Behind a glass wall adorned with the words “One Mind, One Heart” hangs a mask, dimly lit from above. Pictures of the Heiltsuk community and their protests against the Northern Gateway Pipeline proposal surround the mask, alongside a declaration where their oppository convictions can be read in black on white. The mask, created by the Heiltsuk artist ‘Nusi, is of earthy tones with pops of blue and red, and was created as a representation of the ancestral guardian spirit ’Yágis; a protector of Heiltsuk territories and a hunter of oil tanks. Crafted mainly from natural materials such as red cedar and horsehair, the plastic oil tank hanging from the mouth of the mask provides a stark contrast. As the artist utilized natural elements and traditional crafting techniques in the creation of the mask, the inclusion of a modern object is an eye-catching protest. Considering the proposed pipeline would have crossed through over 50 first nation territories, the mask provides the viewer with a physical representation of how a pipeline would appear in nature; unnatural and ill fitting.
The blending of traditional and non traditional elements could also be found in a few other exhibitions in close proximity to One Mind, One Heart, such as His first day of school, Her first day of school and Blended Traditions. In the first exhibition the negative aspects of the merging of cultures is displayed through mixing old and new photographs, whereas the Blended Traditions installation, where cultural intersection takes form in sports gear and artifacts, celebrates this marriage as a way of incorporating new crafting techniques into culturally traditional objects. Whether it is as a protest or celebration, all these exhibits include elements familiar to non-native audiences to voice an opinion and convey a message.
Though, as a foreigner, I am not too familiar with the history of the first-nations in Canada, the One Mind, One heart installation succeeds in providing the non-native viewer with a clear message. Thanks to an introductory paragraph explaining the issue, accompanied by images displaying the actual protests, one does not require much previous knowledge to understand what the curator is trying to bring to light through the collection of works. However, though the installation showcases the Heiltsuk communities protest in an efficient manner, the backstory of the mask itself was not included. Intrigued to find out more about the unfamiliar figure, I scoured the internet to learn the meaning behind the mask. Perhaps the reasoning behind withholding this information was to ensure people unfamiliar with the issue would, following their visit, actually research the current (at the time of installation) political debate? All in all, the installation left me with a deeper understanding of the protests, as well as a wish to learn more about the fascinating traditions and history of the indigenous people in Canada.