Études de cas

Waseskun Healing Center

Justice réparatrice

* For image references, please scroll to the bottom of the page.

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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Études de cas

Vanessa Sicotte

est auteure, conférencière, chroniqueuse et podcasteuse dans les domaines de l'architecture et des arts décoratifs. Elle termine sa maîtrise en histoire de l'art à l'Université Concordia, à Montréal, et détient un baccalauréat en commerce avec une majeure en marketing de la John Molson School of Business. Elle a étudié la psychologie industrielle à Los Angeles, en Californie. Sicotte est l'auteure de deux ouvrages publiés sur le design (2015, 2018) aux éditions Cardinal.

Marcela Torres Molano

est candidate colombienne au doctorat au Département d'histoire de l'art de l'Université Concordia. Elle a une formation en design architectural et en activisme communautaire et détient une maîtrise en bâtiment et design urbain de la Bartlett School of Architecture à Londres, en Angleterre. Ses intérêts se concentrent sur l'art socialement engagé, les mouvements sociaux, l'activisme collaboratif dans des scénarios post-conflit, l'art produit collectivement et l'art produit en relation avec le cadre bâti.

Greg Labrosse

est candidat au doctorat en sciences humaines à l'Université Concordia. Ses recherches portent sur l'agentivité spatiale, l'esthétique sociale, les récits des jeunes et les représentations graphiques de la mémoire urbaine. Il a publié sur la relation entre les enfants, le jeu et l'espace public à Carthagène, en Colombie. Il a également travaillé comme éditeur sur des projets littéraires, dont Territorio Fértil, qui a reçu le prix María Nelly Murillo Hinestroza pour la littérature afro-colombienne.

Dr Ipek Türeli

est professeure agrégé et Chaire de recherche du Canada en architectures de justice spatiale (niveau 2) à l'École d'architecture Peter Guo-hua Fu de l'Université McGill, Montréal, Québec, Canada. Ses intérêts de recherche comprennent le logement à loyer modique et le design participatif, la protestation civile et le design urbain, ainsi que les paysages des campus et la race. Ses publications incluent le livre co-édité, Orienting Istanbul (2010) et le livre (auteure unique), Istanbul Open City (2018).

Dr Cynthia Imogen Hammond

est artiste et professeure d'histoire de l'art à l'Université Concordia. Ses travaux portent sur les femmes et l'histoire du cadre bâti, les paysages urbains, la recherche-création et l'histoire orale. Elle a publié sur l'histoire spatiale du mouvement pour le suffrage des femmes, l'art public, les jardins et les politiques du changement urbain. En plus de ses recherches sur les espaces de justice réparatrice et transitionnelle, elle dirige un projet d'histoire orale sur les mémoires urbaines des montréalais et montréalaises.

Luis C. Sotelo Castro

est un ancien titulaire de la Chaire de recherche du Canada en interprétation de l'histoire orale (2016-2021). Il est professeur agrégé au Département de théâtre de l'Université Concordia et codirecteur du Centre d’histoire orale et de récits numérisés (CHORN) de Concordia. Sa subvention de la Fondation canadienne pour l'innovation en infrastructure lui a permis de créer le Laboratoire d'écoute active (ALLab) en 2018. Basé au CHORN, l'ALLab est un centre de recherche-création de premier plan pour le pouvoir transformateur de l'écoute.