http://www.ajacketfullofstories.com/new-blog daily 0.75 2025-04-03 http://www.ajacketfullofstories.com/new-blog/2025/4/3/ry2m3n83fbq10wizzrm3fn4ag75c03 monthly 0.5 2025-11-23 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/f17c6b1c-cc34-4b6c-aebe-b75fbadd9808/Screenshot+2025-11-22+at+6.28.01%E2%80%AFPM.png Blog - Memes & Dreams - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.ajacketfullofstories.com/new-blog/2023/6/5/ai-amp-and-five-year-blog-gap monthly 0.5 2025-04-03 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/23e4727a-4692-4968-9796-ba4d2c575523/Screen+Shot+2023-06-05+at+8.35.23+PM.jpg Blog - AI & And A Five Year Gap - Make it stand out Whatever it is, the way you tell your story online can make all the difference. http://www.ajacketfullofstories.com/new-blog/2018/7/14/d1yy2y27qab7yxkuuxd1blr2k826i6 monthly 0.5 2018-07-14 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1531588435363-4AQSFVTUKT0KNIHQ0KKX/Screen+Shot+2018-07-14+at+10.13.17+AM.png Blog - Cities and Memory http://www.ajacketfullofstories.com/new-blog/2018/5/29/cuba monthly 0.5 2018-07-14 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1527628975998-HNUBL26H29N9CR57HNAW/22221717_10155548950196675_5641958383651096415_n.jpg Blog - Cuba! http://www.ajacketfullofstories.com/new-blog/2018/3/30/there-is-truth-here monthly 0.5 2018-03-30 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1522423614960-279Z05ZBD9BBB3RIL82T/image-asset.png Blog - There is Truth Here: Creativity and Resilience in Children’s Art from Indian Residential and Indian Day Schools http://www.ajacketfullofstories.com/work-avenue daily 1.0 2026-03-27 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1487476746519-3HOG8VNMBLKU3JVS3CBJ/P1050227.jpg Work - "Salish Weave" Susan A. Point 2003 During 2016 I took on a unique opportunity to work as a Collections Programmer with the Salish Weave Collection. Salish Weave is to date, the largest private collection of contemporary Salish artwork from artists who draw their ancestry from the Coast and Strait Salish territories, which stretch across Vancouver Island and the lower mainland near Vancouver. This work, in part, involved managing the future succession plan of the collection of Christiane and George Smyth. The Smyths are seeking to donate their collection into several public institutions in the coming years including the National Gallery in Ottawa and UBC Museum of Anthropology. The move of a collection from the private to public realm comes with many questions and concerns. For the Smyths, there is strong desire for the artwork to help educate about Salish culture and lands through the exhibitions and programming developed in the space of various galleries. During my time, I worked on future curatorial projects that will allow parts of the collection to be shared, while helping to maintain current curatorial initiatives with partnering institutions. This work included finding news way to build public and educational programming around the collection. I was part of the UVIC's organizational team on behalf of Salish Weave for Intersections 2016, a highly successful conference co-sponsored by BC Art Teachers Association and the Canadian Society for Education Through Art that brought together art educators from across Canada. The conference focus was how educators can better integrate Indigenous ways of knowing into grade school curriculum. A number of Salish Artists took part as keynotes in this conference through funds provided by Salish Weave to offer their guidance to educators as to how to integrate Indigenous culture and histories in a good way. More on Salish Weave here: http://www.salishweave.com/ https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1487476827053-S4MOUY95SMUYTJNF4J9W/P1050223+copy+%281%29.jpg Work The time I spent at MOA from 2007-2010 has been instrumental to my development as a scholar and as a person. During these years, I was exposed to such an incredible wealth of cultural and artistic practices, projects, and events. I witnessed many lively debates and discussions and was able to work closely with an amazing selection of community activists, Elders, students, volunteers, artists, curators, educators, and researchers. During this time, I experienced how MOA serves as a hub for contemporary artistic production and critical cultural and curatorial research including important discussions about how cultural research should and should not, take place in and through museums, particularly as this work pertains to Indigenous material collections. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1516662259606-ANFZUDF2P14MXG9HHUHH/FullSizeRender.jpg Work - Canada Dry, Victoria BC Image copyright JC Robinson 2016 With my position as Postdoctoral Fellow at Queen’s University with the SSHRC-funded Creative Conciliations research collective, I extended my doctoral research into rights-based museological practice with an investigation into community stories of rights, resistance, and critical acts of engagement with the Canada 150 project and government-proposed reconciliation agendas. Thinking, humming, processing -- more project info coming soon for now some reflections: https://www.pyriscence.ca/home/2018/1/20/canada-150-and-the-art-of-reconciliation https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1418869628619-Q391KYFW12WOKNLDIBR1/Night+Life.jpg Work - "Scandal: Vice, Crime and Morality in Montreal 1940-1960" - Centre d'histoire de Montréal 2014 Image Copyright JCRobinson 2014 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1583295190039-KSDBIZMQKB63AO2XVX8K/P1020039.jpg Work - "The Canadian" Winnipeg Railway Museum Image Copyright JCRobinson 2014 I have been driven throughout my research to reflect on the complexities of what constitutes Canada. These complexities circle around what constitutes Canada as nation, but also what constitutes Canada as an idea, a brand, a contested and colonial landscape, and a place that is filled with a multiplicity of cultural and heritage practices. I have wondered in this space of circling—is there such a thing as a Canadian Culture? If so, is it found in the lives of people? Or, is it in the diversity of space, place, and people? What diversity is found in the material and visual culture produced across these lands? And, how is culture marked on the landscape in very tangible but also intangible ways? Maybe being Canadian is better described as a mix of people, or a blend of ideas and unique cultural practices? Maybe part of Canadian-ness is the commonalities found in the ever so frequent discussion about the weather and the weird sense of humour Canadians seem to be known for. I continue to wonder in this space of circling about all the lies; about cultural discrimination and acts of hate; and about strategic government policies of segregation and exclusion based on cultural difference. I wonder about stolen lands and broken Treaties. I wonder about equality and justice. Where do histories like these fit when defining what constitutes Canadian culture? How is this narrative of Canadian-ness constructed apart from the "official" national narrative of Canadian history? Can it be? Should it not be? These are questions that follow me in a somewhat haunting fashion, as I live, work, and travel through the territories collectively known as Canada. These questions also haunt me as I travel outside Canada, in a different, slightly distant, and yet equally perplexing way. Given Canada as nation has just recently turned 150, these complexities sit at the heart of much current debate, research, and artistic productions. So, here in this virtual space, I have carved a place for me to deal with my ongoing quest, interest—obsession?? To contemplate these ideas. This is a place for me, to think through as a descendant of settlers to these lands, what it means to be Canadian. Maybe in collecting a series of images of what I see as representing Canadian culture/counterculture/resistance culture—some assemblage of what this culture might look like may begin to weave itself together. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1595089020704-1Y8ALI8EF6QDS6LTA9XE/_MG_0010.JPG Work - heART Space, Victoria, BC Image by Trudi-Lynn Smith 2017 heART space was a pop-up exhibition that transformed an empty store in Victoria, British Columbia, into a community gathering space privileging youths’ experiences of overdose deaths. After only a few weeks to prepare the gallery, heART space opened in October 2017, showcasing art from current and former street-involved youth, front-line workers, and many others affected by the overdose crisis. Throughout the month it was open, heART space hosted open studios, workshops, performances, and community conversations to bring people together to talk about issues related to the overdose epidemic. In 2017 I was invited by my friend and colleague, Marion Selfridge to come on as a curatorial consultant to the heART space project. My time with this incredible project involved helping Marion as project director, to envision how the store could function as a curatorial and programming space, and working with the friends and family to honour the lives and experiences of those who had passed away through the artwork that was shown in the exhibition. The community curating aspect of this project was recently published: Selfridge, Marion, Robinson, Jennifer Claire and Lisa M. Mitchell. 2021. “heART Space: Curating Community Grief from Overdose”. Global Studies of Childhood Special Issue: Children’s Art in Times of Crisis. https://doi.org/10.1177/2043610621995838 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1714077368703-ILPHPAJ4M2CZEXR7MRNN/Qw%252527an-poster-final-web.jpg Work Assistant Curator to Andrea Naomi Walsh, Ph.D. Associate Professor of Anthropology and Smyth Chair in Arts and Engagement Exhibition Text Qw’an Qw’anakwal: To Come Together This exhibition is a celebration of people. It honours Salish artists, their families, and collaborators who participated in the Visiting Artist Program through the Department of Anthropology at the University of Victoria between 2011 and 2021. The Visiting Artist Program began with an intention to raise knowledge and appreciation for contemporary Salish art within the university’s community on campus. Over 10 years, the visiting Salish artists in this exhibition generously shared their art practice and knowledge with students through the course titled Anthropology of Art. During a 4-6 week long residency each year, a new artist was invited to teach and work with students on a theme of their choice, using media from their practice. Through this engagement, students learned in a hands-on, experiential manner about the histories, methods, protocols, and production of contemporary Salish art. The engagement between artists and students positioned the classroom as a space of social transformation through the sharing of art. Each year of the program the visiting artist received a commission to create a work of art as a legacy of their residency. These art works are now on permanent public display in the Cornett Building on the university’s campus. The title Qw’an Qw’anakwal was chosen by ləkwəŋən artist Yuxwelupton, Bradley Dick (Visiting Artist 2021). The title represents the underlying intention of the Visiting Artist Program: to bring people together through the creation and appreciation of Salish art. In honour of the 10th anniversary of the Visiting Artist Program, participating artists each created new works that reflects their ongoing practice. The portraits that accompany these new works were created for this exhibition by Metis photographer Amanda Laliberte in 2021. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1714019067322-1HG95I2ZD0FLHJN79A19/Picture1.jpg Work - The North From 2019-2021, I worked with the Nisichawayasi Nehetho Culture and Education Authority in Nelson House to create an inventory of museum and archival collections containing Rocky Cree belongings related to the history of the territory for a community-focused education archive and resource centre. Guided by a group of Rocky Cree Knowledge Keepers, this work was undertaken with the aim to increase access to cultural materials and assist with resource development based on local history and knowledge. This work was an incredible opportunity to learn from, and brainstorm with, Knowledge Keepers about what a community archive should, and needs to be. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1662224148415-GQ7Z8CEKDFC2VSETOCL8/Robinson%2C+JC_NOV+22_Image.jpg Work - An Ode Walking... Pandemic or otherwise. How do we locate ourselves in the work we do? How do we create work that is meaningful and impactful? How do we maintain and sustain our research partnerships? How might we, through our work, lift each other up? That is, how might we take care of each other? These are questions that motivate me as a researcher, consultant, and educator. Currently I am letting these questions swim around in my mind for a while, and then I am going to try and catch them, and see if they can help guide the writing of a photo-essay. An abstract I am playing with: Within current the discourses of arts and reconciliation and decolonial praxis circulating across Canada, creative methodologies make room for integrating critical self-reflexive practices while developing new pedagogies of witnessing and humility, all of which are essential when conducting community-engaged research. Through examples, this photo-essay will illustrates how community-engaged advocacy can be fostered through creative, participatory, research collaborations and how the success of these collaborations has developed through sustained relationships, through the building of practices of care, and the taking of time to think with community. This paper will also highlights how Indigenous epistemologies and relational research methods are fundamentally changing polices in museums, art galleries, and universities while emphasizing the responsibilities that Settler scholars, artists, and allies have in Canadian arts and university research to help carry the weight of institutional change. … something like this… https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1714610884407-PIAHXP6F94BI3OFZ9WPA/Huu-ay-aht_AVM%2B2.jpg Work - Treasures Coming Home During 2022-2023, I complied a repatriation report covering the collections at the Alberni Valley Museum on behalf of the Huu-ay-aht First Nations. Members of the Huu-ay-aht Nation are now working closely with the AVM to transfer treasures out from the care of the museum back into the community. These treasures will fine a new home in a cultural centre being built in Anacla, on the traditonal territories of the Huu-ay-aht. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1742777786956-UEI2T8LVY973MR0US12G/Screenshot%2B2025-03-13%2Bat%2B3.42.54%25E2%2580%25AFPM.jpg Work - Visual Stories Lab, Department of Anthropology, University of Victoria The Visual Stories Lab is the creation of Dr. Andrea Walsh whose curatorial community-based projects have been anchored through this space. I joined the VSL in 2012 during the second year of my doctoral program and I remain incredibly grateful for the experiences I have gained learning from, and working with, this collective. Key projects that I have participated in include the Residential and Indian Day School Art Research Program, Qw’an Qw’anakwal: To Come Together, and most recently the exhibition GEORGE CLUTESI: ḥašaḥʔap / ʔaapḥii / ʕac̓ik / ḥaaʔaksuqƛ / ʔiiḥmisʔap. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1744067119691-TSFJY3L02DYC2BKVLR1Y/NTW_2B2.jpg Work - Treaty 8 I have not figured out exactly what I want to say about this work just yet. It has been a big year. So, for now some images. I will say, my heart goes out to all the families and communities across Canada investigating missing loved ones from residential and day schools, and those lost from the ongoing impacts of colonization. I will also say, the North sure is a beautiful place. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1612850847378-5BAFLSGYH02BRUZEJEGD/image-asset.jpeg Work - Visual & Sensory Anthropology, 2nd Year Undergraduate Course Course Description: This course is an introduction to visual, sensory, and creative research methods and knowledge sharing practices in anthropology. This course investigates the earliest uses of film and photography by anthropologists and ethnographers at the turn of the 20th century, the rise of cultural and media studies during the 1960s and 70s, to the development of visual anthropology as a sub-discipline of anthropology in the 1990s. Throughout the course we will examine the production, circulation, and reception of visual culture in forms such as photography, ethnographic films, advertising, comics, art, activism, gallery installations, and museum exhibitions. We will also consider how power and politics have always influenced representations of culture as well as the methodological and ethical issues involved when using visual and sensory research methods. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1487476790007-V6RX5GQVH6NNOEFQ19MB/ed2a7764094270788779f61a6132ff8452d990de_original.jpg Work From 2015-2017 I worked as a Research Assistant on various projects with the Community University Engagement Office at the University of Victoria (formerly The Institute for Studies and Innovation in Community. Working with Dr. Crystal Tremblay part of this work included conducting background research and proposal writing for a project to measure the impact of community university engagement at the University of Victoria—including how the term "impact" is being used in the context of university work and in what capacity community alliances are creating positive change. I also participated in trial focus workshops and created a series of draft examples of possible frameworks that could be used for measuring the impact of projects that incorporate a high level of community university engagement in Canada and how this work can impact the community, university, and other stakeholders. Additionally I worked on a joint article highlighting CUE research alliances conducted through the CUE office published in 2017: Tremblay, Crystal, Spilker, Robin, Nagel, Rhianna, Robinson, Jennifer and Leslie Brown. 2017. “Assessing the Outcomes of Community-University Engagement Networks in a Canadian Context”. Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 3(2): 1-21. doi: https://esj.usask.ca/index.php/esj/article/view/61603 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1418800705842-JY81Q2GRU0O7EDPD599N/Screen+Shot+2014-12-16+at+11.17.07+PM.png Work Archival Theatre the title of my thesis research project I conducted as a component of my MA program in Material and Visual Culture at the University College of London from 2010-2011. Thesis Abstract: This paper debates the role of performance in London at the turn of the 20th century using a collection of archival photographs from London’s National Portrait Gallery. Taken by photographer Cavendish Morton, these images depict a variety of artists and performers associated with London’s artistic community between the years 1900-1930. Performance as it is mobilized through out this paper, is both the topic of historical inquiry and the methodological approach for investigating this history. Through an analysis of the broader social circumstances surrounding the production of these images, performance is illuminated as being an integral mode of cultural exchange in British society in the early twentieth century. The liminal or transitional space created through acts of performance gave entertainers of various genders, ethnicities and class the ability to exert their own agency, manipulate dominant stereotypes and influence British audiences. On space of the stage, the medium of performance had the capability to cross the borders of difference between people, culture and place. As a mode of anthropological inquiry, performance provides a method for conceptualizing the production of these intercultural artistic spaces in the present as well as a unique analytical tool for examining the performative aspects of the practice of photography, archival research and the history-making process. *A version of the thesis was published in the journal Early Popular Visual Culture http://www.tandfonline.com/doi/abs/10.1080/17460654.2015.1092878?journalCode=repv20 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1713310265735-IOH4LR4TE6XFKRD49A6P/P1010848.jpg Work *selected talking moments Conference Presentations 2025 Poster Presentation, Beatriz Scandiuzzi, Bernie Pauly, Jenny Carwright, Aaron Bailey, Sybil Goulet-Stock, Jennifer Robinson. “Cannabis as a Component of Alcohol Harm Reductions Programs: ‘Same goal, different paths’” Issues of Substance, Nov 16-19, 2025, Halifax, NS. 2022 Paper Presentation, Fran Hunt-Jinnouchi, Meaghan Brown, Bernie Pauly, Jennifer, Robinson, and Filip-Metro Anchidim Ani “All in the Family: The Dual Model of Housing Care and the Development of an Indigenized Alcohol Harm Reduction Program.” Canadian Alliance to End Homelessness, November 2-4, 2022, Toronto, ON. 2019 Paper Presentation, Co-presenter Dr. Marion Selfridge, “heART Space: Curating Community Grief from Overdose,” American Anthropological Association Annual Meeting /Canadian Anthropology Society Annual Meetings, November 20-24, 2019, Vancouver, BC. 2019 Paper Presentation, “Creative Conciliations: Reclamation, Relationships, and Arts-based Research,” Action Research Network of the Americas Annual Meeting, June 26-28, 2019, Montreal, QC. 2018 Paper Presentation “(Re)conciliation and the Pedagogy of Witnessing in Canadian Museums and Arts-based Research.” Art, Materiality, and Representation, co-sponsored by the Royal Anthropological Institute, SOAS & the British Museum, June 1-3, 2018, London, UK. 2018 Paper Presentation, “Creative Practices on the Canadian Reconciliation Landscape”, Making Creative Space: Integrating Arts-based Research in Anthropological Practice Symposium, Canadian Anthropology Society Annual Meeting co-sponsored by the Society for Applied Anthropology and the Universidad de Oriente, May 16-20, 2018 Santiago de Cuba, CU. 2017 Paper Presentation, “Canada at 150 Years: Community Stories of Rights and Justice,” Historical Dialogues, Justice, and Memory Network Annual Meeting,December 7-9, 2017, New York City, NY. 2016 Roundtable, “'Uy shkwaluwuns - To Be of a Good Mind and Spirit”:Best Practices for Teaching Coast & Strait Salish History & Culture through BC Museums & Arts Institutions,” Canadian Society for Education through Art/ BC Arts Teachers’ Association, October 20-22 2016, Victoria, BC. 2016 Roundtable, “Thinking through the Museum: Difficult Knowledge in Public,” Association of Critical Heritage Studies, June 3-8 2016, Montreal, QC. 2016 Paper Presentation, “Canadian Museums and the Work of Human Rights,” Society for Applied Anthropology, March 29-April 2 2016, Vancouver, BC. 2016 Paper Presentation, “Creating a Virtual and Visual Exhibition Landscape: Reflections on an Ethnography of Process and Design,” UVIC Currents in Anthropology: A Student Research Conference, March 4, 2016, Victoria, BC. 2015 Paper Presentation, “RIDSAR & Redress: Exhibiting Human Rights in Canada,” British Columbia Museums Association Annual Meeting, October 25-27, 2015, New Westminster, BC. 2015 Paper Presentation, “Human Rights and Canadian Community Museums,” Canadian Anthropology Society Annual Meeting, May 13-16, 2015, Québec City, QC. 2012 Paper Presentation, “Archival Theatre: Place and Performance in Early 20th Century London,” American Anthropological Association Annual Meeting, November 14-18, 2012, San Francisco, CA. Public Talks 2025 Public Presentation, Bernie Pauly, Aaron Bailey, Beatriz Scandiuzzi, Sybil Goulet-Stock, Jenny Carwright, Jennifer Robinson, Tim Stockwell. “Evaluation of Introduction of Cannabis in Managed Alcohol Programs”. CAPE Community of Practice, Canadian Institute of Substance Use Research, University of Victoria, June 25, 2025. Victoria, BC. 2023 Public Presentation, Marilyn Olsen-Page, Ashley Young, Bernie Pauly, Jennifer Robinson, and Meaghan Brown. “Healing and Home: Lessons from Culturally Supportive House”. Aboriginal Coalition to End Homelessness, Department of Nursing & Canadian Institute of Substance Use Research, University of Victoria, June 8, 2023. Victoria, BC. 2022 Public Presentation, Jennifer Robinson, Sybil Goulet-Stock, Meaghan Brown, Tim Stockwell, Bernie Pauly, “We Needed One, and then COVID Happened: Managed Alcohol Programs in the Context of COVID-19”. Knowledge to Action Month, Vancouver Island Health, November 24, 2022, Victoria, BC. 2021 Public Presentation, “Acts of Care & Conciliations: Practice, Policy, and Thinking with Community”. Department of Anthropology Colloquium Series, University of Victoria, November 22nd, 2021, Victoria, BC. 2019 Public Presentation, “Community, Collaboration, Conciliation: Are We Working Together in a Good Way?”. Centre for Research in Young Peoples’ Texts and Cultures/Centre for Research in Cultural Studies, University of Winnipeg, April 3rd, 2019, Winnipeg, MB. 2018 Public Presentation, “(Re)conciliation and the Pedagogy of Witnessing in Canadian Museums and Arts-based Research”. Curating and Public Scholarship Lab, Concordia University, April 27, 2018, Montreal, QC. 2018 Public Presentation, “Little Ripples Make Big Waves": Rights, (Re)conciliation, and Pedagogies of Witnessing in Canada”. Department of Cultural Studies Speakers’ Series, Queen’s University, March 21, 2018, Kingston, ON. 2017 Public Panel, “Creative Acts: Art and Resilience in an Era of Reconciliation”. Legacy Art Gallery, September 30, 2017, Victoria, BC. 2016 Public Presentation, “The Exhibition Landscape of Human Rights in Canada”. Department of Anthropology Colloquium Series, University of Victoria, January 25, 2016, Victoria, BC. 2015 Radio Interview, “Recap of TRC Report Release from Ottawa”. The Drive with Terry Moore, C-FAX 1070, June 2, 2015, Victoria, BC. 2013 Radio Interview, “My Graduate Experience,” Beyond the Jargon, CFUV Radio, University of Victoria, January 21, 2013, Victoria, BC. 2012 Public Presentation, “Archival Theatre: Place and Performance in Early 20th Century London,” Department of Anthropology Colloquium Series, University of Victoria, November 5, 2012, Victoria, BC. 2011 Public Presentation, “Archival Theatre: Place and Performance in Early 20th Century London,” Department Dissertation Presentation Day, Department of Anthropology, University College London, May, 2011, London, UK. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1636159073021-CWM1JE57MGK0YPNVJXIZ/Butterfly%252BBus%252BRide%252B2-14.jpg Work - "Butterfly Busrides" - London, UK Image Copyright JC Robinson 2011 Journal Articles Brown, Meaghan, Hunt-Jinnouchi, Fran., Robinson, Jennifer., Clark, Nancy, Mushquash, Christoper, Milaney, Katerina, and Pauly, Bernie. 2024. “Give me the reigns of taking care of myself with a home”: Healing environments in an Indigenous-led alcohol harm reduction program. Harm Reduction Journal 21, 177. Bailey, Aaron, Harps, Myles, Belcher, Clint, Williams, Henry, Amos, Cecil, Donovan, Brent Sedore, George SOLID Victoria, Graham, Brittany, Goulet-Stock, Sybil, Cartwright, Jenny Robinson, Jennifer, Farrell-Low, Amanda, Willson, Mark, Sutherland, Christy, Stockwell, Tim, and Bernie Pauly. 2023. “Translating the lived experience of illicit drinkers into program guidance for cannabis substitution: Experiences from the Canadian Managed Alcohol Program Study”, International Journal of Drug Policy, 122. Selfridge, Marion, Robinson, Jennifer Claire, and Lisa M. Mitchell. 2021.“heART Space: Curating Community Grief from Overdose”.Global Studies of Childhood Special Issue: Children’s Art in Times of Crisis 11(1):69-90. Robinson, Jennifer Claire. 2019. “Institutional Culture and the Work of Human Rights in Canadian Museums”.Museum Management and Curatorship 34(1):24-39. Tremblay, Crystal, Spilker, Robin, Nagel, Rhianna, Robinson, Jennifer, and Leslie Brown. 2017. “Assessing the Outcomes of Community-University Engagement Networks in a Canadian Context”. Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 3(2):1-21. Robinson, Jennifer Claire. 2016. “Archival Theatre: Place and Performance in Early 20th Century London”. Early Popular Visual Culture 14(1):16-54. Books Hogue, Tarah and Jennifer Claire Robinson. Creative Conciliations. Edited Book Manuscript. Indigenous Curatorial Collective & Wilfrid Laurier University Press (online with ICCA 2026, under contract with WLUP, 2027). Book Chapters Robinson, Jennifer Claire, Walsh, Andrea, with Wastasecoot, Lorilee, and Mark Atleo. 2026. "Why We Gather: Healing, Creativity, and Care in Relation to Children's Art from Indian Residential Schools”. In Creative Conciliations, Edited by Tarah Hogue and Jennifer Claire Robinson. Robinson, Jennifer Claire. 2018. “Coming Undone: Protocols of Emotion in Canadian Human Rights Museology”. In Emotion, Affective Practices, and the Past in the Present, eds. Laurajane Smith, Margaret Wetherell, and Gary Campbell. Routledge Key Issues in Cultural Heritage, pp.150-163. London: Routledge. Reviews & Reflections Robinson, Jennifer Claire. 2021. “On Beaded Ground.”First American Art Magazine Fall 32: 83-84. Robinson, Jennifer Claire. 2020. “Fugitives in the Archives.” Visual Anthropology Review 36(1): 170-177. Robinson, Jennifer Claire. 2018. “Canada 150 and the Art of Reconciliation”,Pryiscence Magazine. Online Essay, January 24th, 2018. Robinson, Jennifer Claire. 2017. The Exhibition Landscape of Human Rights in Canada: An Ethnographic Study into Process and Design. PhD Dissertation. University of Victoria. Wastasecoot, Lorilee and Robinson, Jennifer Claire. 2017. “What Does It Mean to Witness: A Conversation”, There is Truth Here: Creativity and Resilience in Children’s Art from Indian Residential and Indian Day Schools Exhibition Site, Online Essay, September 2017. Robinson, Jennifer Claire. 2017. “The Canadian Oral History Reader”, edited by Kristina R. Llewellyn, Alexander Freund, and Nolan Reilly”. International Journal of Heritage Studies23(7): 675-677. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1551407570919-70E6WYYGWZX1ISJATGA7/Norte6.jpg Work - A View from Calm Air, Northern Manitoba 2018 From 2018-2019, I was a Postdoctoral Fellow with The Six Seasons of the Asiniskow Ithiniwak (Rocky Cree) Social Sciences and Humanities Research Council (SSHRC)-Partnership Project at the University of Winnipeg. Here, I created a platform to evaluate the community-engaged policies the Six Seasons team have developed focused on Rocky Cree language revitalization. During this Fellowship, I also co- developed a position policy paper on Indigenous-University research as part the special call by Canada’s Research Tri-Council for Individual Indigenous Research Capacity and Reconciliation Grants. Through this project, I had the opportunity to work closely with eight Nisichawayasihk Knowledge Keepers to set essential protocols for how research must be conducted in Rocky Cree territory and what constitutes reconciliation and reclamation for communities in northern Manitoba. From 2019-2021, I continued to build relationships in Nelson House, MB as a Research Consultant and Collaborator with the Nisichawayasi Nehetho Culture and Education Authority. Here, I assisted with the creation of an inventory of collections containing Rocky Cree belongings related to the history of the territory for a community archive and educational resource center. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1686626505067-949T2CW3DL9EMRDZHLNW/284077_460528020702250_1176490122_n.jpg Work - "We Are All One" - Alberni Valley Museum 2015 Poster advertising a second Survivor led curatorial project at the Alberni Valley Museum. Since 2012, I have participated as part of a collective of beautiful people including residential and day school Survivors, their families, students, curators, and researchers. Anchored by Dr. Andrea Walsh, in the Visual Stories Lab at the University of Victoria, the basis for our work together has been the repatriation of artwork produced by Indigenous children while in Residential and Day Schools from archives and collections to Survivors, and the building of curatorial, programming, and educational projects that support healing and stories of resilience with Survivors. I have contributed in a number of ways to this work alongside Survivors from the Alberni Indian Residential School (AIRS) and Mackay Residential School Gathering Inc. This project has given me true insight into the possibilities of working collaboratively on research that is first and foremost, for the community of Survivors that have chosen to be involved with this work and who have very much guided the way the research has progressed. I am humbled and honoured to have had the opportunity to be in relation with this community over the last few years and to the many friendships built along the way. This project has been nothing short of life changing. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1771606316288-WF4CRCB3AHN49E46HXF1/1769627957455.jpg Work - The book is alive!! Creative Conciliation with the Indigenous Curatorial Collective is now live :) Creative Conciliations emerges from long-standing dialogue among artists, curators, scholars, knowledge holders, and community members engaged in the ongoing labour of reckoning, reclamation, and restitution through artistic practice. Marking the ten-year anniversary of the Truth and Reconciliation Commission’s Final Report, the publication offers a critical lens on the limitations of institutional reconciliation agendas while making space for the relational and often unruly work of creative conciliation. Through essays, conversations, and artistic gestures, contributors return to past projects, reflect on shared and divergent responsibilities, and foreground methods rooted in friendship, hospitality, embodied memory, and collective process as ways of working across difference—without the promise of resolution. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1690250301352-9XTL0QB5Y2C3H6YG07U3/LongHouse.jpg Work - View from the Esquimalt Longhouse during a community research gathering 2022 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1774063560633-HZCMBQD19KBRMRO1KAIN/EXH46-Clutesi%2BPoster_nocrop_FINAL.jpg Work - Exhibition Poster for the UVIC Legacy Art Gallery https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1418580813995-BCO3R0XN6BRSX2LGIX93/Museum+1.jpg Work - "Canadian Museum for Human Rights". Winnipeg, MB Image Copyright JCRobinson 2014 ***This page served as a place for me to share my doctoral research as it progressed from 2014-2017. During these years, this online space became a place for me to think through what human rights related museological practice might actually look like in Canada. The use of images throughout my research provided me with a critical way to visually conceptualize how various practices, places, and institutions in Canada are both connected to one another, while also informing one another. The visual landscape produced through the lens of a camera and the sensory practice of reflecting on being in place worked together to produce a narrative of human rights curatorial/programming/educational work happening in Canada museums up until, and during, this time. Under each photograph I have added “snip-its” of information describing this project ranging from my project abstract; forms of methodological and theoretical practice I incorporated in my work; major research findings; and a series of random thoughts delivered as auto-ethnographic reflections that surfaced in my mind as I roamed through the various phases of fieldwork, research analysis, and writing contemplation during the duration of my doctorate. Though I added thoughts and photographs sporadically during my degree, my final written dissertation incorporated a photo-essay chapter that was built from the drafts of this space. The essay shared here now, is an edited version from my final dissertation. The Official Project Abstract: As places where multiple cultures, faiths, and artistic practices come together, museums exist as physical sites of intersection. They are at once sites of debate, dialogue, protest, and partnership. This intersection uniquely positions museums as capable of tackling challenging subject matter related to human rights and global justice. Through interviews conducted with heritage professionals from eight different institutions across Canada, this dissertation analyses the curatorial practices, methods of collections research, exhibition design strategies, educational programming, and public outreach initiatives of these institutions as they relate to Canada’s three official national apologies delivered in the House of Commons for: The Japanese Canadian Internment during World War II; the Chinese Head Tax and Exclusions Laws; and Indian Residential Schools. This research considers: (1) how are human rights abuses that have occurred in Canada are presently being defined and displayed in Canadian galleries and exhibition spaces; (2) the nature of collaborations and partnerships involved when designing exhibitions of this nature; and (3) the role of both material culture and survivor testimony in processes of creating human rights exhibitions. As a multi-sited ethnographic study into the process of museological project design, the results of this research provide valuable insights into the challenges faced and the strategies deployed by heritage professionals when working with difficult subject matter. This research finds that emotional experiences factor greatly in processes of project development about challenging subject matter. Working with survivors of trauma is not just about creating a successful exhibition; in the end the exhibition is but one part of the museological process. Museological work of this nature typically involves working directly with survivors of trauma with exhibitions that are driven in development more often by the personal narratives shared by survivors and less so by objects in collections. As such, this strain of museological work comes with the possibility for survivors to heal from past trauma through the sharing of their experiences and this healing is part of the transformative potential of museological work. Additionally, this research strongly indicates that the flexibility of smaller, community-driven institutions where the needs of participants in the project are central to the curation process, stand as strong examples of human rights work produced through the space of the museum. As such partnerships between smaller galleries and larger museums exist as valuable sites of institutional collaboration in Canada. Finally, this research indicates museums are situated as key players in the ongoing development of human rights discourses in Canada. Museums create and contribute to the general public’s legal understandings of rights and justice as produced through the pedagogies of museum practice, and these pedagogies come to educate the public about acts of discrimination, cultural inequality, violence, and genocide that have occurred in Canada. Such contributions position museums as public institutions as valuable to twenty-first century rights-based research in Canada. https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/1418801159693-DSQCIPW2LPXESTNWYWBA/P1030282.JPG Work http://www.ajacketfullofstories.com/about daily 0.75 2026-03-30 https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/07ca17e2-8686-4972-b342-6e4e6caa9f3c/TripleJ.jpg About https://images.squarespace-cdn.com/content/v1/548a6bf4e4b02da9d6a78428/eba82ea0-1a14-48e8-a58e-53df857cd677/Screen+Shot+2021-11-14+at+11.03.36.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference.