CASOS DE ESTUDIO

Waseskun Healing Center

JUSTICIA RESTAURATIVA

* Para referencias de imágenes, desplácese hasta la parte inferior de la página.

Author of case study: Vanessa Sicotte

Geopolitical location of space:
1 Rue Waseskun
Saint-Alphonse-Rodriguez, QC, J0K 1W0

Extant? Yes.

Architect:
Original architect unknown

Timeframe RJ/TJ process in this space:

The Waseskun Healing Center, established in 1988, is a non-profit private Healing Lodge contracting with Correctional Service of Canada (CSC) for the rehabilitation of Indigenous men coming out of the penitentiary system or who are on some form of conditional release to the community.

Background information:

The Waseskun Healing Center is located in St-Alphonse-de-Rodriguez, about one hour from Montréal, in the foothills of the Laurentian mountain range, and has been operating there since 1999. According to its website, the centre works closely with different Indigenous communities from across Canada, including the northern regions. The centre offers French and English holistic teachings. These focus on each offender’s physical, emotional, mental, and spiritual health, in order to help them regain balance in their lives. The number of residents in 2018 was 35.

Waseskun is a Cree word referring to that time just after a storm, when the dark clouds begin to part, the blue sky appears, and the first rays of sunlight shine through.

Is restorative justice actually taking place in this space?

Yes. Healing practices are facilitated in different buildings and outdoor spaces of the site. They are open to both men and women.

Is this space designed/arranged for safe listening?

The centre’s spaces are arranged to be conducive to healing, in accordance with Indigenous traditions, and with the guidance of community Elders.

Who is the audience/the intended participants for this space?

Residents must be eighteen years of age or older. Residents come from many different First Nations, Inuit, and Métis communities and occasionally a non-Indigenous person will be accepted. There are no cultural requirements for acceptance to Waseskun. However, the candidate must understand holistic healing and spirituality and accept that this is the way healing is done at Waseskun. The most important requirement is that a candidate has a sincere motivation to change his life. He must be willing to accept a long-term treatment plan, for a minimum of six months, and accept that Waseskun is a violence, alcohol and drug free community.

How or to what extent is this space public?

This site is under the jurisdiction of the Correctional Service of Canada and therefore is designated as institutional.

Physical/factual description of space:

The site has four buildings. The main building houses the entrance/security station where visitors and staff check in each day. The main building also houses the kitchen, the dining room where the walls are covered in murals painted by former residents, and the group room with couches lining the walls where community circles are held and visitors are welcomed. The main house, which came with the property when it was purchased in 1998, displays characteristics common to Québec constructions: sloped roof, covered entrance, and windows on all sides.

The other three buildings form a line near the back of the property. One of the buildings houses the staff offices, warrior room and program room. The other two are resident buildings and each resident has a single room with a window, single bed, desk and reading chair. Two or three single rooms will share a bathroom. Residents can have a TV, computer or video game console in their room.

The grounds have wide open grass fields, hills and stands of cedar. Around the fence are forests of pine trees which makes it feel like one is in the woods. A tipi and a sweat lodge stand year round beside the fire pit.

Healing rooms:

The healing rooms are both indoor and outdoor, where healing circles and practices take place. The main room of the central building is painted a neutral sand colour with the addition of a large circular mural featuring an eagle and bear. Numerous couches and upholstered chairs are available within the space, as well as different bookcases, drums, dreamcatchers, tabletop carved totems and statuary. On the floor, in the center of the room is an assortment of objects used in healing sessions including smudging.

Analytical description of space:

The centre’s programs follow a community-based and holistic healing philosophy that incorporates both Western and traditional therapeutic approaches. The centre strongly encourages Indigenous communities to participate in the healing journey and reintegration of their members. Some of the services provided include:

  • intensive residential therapy
  • group programs
  • vocational training
  • supervision and follow-up support
  • intensive personal development sessions
  • training for communities in prevention and intervention

Waseskun’s overall aim is to empower residents to accept responsibility for their own actions and understand the consequences they have created for themselves, their victims, families and communities. The Waseya Holistic Healing Program uses a variety of methods aimed at producing changes in negative lifestyle patterns and enhancing residents’ self-esteem and self-concept as an Indigenous person. This healing process encourages and empowers residents to regain their cultural identity, reconnect with traditional values, learn to lead healthy lifestyles and develop new skills and tools to help them reach their full potential.

As a multicultural community, Waseskun supports residents from a diverse range of Indigenous backgrounds. As a result, residents often learn from each other and openly share their diverse talents. Recent learning opportunities have included drum making workshops, soap stone carving, hide production, traditional cooking, beading, woodwork and clothing production. The diverse opportunities available allow residents to connect with not only their own culture but also the culture of others.

Bibliographic references:
  • Bell, Shawn, and Canada. The History, Lessons and Observations of Waseskun Healing Center: A Successful Therapeutic Healing Community. Aboriginal Peoples Collection, Apc 28 Ca (2008). Ottawa, Ont.: Public Safety Canada. ISBN No.: 978-0-662-05831-1
  • Correctional Service Canada. “Waseskun Healing Center.” CSC website, 5 Sep. 2019, https://www.csc-scc.gc.ca/002/003/002003-2002-en.shtml#8. Accessed 25 Jan. 2021.
  • Midbo, Nikolas. “Waseskun: A Path Towards Healing.” Waseskun Newsletter, Winter 2019/2020: 11.
  • National Film Board/Office National du Film. “Waseskun, Documentaire-choc dans un Centre de Détention Autochtone du Québec.” ONF/NFB, 29 Sep. 2016, https://ici.radio-canada.ca/nouvelle/805765/documentaire-cinema-autochtone-waseskun. Accessed 25 Jan. 25, 2021.
  • Waseskun Healing Center. “About Us.” Waseskun Healing Center websitehttps://waseskun.net/about/. Accessed 25 Jan. 2021.
Image references:
  • 1. “Waseskun Healing Center, outdoor community event.” Waseskun Healing Center websitehttps://waseskun.net/. Accessed 25 Jan. 2021.
  • 2. “Waseskun Healing Center, garden.” Waseskun Healing Center websitehttps://waseskun.net/. Accessed 25 Jan. 2021.
  • 3. “Waseskun Healing Center, sweat lodge.” Waseskun Healing Center websitehttps://waseskun.net/. Accessed 25 Jan. 2021.
  • 4. “Waseskun Healing Center, circle room.” Waseskun Healing Center websitehttps://waseskun.net/. Accessed 25 Jan. 2021.
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Casos de estudio

Vanessa Sicotte

es autora, conferencista, columnista y podcaster en los campos de la arquitectura y las artes decorativas. Obtuvo su un pregrado en Comercio con especialización en Marketing de la Escuela de Negocios John Molson y actualmente se encuentra realizando su maestría en Historia del Arte en la Universidad de Concordia, Montreal. Además, estudió Psicología Industrial en Los Ángeles, California y es autora de dos libros sobre diseño (2015, 2018) publicados por Les Éditions Cardinal.

Marcela Torres Molano

es colombiana, candidata a doctorado en el Departamento de Historia del Arte de la Universidad Concordia. Tiene experiencia en diseño arquitectónico y activismo comunitario y es maestra en Construcción y Diseño Urbano de la Escuela de Arquitectura Bartlett, Londres, Inglaterra. Sus intereses se centran en el arte y movimientos sociales, el activismo colaborativo en escenarios de posconflicto, el arte colectivo y el arte producido en relación con el entorno construido.

Greg Labrosse

es candidato a doctorado en Humanidades de la Universidad de Concordia, enfocado en la agencia espacial, la estética social, las narrativas juveniles y las representaciones gráficas de la memoria urbana. Ha publicado sobre la relación entre los niños, el juego y el espacio público en Cartagena, Colombia. También ha trabajado como editor en proyectos literarios, entre ellos Territorio Fértil, que recibió el premio María Nelly Murillo Hinestroza de literatura afrocolombiana.

Dr Ipek Türeli

es profesora asociada y Catedrática de investigación de Canadá para la arquitectura de espacios de Justicia (Tier 2) en la Escuela de arquitectura Peter Guo-hua Fu de la Universidad de McGill University, Montréal, Canada. Se enfoca en la investigación de viviendas en entornos de bajos ingresos, diseño participativo, protesta civil, diseño urbano y paisajes y razas. Sus publicaciones incluyen el libro co-editado, Orienting Istanbul (2010) y el libro individual, Istanbul Open City (2018).

Dr Cynthia Imogen Hammond

es una artista profesora asociada y Catedrática de investigación de Canadá para la arquitectura de espacios de Justicia (Tier 2) en la Escuela de arquitectura Peter Guo-hua Fu de la Universidad de McGill University, Montréal, Canada. Se enfoca en la investigación de viviendas en entornos de bajos ingresos, diseño participativo, protesta civil, diseño urbano y paisajes y razas. Sus publicaciones incluyen el libro co-editado, Orienting Istanbul (2010) y el libro individual, Istanbul Open City (2018).

Luis C. Sotelo Castro

es el antiguo catedrático de Canadá en Historia Oral y performance (2016-2021), es profesor asociado al departamento de Teatro de la Universidad de Concordia y es codirector del Centro de Historia Oral e Historia digital (COHDS). Por medio de la financiación de Canada Foundation for Innovation, creo en 2018 el Laboratorio de actos de escucha , un centro líder de investigación y creación para el poder transformador de escuchar.