The work that really stood out to me was Her First Day of School and His First Day of School, both by Dionne Paul. This piece displays the contrast between residential schools and modern day public schools. It shows photos of uniforms which had been worn by boys and girls in the residential schools over top of photos of a modern boy and girl taken on their own first day of school in their own modern uniforms. An interesting aspect of the artwork is that Her First Day of School appears to be a photograph (potentially Dionne Paul, herself) and His First Day of School appears to be a painting. There is also a border along the sides of each picture that resembles that of old film.
This work possesses strong historical and cultural context that we often either dismiss or don’t fully acknowledge. It showcases the history behind many Indigenous peoples’ distrust of contemporary school systems. A history that involves continuous physical, mental and sexual abuse — a cultural genocide. Greater emphasis comes from the fact that a residential school Paul herself has experience with through her father did not close until 1975 (“the year [she] was born”), and the last residential school did not close until 1996. To many people, this is not ‘history’; it is fresh and real.
In comparison to another exhibit, I felt as though the work One Mind, One Heart by Ian Reid (Nusi) expressed a similar perspective on the mistreatment of Indigenous peoples in Canada as it showcases the State disregarding Indigenous claims to lands in favour of the oil industry (not unlike what still occurs). This is displayed through photographs of the Heiltsuk people protesting Enbridge’s Northern Gateway pipeline that would pass through the lands of many First Nations communities in 2012 combined with a traditional mask. Both show how many Canadians tend to overlook issues that continue to afflict Indigenous peoples today; how many people fail to acknowledge that this ‘history’ isn’t really that historic. One Mind, One Heart seems to be a bit more contemporary compared to Dionne Paul’s piece as the photos do not have the same ‘vintage’ appearance of Her/His First Day of School.
I don’t think that this piece demands or presumes a higher level of knowledge necessarily, more so a basic knowledge of the history of residential schools in Canada. I feel as though it works in a way that plays on the various levels of experience with this (not-so)history and exposes people to the reality of this part of Canada’s past. I was not left with questions about the piece, rather I was left with this sombre feeling that I think is intentional. To truly acknowledge this brutal piece of our reality and its impact.