The exhibit “Speaking to Memory” in the MOA is framed, from the first plaque beside the door on the way in, as a way to make real the injustices that occurred to those who were taught within St. Michael’s Indian Residential School. In exposing the truth, the exhibit proposes that the nation can “reconcile” with the native people who were wronged, to acknowledge the faults made and learn from it. Several times, these ‘descriptive’ plaques explained that the purpose of the testimonies, and the pictures, were to give those who were affected a voice, to “identify” them with permanence.
But what struck me as most odd was the impermanence in which the victim’s testimonies, in their material sense, were displayed. Any text that was not written by an aboriginal was made much more prominent, much more permanent looking, as a fixture in the exhibit. Just speaking graphically, I found that nearly all of the Commission’s statements were much bigger than the actual testimonies of the native people. The statements about the intention of the Indian Residential School commission, right when you first walk through the door, are huge. They have backdrops, and are written in fancy texts. Likewise, the ‘apology’ section, in which factions of society admit to their part in the wrongdoing, are displayed almost beautifully. They look like scrolls, and give the impression of being formal and important. In stark contrast, the victim’s testimonies are virtually large pieces of paper, in colourful ink, tacked up to the wall. They almost don’t look as though they belong, or that they could easily be ripped down. Similarly, beside the photos that are displayed, there is an explanation, saying that their purpose was to “make visible” the victims, and that they were still in the process of “naming” the photos in order to do so. Yet, the “naming” of people in the photos literally occurred with, what looked like, erasable marker. The description even prompted people to “add to” or “change” the names if they had additional information! This seems like the opposite of validating someone’s existence.
In my eyes, the curation of the exhibit went against what it proposed it was doing. And I can’t help wondering, why? Why make the victims testimonies and pictures seem like the most temporary part of the exhibit? The only thing I could think is that perhaps “they”, the Commission, the government, still wants to downplay what happened. As with my doubts of the TRC, I begin to wonder who this “reconciliation” is actually for? Is it actually to make amends, and help those who were affected move forwards without forgetting what happened? Or is it to assuage the guilt, restore respect of the government, and move past the incident?
I think both. And I do think there are hugely positive things to be said about what it has done for the victims; sharing the truth, and being heard, must have been vindicating to say the least. But I fear the latter may be the true motivation. Consider the context of the actual exhibit: it’s in a museum. When I think of museums, I think of the past. And yes, the residential schools did exist in the past. But it was the very recent past, and the racism and intolerance surely still exists today. By putting this exhibit in a museum, it’s like saying “well, that was a sad thing that happened, thank goodness it’s over”. Also consider the very specific museum it was chosen to be exhibited in: the Museum of Anthropology. A museum that, while your walking towards Speaking Memory, boasts native American totem poles and artwork. MOA does not seem dismissive of this culture; rather the museum prides itself on it. How easy then to walk through Speaking Memory and think that it’s just a thing of the past, something that has been “resolved”.
I know it’s cynical, but I can’t help thinking: whose interests is this exhibit really serving?