racism but it’s not easy. “As a trained social justice advocate, it’s natural for me to address instances of microaggressions or culturally insensitive requests directly. However addressing conversations directly can be felt or interpreted as ‘calling out’ [someone], and sometimes that equates to a response that minimizes the felt impact [on Indigenous peoples] to one that asks Indigenous peoples to have more patience with non-Indigenous persons who ‘are still learning’ and therefore did not intend to cause harm. These rebuttals are frustrating sentiments to diffuse, and having my own circle of trusted allies and support persons to debrief with has been crucial”. There is movement in the right direction that keeps Krystal’s attraction to the industry. “What I value is the richness in collaborative ideation and diverse experiences that everyone brings to the table. Team learning happens when we can respectfully interrogate our own biases or assumptions in how we communicate, and that is the part I love.” Krystal’s advice to young Indigenous talent entering this industry. “Build a support network, ideally one that is diverse in its make up. Having a relationship with an Elder or older Indigenous person as a mentor helps to keep one's spirit and heart nourished.” #nihm #pocam #canadianadvertisingandmarketing

Everybody, meet Amanda Charles (she/her), the Director of Marketing & Communications at The Gord Downie & Chanie Wenjack Fund, a non-profit dedicated to building cultural awareness and creating a path towards reconciliation. I'm honoured to introduce you to Amanda today because part of her role is focused on improving dialogue around Indigenous issues. “As we’ve seen awareness grow, people have no idea how to talk about their role in reconciliation,” Amanda says. “In my career, and in this job specifically, I get to dig into how we talk about these issues, teach others how to do it respectfully, and amplify Indigenous voices to help educate people in Canada. It’s very rewarding to be a bridge between communities in this way.” When I ask Amanda what the most memorable moment in her career is so far, she recalls her first few weeks on the job in June 2021, when Canada’s major broadcasters asked how they could support reconciliation efforts following the announcement that there were 215 unmarked graves at the former Kamloops Indian Residential School in B.C. The result was the first-ever A DAY TO LISTEN where 18 First Nations, Inuit and Métis speakers shared their truths on radio stations across the country the day before Canada Day. “It was unbelievably inspiring to see how my team and our partners pulled together to find a way to engage people in Canada in a meaningful way,” Amanda recalls. Amanda grew up in Cobourg, Ontario in a family with mixed Anishinaabe, European, and some Jamaican ancestry. She envisions a bright future for Indigenous marketers, but calls on allies to do more. “It’s not always easy to find Indigenous talent in this industry, but we exist. It might take some additional research, but if you really want to find someone, you can find them,” Amanda says, reflecting on how representation is increasing. “As the industry evolves, we need more allies doing the work of learning about colonization and its ongoing impacts so that Indigenous staff aren’t bearing the burden of teaching their colleagues.” So, what does reconciliation in marketing look like? “It might be a hard conversation about the importance of representation,” Amanda explains. “Or making sure that if I’m sending a residential school Survivor into a media interview that I’m properly preparing the interviewer and reviewing questions in advance. It might look like educating a marketing firm on how and why to avoid cultural appropriation in campaigns.” A big thank you to Amanda Charles for sharing her story. 💛 Make sure to follow Amanda on LinkedIn to continue learning about #TruthAndReconciliation and the wonderful work of the Gord Downie & Chanie Wenjack Fund. #NIHM2024 #Indigenous #RepresentationMatters

Hello, everyone! I am thrilled to introduce you to Gregory Mitchell and Chris Mitchell, the visionary forces behind Born In The North, an Indigenous-owned creative studio. With 9 years of dedication, these Mi'kmaq artists have transformed challenges into opportunities, making a profound impact in the industry. Greg and Chris's journey began with a shared passion for creativity, fueled by the joy of bringing ideas to life. Despite initial hurdles, their perseverance and strategic use of word-of-mouth propelled them forward. Early on, they faced the challenge of establishing their presence in a competitive industry. However, they consistently showcased their work at events and online, slowly building a reputation for their unique and impactful designs. Mentorship played a pivotal role in their success. They credit multiple mentors with offering invaluable guidance on significant projects, helping them navigate the complexities of the industry. This support system was instrumental in their growth, providing insights and advice that shaped their approach to business and creativity. Greg and Chris’s commitment to positive messaging shines through in every project. They believe in the power of diversity and inclusivity, consistently showcasing underrepresented voices. Their collaboration with favourite bands on album art and merchandise has been a career highlight, merging their love for music and art into meaningful projects that resonate with audiences. For young Indigenous talents, their advice is to share your work widely to build a presence. "Keep putting out your work and sharing it online or at events. Having your work seen is the best way to build a presence," they emphasize. Their motto, "Work with good intentions," drives them through tough times, reminding them to stay true to their values and vision. Beyond their studio, Greg and Chris find creative fulfilment in their band, Wampums. Music offers them another avenue to express their creativity and connect with their cultural roots. They greet the world with "Kwe'," meaning hello in their traditional language, a testament to their pride in their heritage and commitment to sharing it with others. Greg and Chris Mitchell embody resilience, creativity, and the spirit of community. Their journey is a testament to the power of perseverance and the impact of positive, inclusive messaging. They inspire us all to pursue our passions, uplift others, and make a meaningful difference in our communities. Make sure you follow them on Instagram @born.in.the.north to stay updated on their latest projects and creative endeavours. ––– This POCAM #NationalIndigenousHistoryMonth profile was written by Erik dela Cruz, Freelance Creative Director and member of POCAM - People of Colour in Advertising & Marketing's Board and Steering Committee.

Imagine waking up every day to work with clients who are “hellbent on changing the world”. Sounds like a meaningful way to spend your day, don’t you think? This is how Janelle Desrosiers (she/they) describes the work she does as the award-winning founder and creative director of Bloom + Brilliance – a business she grew from a one-person shop to an agency of 12 talented people. “I strongly believe in using our gifts to make the world a better place. My team is so passionate, creative, skilled, and dedicated, so it’s a huge honour to work alongside them” Janelle says proudly. I first heard Janelle speak on a podcast in 2022. I was immediately inspired by the way she leads every conversation with her values of relationship-building, community spirit, and positive impact. Values that are core to how Bloom + Brilliance manages its projects and clients. “We’re constantly working on decolonizing and Indigenizing the way we work,” Janelle explains. “This goes for everything from the way we communicate and market ourselves to how we’re pushing design standards in the industry.” As the leader of a queer, Indigenous, intersectional feminist-led agency, Janelle knows what it’s like to battle misconceptions in advertising and marketing. “The onus is often put on us to create space and opportunities for our communities,” Janelle says. “But the reality is, systems have been designed to purposefully exclude Indigenous peoples from education, networks, clubs, lists, directories, and so on. For meaningful change to happen, non-BIPOC people need to do more self-education, self-reflection, and actively seek out safe, respectful and mutually beneficial relationships with us.” Janelle has ties to the historic Métis communities of Ste. Anne and Richer and belongs to the Manitoba Métis Federation. Outside of work, she enjoys art, creative writing and spending time with her husband and young son. “Toot lii zaanfaan ii son sacrii”, which means “all children are sacred” in French Michif (Red River Métis), is one of her favourite sayings. Her response to people who say it’s too difficult to find Indigenous people in the industry? “They’re not looking hard enough!” she exclaims. “They need to make an effort to go outside of their well-trodden paths and usual networks if they truly want to be inclusive.” I couldn't agree more! 👏🏽 Thanks so much for sharing your experience with us Janelle Desrosiers. Make sure to follow Janelle to keep up with the exciting projects at Bloom + Brilliance. #NationalIndigenousHistoryMonth #NIHM2024 #CanadianAdvertising #CanadianMarketing

Shé:kon, #CanadianDesignAdvertisingCommunicators, meet Jennifer Taback (she/her/kwe), Co-CEO of Design de Plume Inc., an Indigenous, women-owned creative agency. I knew we HAD to start this inaugural National Indigenous History Month profile series with Jennifer because the word she wanted to share from her traditional language is “Aambe!” (“Let’s go!”) What. She. Said! Jennifer is First Nation from Shawanaga. Her 20-year+ career in design and web development is proof that success follows those who work for community, connection, sharing and relationship-building.  Jenn deals with biases in two ways. “I am white-passing so sometimes people will say something not realizing that I am First Nation and I catch them off guard by being like ‘Oh, I’m Indigenous, I’d love to hear the rest of that joke,’” she smiles. And, when working in DEI spaces with teams that are actively trying to unlearn, Jenn says, “I simply call out behaviour/language/imagery and educate them on why it’s inappropriate. I proceed with grace and understanding and a good laugh.” Jennifer started DDP out of college with a few friends because they couldn’t find jobs during the 2009 recession. “Once I embraced being an Indigenous designer and recognized that my lived experience echoes many other people out there,” Jenn remembers, “it really helped propel our thinking and strategy, and most importantly helped us find like-minded people to work with.” Seen as “girls” for a long time, often told they didn’t have enough experience—frustratingly, even when competing against agencies with a similar history, Jenn recalls, “We learned to trust ourselves more.” Decision-makers eventually began to better understand DDP’s unique design skills. Fast forward to now and Jennifer, DDP at the DNA Paris Awards, winning an international award for a completely Indigenous project. “We were able to bring our Creative Lead, Jennica Robinson to accept in person,” says Jenn. “It was a really big highlight as design from diverse communities struggles with being seen as “good design”, especially in Western settings.” To those who say there are no Indigenous people available for hire in this industry, Jenn counters, “We need to look at developing capacity and talent as an industry… with well-funded projects that recognize Indigenous work is done differently and produces excellent results when done right.” Jennifer wants the industry to educate designers, teachers, and decision-makers on beautiful design beyond a Swiss perspective. “It has been so hard for me to shake off what I learned in school and I’m active about that,” she shares, “...I still see diverse work struggling to gain strong acceptance through Western standards.” With “You can’t be it if you can’t see it” as a mantra, Jenn takes a leadership role in spaces with few Indigenous voices present, hoping more youth will consider this career and tell their stories in their own way.  #NIHM