One of the best ways to admire regalia is to attend a pow wow, a unique gathering where everyone can come and immerse themselves in Indigenous cultures and dances. Photographer Roland Lorente and his partner Aline Saffore have visited some twenty of them in recent years, conducting research for their exhibition REGALIA: Indigenous Pride.
“Halfway between the artistic work and the sacred garment, regalia is a means of expression for the dancers who decorate the piece themselves according to what they wish to manifest,” says Aline Saffore. “Some choose to include symbols to represent their Nation, such as strawberries among the Kanien'kehá:ka (Mohawks) or flowers among the Atikamekw, but regalia can also feature more personal details.”
As such, regalia is very revealing of the culture and identity of its owner. Often inspired by a dream or vision, each piece is unique and created specially for and by the person who will wear it. It can also be adapted according to the type of dance its wearer will be performing. The elements used to make it are meticulously selected, from the fabric to the motifs and accessories. It is then enhanced, refined, and modified throughout its life to recount in detail and colour parts of its past, present, and future.
Most of the time, regalia is made by the person who wears it, or by a loved one. It symbolizes the importance of the sacred bond between ancestors, family members, and the community. Making regalia is therefore a highly spiritual activity, which testifies to traditional know-how transmitted from generation to generation. The various craft techniques, such as the art of beading, embroidery, and leather work, are often learned from an early age.
The regalia of Wolastoqiyik (Maliseet) dancer Ivanie Aubin-Malo, for example, represents the connection she had with her mentor. The dress, tights, breastplate, and shawl in her outfit were made by designer Tyler Alan Jacobs, but Ivanie made the rest of her outfit herself, painstakingly covering it with beads and sewing moccasins. These tedious steps taught her the patience she needed before she was ready to dance. Out of respect for the colossal work that goes into making the piece, and for the sanctity of the garment itself, no one other than its owner is allowed to touch it, unless authorized to do so. “The dancers are very open to telling the story of their regalia, but you have to ask them with respect,” says Saffore.