Students walking along the Y-intersection

Tsi Non:we Onkwatonhnhets (Y-Intersection)

About

Over the past three years, the Office of Indigenous Initiatives has worked closely with local Indigenous artists, cultural advisors, consultants, FMAS, and many others to reimagine and redesign the Y-Intersection through a project titled Tsi Non:we Onkwatonhnhets. This initiative seeks to transform the space into a functional gathering place that challenges Western ways of thinking by thoughtfully integrating Indigenous worldviews, art, and culture. It responds directly to Call #26 – Indigeneity in Public Space at . The design draws inspiration from Kanien’kehá:ka history and themes, honouring the land on which is situated.

This meaningful project underscores ’s commitment to respectful and ethical collaboration with Indigenous partners. A collective of Indigenous peoples — including local community members, Elders, cultural advisors, and OII staff — provided guidance throughout the process to ensure the art and installation were carried out in a good way. Tsi Non:we Onkwatonhnhets embodies ’s dedication to uplifting Indigenous artistry, procurement practices, and voices. The project features the work of Alanah Jewell, a Haudenosaunee artist, whose design was informed by the wisdom and early guidance of Phillip White-Cree (Akwesasne).

Alanah Jewell Artist Statement

Artist Alanah Jewell

All In Ceremony: Giving Thanks

At the heart of Tsi Non:we Onkwatonhnhets is Jewell’s artwork, All in Ceremony: Giving Thanks.

This piece is composed of two main elements:

1. The Turtle Shell: A large-scale mosaic embedded in a circular area, embodying the Haudenosaunee Thanksgiving Address.

2. The Eight Benches: Surrounding the Turtle Shell, these benches depict species Indigenous to Kawennó:te Tiohtià:ke (Montréal).

Together, these components express gratitude, pay respect, and advocate for the preservation of Indigenous cultures, ceremonies, languages, and the land we live and work on.

The Turtle Shell

Beginning in the east and moving counter-clockwise — the ceremonial direction used by Haudenosaunee peoples, including the Mohawk, Oneida, Cayuga, Onondaga, Seneca, and Tuscarora — the Turtle Shell features 13 key elements, each representing one of the 13 full moons and the beings acknowledged in the Ohen:ton Karihwatehkwen (Thanksgiving Address). Known as the “Words That Come Before All Else,” this address is spoken in the language to open and close gatherings and ceremonies. It is a spiritual expression of gratitude to the life-sustaining forces of the natural world.

We invite you to engage in your own Ohen:ton Karihwatehkwen — to give thanks to our relatives who provide sustenance, beauty, and abundance. Every moment in our physical life is a ceremony, and we encourage you to always give thanks.

Ohen:ton Karihwatehkwen (Thanksgiving Address)

We put our minds together to give thanks to the People.
Now our minds are one.

We put our minds together to give thanks to Mother Earth.
Now our minds are one.

We put our minds together to give thanks to the Thunderers.
Now our minds are one.

We put our minds together to give thanks to the Four Winds.
Now our minds are one.

We put our minds together to give thanks to the Birds and Trees.
Now our minds are one.

We put our minds together to give thanks to the Animals.
Now our minds are one.

We put our minds together to give thanks to the Medicines.
Now our minds are one.

We put our minds together to give thanks to the Food Plants.
Now our minds are one.

We put our minds together to give thanks to the Plants.
Now our minds are one.

We put our minds together to give thanks to the Fish and Waters.
Now our minds are one.

We put our minds together to give thanks to the Creator.
Now our minds are one.

We put our minds together to give thanks to Grandmother Moon and Stars.
Now our minds are one.

We put our minds together to give thanks to the Elder Brother the Sun.
Now our minds are one.

The Eight Benches

The Eight Benches highlight species Indigenous to Kawennó:te Tiohtià:ke and the surrounding region. The Kanien’kéha (Mohawk) name for Montréal, Kawennó:te Tiohtià:ke, refers to a place “where the people divided” or “an island broken in two.” This land has long held significance for Indigenous peoples and continues to serve as a meeting place for the Haudenosaunee, offering sustenance to our communities.

These species have existed here for thousands of years, each holding a vital role in Creation. However, many have been erased due to colonization. Intensive agriculture, urbanization, and industrial development — including railroads, highways, hydro lines, pollution, bridges, and the St. Lawrence Seaway — have significantly disrupted the natural ecosystem.

Collage of the 8 bench desgins

This territory is home to:

  • Over 700 species of vascular plants, some endangered
  • Over 90 species of trees
  • Over 180 species of birds
  • Over 20 species of mammals
  • Thousands of insect species

The benches serve as a visual reminder of the native species that once thrived here and as a call to respect and protect the natural world. When visiting the benches, we invite you to begin in the east and move clockwise, reflecting on each of the Indigenous species represented.

#1: Eastern screech owl, American ginseng, deer mouse and bloodroot

#2: Great blue heron, fragrant sumac, black swallowtail and bulrushes

#3: Kawennote Tiohtià:ke: Mount Royal

#4: Barn swallow, red squirrel, oak, red maple and blue spotted salamander

#5: Beaver, mayflower, waterlily and wild garlic/leek

#6: Red fox, sensitive fern, brown snake and wild ginger

#7: Kawennote Tiohtià:ke: cormorant and Lachine Rapids

#8: American eel, sturgeon, butternut hickory, marsh marigold and painted turtle

Tsi Non:we Onkwatonhnhets(Y-Intersection) Chronology

2022

July: PLANiT contracted to engage on Call to Action 26 - Indigeneity in Public Spaces

October: Phillip White-Cree contracted to provide concept design

2023

March: Engagement Project Summary Report Presented by PLANiT Consulting

April: Phillip White-Cree design submitted

June: Alanah Jewell invited by OII to collaborate

December: Public tender process for construction issued

2024

January: Alanah Jewell contracted to provide artwork

March – April: OII and artist consultations with community elders

June: Construction begins

July-August: Collaborative artist-OII process to finalize design & artwork

September: Artwork submitted by Alanah Jewell

2025

July: Indigenous Advisory Council discusses and selects name and wording of signage

August: Name and signage wording approved by Provost

September: Construction completed

October: Opening Ceremony

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