Alan Syliboy’s artistic journey is a tribute to the power of cultural reclamation and creative evolution. Growing up in Millbrook First Nation, a Mi’kmaw community near Halifax, he initially viewed Indigenous art as a singular, indistinct form. However, through private mentorship with Shirley Bear and personal exploration, he found inspiration in Mi’kmaw petroglyph traditions, developing a unique artistic vocabulary that would define his distinctive style. In the early 1970s, he also attended the Nova Scotia College of Art and Design, where, 25 years later, he would be invited to sit on the Board of Governors.

Since emerging onto the local art scene in the 1980s, Syliboy has played a pivotal role, blending traditional symbols with contemporary expression. His work has brought Mi’kmaw petroglyph imagery into the mainstream as a point of community pride. Beyond acrylic painting on canvas, his creativity spans multiple disciplines, including music, literature, animation, public sculpture, and painting drums. His range of artistic expression reflects a deep commitment to bringing Mi’kmaw culture to the forefront. With such a diverse body of work, it is an honor to spotlight even one aspect of his artistic expression: his drum painting.

Alan remembers the first time he painted a drum. His grandfather handed it to him and asked him to add something to it. “My grandfather asked me to paint on his drum when I was really young, and I did,” he recalls. “Occasionally, drums would come by, and I would paint them.” At the time, it was just something he did when the opportunity came up. However, sourcing and selling drums presented logistical challenges. “You had to go buy a drum and then paint it, but you couldn’t sell it for as much as a painting,” he explains. “Financially, it really wasn’t a factor initially.”

The availability of drums was inconsistent, with no wholesale suppliers. Alan describes this early period as “haphazard.” It wasn’t until he embraced social media, particularly Facebook, that his work on drums gained momentum. With the help of an assistant, he launched the Daily Drum series, initially as a one-week experiment. He recalls a protest of people asking ‘Where’s the morning drum or the daily drum?” It kind of invented itself. And now, it’s a major monster.” The Daily Drum has now been running for ten years, having become a major project in Alan’s life.

Alan sees painting as an ongoing journey of exploration. “Any painting for me is always an adventure,” he says. While certain themes recur, he constantly seeks new avenues to express them. His drum paintings vary from traditional motifs like moose to abstract compositions, ensuring that each piece retains energy and meaning. Alan said “We want to keep the energy in the drums, so that’s what we’re trying to do every day. And then of course the message also comes with the drum. And that’s also a major factor in it. The drum is the messenger and then we have a message that goes with that drum every day.” Messages accompanying his drums range from cultural storytelling to social issues. “We do messages like the Red Dress drum for Missing and Murdered Indigenous Women (MMIW),” he explains. With each drum comes a different message being delivered and shared.

Alan has devoted himself to making his work authentically Mi’kmaw. He studied the Maliseet and the Passamaquoddy motifs because they’re close cousins to Mi’kmaw ones. While there are similarities, he sought to define a distinctly authentic Mi’kmaw style that’s recognizable, and that is always the goal. His work incorporates traditional double-curve designs and petroglyph-inspired imagery, preserving and reclaiming cultural heritage through art across his many disciplines.

Social media has allowed Alan to connect with a much broader audience, particularly within Indigenous communities. “Early in my career, I was known outside my community but not within it,” he reflects. “Now, through social media, I can communicate directly with Mi’kmaq people.” This digital presence has reinforced the impact of his work. “I get feedback from Mi’kmaq people themselves…so I know that we’re successful in what we’re trying to achieve.”

At the upcoming Inspired by Nature Gala Alan will be joining in the celebration of the Nature Trust’s 30th anniversary of protecting nature by live painting a drum at the event. He says about his process of live painting, “I usually am discovering it as I’m painting it and that’s kind of how I like it…I just let the painting evolve, and that’s just the way I work.”

The drum he will be painting at the gala will be centered on a nature theme, and like all of Alan’s work it will emerge through his process that evening. We look forward to the art that he will create during the event and share with the audience in attendance.

Alan’s work demonstrates the power of art as a tool for cultural expression, storytelling, and activism. His dedication to Mi’kmaw traditions is evident across his many projects, from painting, sculpting, animation, and publishing books to performing with The Thundermakers, an award-winning Indigenous rock and spoken word group. By highlighting his drum painting here today, we recognize just one part of his vast creative legacy—one that will undoubtedly continue to shape and influence the artistic landscape for years to come.

We will be celebrating our 30th Anniversary at our upcoming Inspired By Nature Gala, happening on April 16th, 2025. Join us for an unforgettable evening of immersive experiences, wild wonder, art, music, food, and to see Alan Syliboy live paint a drum that will be auctioned at the end of the evening. Together, let’s ensure that our province’s beauty and biodiversity are preserved for generations to come. Get your tickets today!