Showing posts with label Manitoba Museum. Show all posts
Showing posts with label Manitoba Museum. Show all posts

1 March 2021

LAND ACKNOWLEDGEMENTS: MEANING AND ACTION

 Breaking the Glass Case | Chantelle Perreault


I have lived in Canada all of my life – in big cities like Toronto and Ottawa, and in suburban towns like Whitby, Ontario – and in all of these instances, I have been culpable of knowing far too little about the Indigenous history of the land I was occupying.

Kanyon Sayers-Roods, a Mutsun Ohlone activist, affirms that "there have always been Indigenous peoples in the spaces we call home, and there always will be". All land in Canada, from coast to coast to coast, has Indigenous connections, and the increasing practice of Land Acknowledgments provides an opportunity for settlers to gain an introductory understanding about past and present Indigenous relationships to this territory. While the practice of acknowledging connections to both the land and the people who reside on it is not new – this has been a tradition amongst many Indigenous cultures long before the arrival of European settlers, and Karyn Recollet, an urban-Cree professor at the University of Toronto, describes it as “an ancient practice that flows into the future” – today, organisations and individuals alike are engaging in the practice of crafting Land Acknowledgements more frequently.

Land Acknowledgments – intentional statements that recognise the relationships between Indigenous people and their traditional land – act to remind settlers of a place’s Indigenous history and the continued presence of Indigenous people in that place today, and encourage settlers to understand how they have come to live on this land, explains Indigenous U of T. You may have heard a Land Acknowledgement spoken aloud at an event, or read one in a syllabus at school. Museums and heritage institutions, in an effort to reconcile their own colonial roots, are also increasingly turning towards the use of Land Acknowledgements.

The process of creating the Land Acknowledgment and the content included in the statement are equally important aspects of the practice. The Native Governance Centre explains that, as a settler, it is essential to begin with self-reflection and an understanding of the goals of Land Acknowledgements — specific goals can differ depending on the institution, but should include the empowerment of Indigenous voices and a commitment to ongoing action. Before beginning, knowledge of the land you are occupying and the Indigenous groups that reside there (historically and presently) is crucial, and this will require research and time. Anishinaabe academic Sheila Cote-Meek also emphasises the importance of connecting with Indigenous people of the territory when possible (and with proper compensation for labour).

The language of Land Acknowledgments is significant: the use of present tense rather than historical references to Indigenous communities reiterates that Indigenous people continue to live on this territory today — colonialism is an ongoing process. 

Land Acknowledgement from the website of the Royal Ontario Museum

Similarly, when Land Acknowledgments are read aloud, accurate pronunciation is required: Emily Riddle of Alexander First Nation in Treaty 6 territory explains that mispronunciation indicates “a lack of effort and consideration” by the organisation. An emphasis on correct pronunciation can be encouraged by including a pronunciation guide, as seen in the City of Toronto’s official Land Acknowledgement.

Pronunciation guide from the City of Toronto's Land Acknowledgment webpage

Land Acknowledgements should also be accompanied by further action – these statements are not made to "check a box", but stem from a commitment to empower Indigenous voices. The Manitoba Museum, following their Land Acknowledgement, lists a series of further commitments towards reconciliation, such as developing collaborative relationships with Indigenous communities and partnering with local communities to share more Indigenous stories. This transparency encourages accountability and makes clear to the museum’s audience that they are committed to specific goals when it comes to reconciliation.

We Are All Treaty People, exhibit at the Manitoba Museum. (Image: manitobamuseum.ca)

Museums often have a colonial past to reckon with, and have a responsibility to understand their connection to the physical land that they occupy. Anishinaabe writer and educator Hayden King reminds us that Land Acknowledgements are not done to validate Canadian presence on the land, but rather to empower and uplift the voices of Indigenous people. At a time where Land Acknowledgements are becoming increasingly common, and can sometimes seem redundant or meaningless, museums have an obligation to reflect on the purposes of these statements, and how they will impact museum practices going forward.

31 July 2019

CURATORIAL DREAMING: A MUSEUM QUEERIES WORKSHOP



This past week, I was lucky enough to be able to go to Winnipeg for a workshop organized by the University of Winnipeg based Museum Queeries. Museum Queeries describes itself as an “interdisciplinary research project” with the aim to “challenge normative formations including white privilege, racism, and settler colonialism, among other systems of oppression, as they operate alongside and with transphobia and homophobia.” As a matter of transparency, it is important to note that the University of Winnipeg covered my travel expenses to help me be a part of the workshop. CORRECTION: It was Museum Queeries who paid for my expenses, not the University of Winnipeg.
Some members of Museum Queeries looking out at the Nonsuch in the Manitoba Museum. Photo courtesy of Lauren Bosc.

The workshop was based upon the “Curatorial Dreaming” model put forward by Shelley Ruth Butler and Erica Lehrer. The concept says that, while academics are quick to criticize an exhibition, it is often a lot more difficult to propose solutions. Therefore, it proposes dreaming imaginary exhibitions. As part of this workshop, the group visited both the Canadian Museum for Human Rights and the Manitoba Museum. We would then discuss ways that the labels, displays and exhibitions could be queeried.
Museum Queeries members on the Pride Tour, at the "Taking the Cake" exhibit on gay marriage. Photo courtesy of Amelia Smith.

The two museums differed greatly from each other. At the CMHR, we went on their Pride Tour, a specifically LGBT focused tour offered usually only during Pride Month. The tour brought out queer stories that were scattered around the museum. As a piece of programming, it is a fantastic alternative to the usual curatorial decisions regarding queer content, but at only 75 minutes, the choices made as to what not to include are telling (the lack of any discussion on the Toronto Bathhouse Raids especially so).

Whereas the CMHR had some, at times problematic, queer content, the Manitoba Museum had none. The Manitoba Museum is a more traditional encyclopedic museum that tells the history of Manitoba. This ranges from the environment of the province, to the many Indigenous groups that lived there, to the colonial activities such as the fur trade. Unfortunately, aside from some camp labels, there was nothing that spoke to the queer history of Manitoba.
Members of Museum Queeries at the Manitoba Museum being shown pelts and animal remains. Photo courtesy of Lauren Bosc.


The different approaches to queer content between the two institutions created equally different discussions on how to queery them. For the CMHR, the discussions centred around reworking what was already there, adapting the framework that already existed. This took the form of focusing upon labels and sometimes adding new dimensions to the exhibits that were not already there. This proved to be challenging in places, as the limitations of labels often hampered the amount of information that could be included.
The results of the discussions that came out of the CMHR visit. Photo courtesy of Amelia Smith.



The lack of content with the Manitoba Museum allowed for more flexibility in imagining a more queer museum. By having nothing, the museum unknowingly allowed us to focus on reshaping what content already existed. As a result, the discussions were much more diverse in the topics they touched on. One topic that was particularly interesting was the imagining of a brothel in the reconstruction of 1920s Winnipeg. This would have provided a look into the world of sex work in the 1920s as well as a conversation around how the police violence that the sex workers were frequently exposed to. This was but one of the reimaginings that participants created out of the Manitoba Museum.
The results of the discussions after the Manitoba Museum. Photo courtesy of Amelia Smith.


The workshop, in my opinion, was a success. It challenged us to think in new ways about the exhibitions and displays that we saw. The discussions that arose out of the museum visits provided unique insights into curatorial process. It also offered an opportunity to apply a critical queer lens to museums that usually are overlooked.
The members of Museum Queeries in the entrance to the Manitoba Museum. Photo courtesy of Lauren Bosc.


I would like to express my sincere thanks to Angela Failler, Heather Milne, Lauren Bosc and Nicole Ritchie for organizing the workshop and for helping me to get out to Winnipeg for it. Had it not been for them, I would not have had the opportunity to experience the workshop and hear from others interested in queering museums.