For years on end, the Amazon rainforest in Southern America has been experiencing seriously drastic changes with the arrival of deforestation processes to accommodate agricultural projects and industrial measures; which have ultimately put a massive threat to not only the hundreds of different species of animals and plants that make up the forest, but also the 7,000 indigenous people who call the Amazon Basin home and have done so for over 11,000 years (as reported by a pamphlet from the Museum of Anthropology at UBC). Unfortunately, the Indigenous peoples of South America have struggled to keep their territory, and have been continually attacked, and even murdered for attempting to protect their land. Their history is somewhat silent and in constant danger, and fortunately exhibits like the “Amazonia: Rights of Nature” at the Museum of Anthropology sheds light on the lives, practices, environmental impacts, and culture of the Amazonian indigenous peoples by providing a series of cultural artifacts and displays for the public to enjoy. In this blog post, I will be conducting a critical analysis of the mandate of the Amazonian exhibit, and how it constructs its knowledge by providing and explaining primary materials.
In the Amazonia exhibit at the Museum of Anthropology, the way in which primary objects and infographics are displayed suggests that the museum is attempting to fulfill a social philosophy known in Spanish as “buen vivir” which translates as a concept with “a holistic approach to development that intertwines notions of unity, equality, dignity, reciprocity, social and gender equality.” In doing so, the exhibit reports its hope (in a pamphlet available in the museum) to educate the public by “draw[ing] attention to the current state of imbalance” that exists in the deep forests of the Amazon (where various indigenous communities live). This exhibit features many primary materials that are donated by Vancouver residents, indigenous community members, the government, and researchers. Each primary object (e.g. art, hunting supplies, clothing, wood projects, and more) is placed respectfully within a glass case, preserving its history while unveiling pre-existing silence, and contains a brief informational piece of writing alongside a map of where it originated. While museum-goers can view the physical objects within the exhibit, all of one’s senses are engaged as the exhibit also features recorded chants and songs sung by indigenous tribal members, as well as an interactive aspect of which visitors can sit in comfortable hammocks that reflect those used in the Amazon. Alongside the physical objects and pre-recorded chants, there are also effective infographics covering each wall of the exhibit. The infographical information supplies visitors with an idea of the geography of South America, political statements, and statistics that represent the hardships and positive aspects of South American Indigenous culture and threats they face (environmental issues, attacks from those outside of their community, etc.). By providing a variety of information in different forms– such as physical objects, songs, and infographics– for each visitor that enters the exhibit, offers a chance to construct new knowledge. This construction of knowledge is produced by the many donors and researchers in Canada who have created meaningful connections to those in the Amazon, and have offered a way for these marginalized groups to put their lives on display. As Carter would call this, it is simply “allowing voices to be heard” (216).
An example of an object that I found particularly appealing Manioc, also known as cassava (root of a tree). Manioc was used all across Amazonia and was a staple to the diet of almost all indigenous groups who lived there. Manioc is known for having moderate cyanide levels that prove to be poisonous to humans. In order to get rid of the cyanide, different chemical techniques used by the Amazonians that were further-developed over time made the manioc edible. One technique that was used is taking a basket (also featured in the exhibit) and place the unprocessed manioc in it. Once the pulp of the manioc is extracted and dried off, a strainer is used to remove most of the cyanide poison that originally existed on it. After the manioc has been processed, it is actually turned into a flour. It is known and featured in the exhibit that the gathering and processing of manioc is traditionally women’s knowledge. After reading about this object in the museum, it cultivates knowledge by not only explaining part of indigenous peoples diets, but also claiming that there are certain gender-specific roles within their communities. Ways of processing food that are featured in the exhibit, such as manioc, displays a sustainable way of extracting food. Plants such as manioc, a staple food of the groups within Amazonia, are being taken away every day by big companies with the rights to knock down thousands of trees. If you would like to see further negative impacts on the Amazon forest, a list featured on “Cowspiracy’s” website could be observed to see specific facts about the agricultural industry effects on these indigenous groups.
Overall, the “Amazonia: Rights of Nature” exhibit was a very interesting way of learning about typically silenced groups, that us citizens in North America do not normally get to learn about. Exhibits like these use primary sources in order to construct and preserve knowledge to people around the world. Aside from resting on the hammock, my favourite part of the exhibit was learning about different agricultural techniques that are still used today by indigenous groups in the Amazon, such as extracting and processing manioc. In today’s time especially, it is important for exhibits to continue to be used, observed, and respected in order to create and continue conversations about primary objects and stories that are presented to us; as we can learn from those who are often silenced by external forces.
Works Cited
Amazonia: The Rights of Nature. 10 Mar. 2017 – 18 Feb. 2018, Museum of Anthropology, Vancouver
“Amazonia: The Rights of Nature.” Museum of Anthropology UBC, www.moa.ubc.ca/portfolio_page/amazonia/. Accessed 18 January 2018
Carter, Rodney G.S. “Of Things Said and Unsaid: Power, Archival Silences, and Power in Silence.” Archivaria, vol. 61, 2006, pp. 216
“The Facts.” Cowspiracy: The Sustainability Secret, www.cowspiracy.com/facts/. Accessed 18 January 2018.
The Museum of Anthropology, University of British Columbia. www. moa.ubc.ca/, Accessed 18 January 2018.
