The Beadwork of Maggie Stewart A Journey of Reconnection Through Art - theHumm October 2024
The Beadwork of Maggie Stewart A Journey of Reconnection Through Art - theHumm October 2024
By Kimberly Lulashnyk
Maggie Stewart’s life and art have been shaped by her deep connection to her Indigenous roots. Growing up in Kashechewan First Nations, she was immersed in a community rich with tradition, culture and the arts. From a young age, Stewart was introduced to beadwork by her aunties, mother, and kookum (grandmother). This early exposure to Indigenous crafts instilled in her artistic skills and the importance of preserving her heritage. “Every bead, every stitch carried a story,” Stewart recalls, reflecting on how these practices helped her honour her cultural identity.
However, Stewart’s life took a turn in 2000 when she moved to Newboro, Ontario, after marrying an artist and teacher. While raising two children, she began to feel disconnected from her roots. She missed the familiar sights and sounds of Kashechewan, family closeness, and the cultural traditions she had grown up with. In response, she turned to her craft — beadwork, moccasin-making, and mitten-making — to stay connected to her heritage. These crafts became a bridge to the past, helping her express her Indigenous identity even while far from home.
Despite participating in local shows and fairs, Stewart often felt isolated in her identity as an Indigenous artist. It wasn’t until she began selling her work at powwows that she felt connected again. Powwows offered more than just a place to showcase her art — they became spaces to share stories, celebrate traditions, and reconnect with her people. For Stewart, these experiences reaffirmed that her art wasn’t just about creating objects — it was about finding a more profound sense of belonging.
In 2020, Stewart had a chance encounter that would profoundly change the direction of her work. She met Molly, a child of the Sixties Scoop, a painful chapter in Canadian history where Indigenous children were separated from their families and culture. Searching for a way to reconnect with her heritage, Molly found herself on a shared path with Stewart. Together they worked on beadwork, moccasin, and mitten-making, transforming their collaboration into a healing journey. Each stitch became a way for Molly to reconnect with her lost culture, and for Stewart, it became clear how powerful traditional arts could be in helping others heal.
This experience inspired Stewart to broaden her mission. She envisioned creating a space where displaced Indigenous women could come together to learn traditional crafts and rediscover their roots, just as Molly had. Although the project is still in its early stages, Stewart is committed to helping other women heal through the same arts that shaped her own journey.
Today, Maggie Stewart continues her work through a weekly beading group session in Portland, Ontario, and the creation of the Three Sisters Market. She also gives workshops at venues like Stone Manor Studios and Poplars Resort. Her upcoming sessions in October and November include beaded jewellery-making, beaded hide notions bags, beading on the loom, hide mitten-making and beaded moccasin-making in Newboro at Stone Manor Studios. These workshops allow participants to create beautiful items and engage with the cultural significance behind each craft.
Stewart’s workshops aren’t only for Indigenous people; they also offer non-Indigenous participants the opportunity to appreciate and respect the traditions she’s dedicated to preserving. She is building bridges of understanding and openness through her teaching, fostering a space where shared experiences in art lead to meaningful connections. The hands-on nature of her workshops allows non-Indigenous participants to immerse themselves in the beauty and symbolism of traditional crafts, offering them a way to engage deeply with Indigenous culture.
In this way, Stewart’s art becomes a tool for strengthening community and fostering a better society. By sharing her work’s cultural and historical context, she creates moments of mutual learning and respect. Her workshops become small but powerful examples of how art can help create empathy, build stronger communities, and inspire openness across different cultures. Stewart’s ultimate goal is to foster a space where Indigenous people and allies alike can reconnect with tradition, heal, and grow together through the transformative power of art.
I recently had the opportunity to ask Maggie more about her journey. Here’s what she shared with me:
Kim Lulashnyk: When did you begin beading?
Maggie Stewart: The earliest I could remember beading was when I went to see my kookum. She would wait for her grandchildren to come along. She always had a pile of beads ready for someone to come by. When I was five years old, she got me stringing her beads to make a braid or something. She would make me a cup of tea, and I would string the beads.
What role did your community play in shaping your passion for beading, and how has that connection influenced your artistic journey?
Oh, up North, everybody was beading. They’ve been beading forever. I think I really got into it because of my Aunt Scotty (she was my favourite Auntie). I would see her when she was beading, and she was having fun doing it, so I decided to sit with her. You know, she’s gone now, but I think of her all the time.
What was it like for you to move south to Newboro with your young family?
When I moved to Newboro (it was such a long trip) I felt for a long, long time that there was no one here to talk to. It took me twenty years to find an Indigenous woman around the area! I really missed home, and when I went home, I realized how much I missed the food! That’s what I miss. I miss the fish. The bannock. The moose meat and the rabbit. When I came to Newboro, I had to try all kinds of things I never tried before. It was hard in the beginning.
Did you start a beading practice when you arrived in Newboro?
No, I didn’t. I raised the kids, and I worked as an archaeological technician with my husband Ted. I beaded at home, and I taught my daughter how to bead. Once in a while I would take my beads with me on a dig and work during breaks, but only as a professional later. I worked in archaeology for about twelve years.
Can you share more about your time with Molly, what happened during that period, and how it continues to impact you today?
I met Molly five years ago. I didn’t know anything about her, and I didn’t really know anything about the children caught up in the Sixties Scoop. I just heard about it here and there. But when I first met her, what struck me was everything she had gone through. She lost all her culture, you know? She was taken away and grew up in a white family. She was happy, yeah, but there was something missing — she was missing her. She was missing her own identity. I’m Northern Cree, and she’s from Saskatchewan and is Cree as well. But we are still different. She wanted to learn, and I wanted to teach her. That’s how we connected. I think she was searching for more of herself, and I’m so glad I met her. She’s like a sister to me now. I started something for her, with her, and it’s growing. Molly wants to learn everything — making things, reconnecting with her culture. We’ve made mittens, earrings, porcupine quillwork. The more she learns, the more she wants to know. And the more she wants to learn, the more I want to teach her. And there are other women too. Now I know six other Indigenous women and I want to meet more. We bead and make things once a week in Portland, and we have non-Indigenous women who want to learn too. We meet every Wednesday in Portland at 5 o’clock if anybody wants to come and join us.
You also started an Indigenous woman’s market called the Three Sisters Market, which sprung out of the group you created.
It actually all started during our beading group sessions. We all agreed to do it, and an Indigenous woman made up a beautiful banner for us, with three Indigenous women in ribbon skirts, and now we sell our work along with other vendors who join in. I’ve been thinking about making my bannock to sell, so the other women can sell their jewellery and hide goods. We do this every Saturday in Portland from 9am to noon — so come out and visit us! It’s a great time and it has been good to do something else for the Indigenous women in the area.
How did raising your children Lee and Heather influence their paths as artists, and what role did creativity play in your family life?
Yes, my son, he’s a painter, used to do graffiti in Ottawa — that’s where he went to school, but he’s not doing that anymore. He does his oil paintings and shows at galleries in and around Kingston and he works with Indigenous themes. His work is very sought after. And my daughter, she lives in Peterborough now. She has three boys and she’s doing her beading too. I started teaching her when she was five years old, back when we lived up north. We’d bead together, something simple to start with since she was so young, but now she’s really come into her own with it. She’s doing so well. She only sells her work at powwows or online through her Etsy store. She’s got that all set up now and sells to people all over the world.
What upcoming projects or initiatives are you most excited about in your work as a teacher and cultural leader?
I’ve got some work coming up teaching moccasin and mitten-making, as well as beading and beading on the loom, and I can’t wait to get started. I’ve got everything ready — just need to get going. I’m excited to meet new people, share something new with them. It’s going to be fun.
When I’m teaching, whether it’s Indigenous or non-Indigenous people, it’s like we’re halfway through the journey together. I can see it in their faces — how happy they get when they finish their piece. It makes me happy, too. Seeing them complete their work, whatever it is, and that joy they feel, it makes me feel good inside. It’s something special to be part of that.
Information about Maggie’s upcoming workshops on hide mittens, moccasins, and jewellery using traditional materials and techniques can be found at stonemanorstudios.ca . Heather Stewart is on Instagram, and you can find her store at etsy.com/market/sweetgrass_by_heather_stewart . You can see Lee Stewart’s work at studio22.ca/artist/lee-stewart , and find Ted Stewart’s art at facebook.com/p/Ted-Stewart-Art
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Hey, you up there! Yes, you, reading this article! I’m glad you’re here, ’cause I have some exciting news.
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By Kimberly Lulashnyk
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Apr 25 Tay Valley Community Choir 20th Anniversary Concert
Apr 26 Festival of the Maples
Apr 26 Walk to Honour Dr. Sean Egan
Apr 26 - 27 Ten Collective Art Show
May 1 Ron Leary
May 2 Fine Art Exhibition
May 3 - 4 Fine Art Exhibition
May 3 Tracy O'Flaherty Psychic Medium
May 4 LAM Literary Arts Mag Fundraiser
May 8 Garrett Mason
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- An Interview with Poet Dagne Forrest Part of the Inaugural Lanark Lit Festival of Writing
- ADHS’s Harry Potter and the Cursed Child
- Basic Income A Pathway to Help End the Cycle of Intimate Partner Violence
- Celebration of Indigenous Cultural Fourth Annual Fair and Fundraiser for Art for Aid
