Thinking about “The Law of Evidence” through the Structure of Indigenous Language

My new favourite book

With classes nearly over this term, I happily turned to my “Books to Read!” pile.   At the top of the pile was a new book by Marianne Ignace and Ron Ignace, Secwépemc People, Land and Laws (McGill-Queen’s Press, 2017).

So many of the summers of my life have been spent on the shores of the Shuswap Lake. The smell of the forests, the feel of the winds, sound of the water, the taste of thimbleberries… all that has been imprinted deep in my heart.  I had been looking forward to spending some time with this book, to continue to learn about the history of the land, the people, and the laws of this place that I so love.  I am only into the 4th chapter, but I am not disappointed.  I can already see that this is going to be a book I will be carrying around with me.

In line, then, with my new goal for myself (to do at least one blogpost a week on what I am learning), let me share one of the amazing things I learned today from the this book.  I learned that the Secwepemc Language is an amazing resource for learning about law!  I finished reading Chapter 4 (“Secwepemctsin: The Shuswap Language”) this afternoon, and then spent the next hour walking up and down the halls of the law school, hunting down colleague after colleague to make them listen to what I had learned (Val, Pooja, Jess, Simon, Tim, and Bob have got to hear my enthusiasm first hand!).

The big discovery for me (on p. 138 of the book) was something called “Evidentials”.  This is a form of suffix that does not exist in English grammar.   In Secwepemctsin, as I understand it from the chapter, a suffix can attach to a verb, in a way that lets the speaker tell the listener about the evidentiary support for the statement.  That is, it indicates how the speaker comes to know the truth of the statement:

  1.  from first hand knowledge,
  2. from hearsay (what others have said), or
  3. because there is physical evidence of the action.

In short, as the Ignaces point out here, when people are telling each other about things that happen in the world, they are also sharing information about the evidence that exists for the statements made.

Page 138

Of course, we can share information about evidentiary support in the English language: it is just a matter of adding more detail.  And when it comes to legal action, those evidential details matter a lot: if you appear as a witness in  a common-law court, you will be asked how it is you come to know what you know; the presence of physical evidence to support the claim is alway relevant; there are all sorts of rules to govern hearsay evidence.  That is, there is much to explore around evidentiary rules related to the relevance, credibility, reliability and sources of statements.

But there is something so interesting in how such questions are organized in Secwepemctsin in part through grammar.  Questions of evidence seem to be woven into the structure of speech and thought (rather than being separate questions emerging primarily in the context of formal legal settings.)  An orientation towards evidence is embedded in grammar itself.

What is so beautiful to me (or do I just mean mean ‘surprising’?)  is that the structure of Secwepemctsin itself, as a language, orients itself towards transparency in the  practices of validating knowledge.  Grammatically, people tell each other not only what they know, but HOW they know it.  This means speakers are grammatically required to make (suffix based) choices about the actions they describe, and listeners have the capacity to make choices about further inquiries needed on the basis of what they hear. Given suffixes, they can determine whether to seek further information from others, or to validate information by looking to physical traces to support what they have heard.  Certainly, this requires speakers and listeners to engage their own faculties of reasoning in conversation, by reminding them that all statements have an evidentiary status of some sort.  This is such a sophisticated and nuanced structure of thought.   I have been reading a number of Secwepemc stories in English, and I have a new appreciation for the ways that that the stories, in their original language, would be carrying additional information and nuance.

This encouraged me to go back to the TRC calls to action, and the section on Language.   Call #14 says “We call upon the federal government to enact an Aboriginal Languages Act that incorporates the following principles:

(i) Aboriginal languages are a fundamental and valued element of Canadian culture and society, and there is an urgency to preserve them.

There are interesting challenges in thinking about how each of us is invited to make the TRC Calls to Action “our own”.  Call 14 aims at the federal government, and it asks for legislation:  it is easy to see this call as within purview of others.  And yet, there is something important in acknowledging that we are each in some way called to think about our relationship to the PRINCIPLES that are identified here.  In learning more about Secwepemctsin (the language of the Secwepemc peoples), and about the place of evidentials in that language, I came to appreciate the importance of the principle expressed in TRC Call to Action #14: ‘that Aboriginal languages are a fundamental and valued element of Canadian culture and society’.   There are very good reasons for all Canadians to begin to learn with and about the Indignenous languages of this country.

One starting point might be this book.  Certainly, its discussion of Evidential Suffixes, is a wonderful way to draw insights from Indigenous Language and Indigenous Law into the Evidence Law classroom!  Can’t wait to learn more from what Marianne Ignace and Ron Ignace have brought together in this book!


Children’s Art and Indian Residential and Day Schools

In between some errands that took me to downtown Victoria this week, I grabbed a few minutes to stop in at the Legacy Art Gallery.  Screenshot 2017-11-25 12.57.31The current exhibit is titled “There is Truth Here: Creativity and Resilience in Children’s Art From Indian Residential and Indian Day Schools”.  I had some expectations of what I might see there:  for the past two years, the UVic Law School has invited Professor Andrea Walsh (the Guest curator of the exhibit) to come and speak to the first year class about a collection of paintings done by children at the Alberni Residential Indian School.

This collection of children’s art, preserved by their extra-curricular art teacher Robert Aller, was gifted to the University after Mr. Aller’s death.  At that point, recognizing that it might be possible to identify the creators of some of that art, steps were taken to locate the now-grown children, and return their art to them.  The story of the Mr. Aller, the students, their art, and its re-patriation is a powerful moment in understanding the Canadian history of Indian Residential Schools and resistance by both children and some settlers to formal and informal policies of assimilation and cultural genocide. [Click here for a link to a short video on the project]

IMG_20171125_115846.jpgWhat was new to me were the pieces of art from the former Inkameep Indian Day School (the Osoyoos Indian Band, in the Okanagan).  I took advantage of a few stolen moments to take a quick stroll through the Gallery to get my eyes familiar with the pieces, knowing that I would be coming back for an extended visit later this month.  I also picked up a copy of a 2005 Gallery Catalogue Guide edited by Andrea Walsh, titled, “Nk’Mip Chronicles: Art from the Inkameep Day School.”

Having finished reading the Guide, I have been reflecting on some of the things that really struck me.  One of these was the reminder that if a person is serious about learning the history of Residential Schools in Canada (and many of us are indeed serious), then there is much to learn: there were many schools, which operated over many years, and there are many stories to be told.

Nk’Mip Chronicles, p.17

One of these is the story of the Inkmeep Day School.  It is a story that speaks of the important work done by Chief Baptiste George to have a day school built in the community, “to keep his people together and to retain the Okanagan teachings.”  The school opened in 1915, with the Band using their own funds to build the school, and hire and pay the first teacher (an African American man who had married an Okanagan woman and thus knew the language).  The Guide makes visible the real challenges involved for the Band in attracting and keeping long-term experienced teachers (a challenge shared by many Indigenous communities).

The centre of this particular story is the relationship between one settler teacher (Anthony Walsh), and the children and families of the Inkameep community.  During the ten years he taught at the Inkameep Day School (1932-1942), Anthony Walsh worked actively to learn about the people and culture of the place he was living.  He learned to listen, and he valued and honoured the philosophies, stories, and experiences of the children.

Nk’Mip Chronicles, p.18

During that time he worked with them, the children produced art that Walsh submitted to the Royal Drawing Society of London.  The children produced plays based on Okanagan stories, were invited to perform them for audiences in both Canada and the US, and raised money for charities like the Red Cross.  The children’s art was exhibited across Europe and Canada. Walsh worked with the children and their communities, “using the children’s art to oppose dominant views about aboriginal children and their place in Canada.”

When Walsh finally moved from the community, the teachers that followed did not follow his path: rather than incorporating Okanagan culture into the curriculum, they followed the assimilationist path more common in the rest of Canada (which included the decision by one teacher to burn papier-mache masks that the children had used in their dramas, as well as children’s art which remained at the school).

Nk’Mip Chronicles, p.23

The story of Anthony Walsh and the children at the Inkameep Day School time thus invites us to both remember and reflect on the efforts of this one community (a First nation and its non-native neighbours) to be involved in the ongoing practices of building relations through cross-cultural exchanges through both visual and performing arts.

This story, and the art and performances it generated, left me thinking about the stories of the past that we choose to draw forward.

It reminded me of the importance of seeing forms of resistance, possibility and respect that were enacted in the past. It left me thinking also about the importance of similar action in the present.  It reminded me of the importance of art in opening up spaces of connection, and spaces of relation.

It also made me think about ways people today might respond to the Truth and Reconciliation Commission‘s Call to Action #83:

83. We call upon the Canada Council for the Arts to establish, as a funding priority, a strategy for Indigenous and non-Indigenous artists to undertake collaborative projects and produce works that contribute to the reconciliation process.

Perhaps what should interest us is less the call for government to provide funding for such collaborations (though such funding would facilitate this work!) than the call for Indigenous and non-Indigenous artists to undertake such collaborations.  I think the story of Anthony Walsh invites even those of us who are not artists to imagine ourselves as participants in this call to action.  In his work as a teacher, Walsh collaborated with others through his engagement with the space of art, through learning to how listen to what the children’s art (and the children themselves) could teach.  The engagement came even in the context of restricted funds.  As Anthony Walsh himself argued in the 1976 interview above, “we miss opportunities because too often we wait for ‘funding'”.  And so one question is, “what are we waiting for?”

There is much inspiration to be found in this story of the Inkameep Day School.  It sets out for us an example of engagement through the arts.  What we have here is the collaboration of children, their families, a  teacher and the neighbouring community in drawing on the arts to open up space for sharing truths, for listening, for healing, and for learning different (and better) ways of living with each other.   Surely this is a story worth telling, and also one worth trying on for size in our own lives.

If you are in Victoria, head over to the Legacy Art Gallery to check out the show.   If  time or geography makes that impossible, you should still check out the website for the exhibit, content and design by Dr. Jennifer Claire Robinson.   It is rich with resources that can be worked into your own teaching.  You can see pictures of all the works included in the exhibit from the four different schools (along with some discussions of the work from either the curators or the artists themselves):  Alberni Indian Residential School, Inkameep Indian Day School, St. Michael’s Indian Residential and Day School, and Mackay Indian Residential School.  The website (still being updated while the show is on) will also include intergenerational essays by relatives of the child artists.  Plus there is more!:

  •  Click here for the background story to the return of the Alberni Indian Residential School art
  • Click here for RIDSAR (Residential and Indian Day School Art Research) videos, and news media
  • Click here for a list of additional Resources (to both the Exhibition and TRC related links)
  • Witnessing is an important aspect of protocol for many First Nations.  Below are links to four important discussions of what it means to be a witness in the context of Indian Residential Schools:


Core Strengthening – A MOOC to get you going!

Part of TRC Calls to Action  #27 and #28 includes training in “intercultural competency”.   I find myself reflecting on the very real challenge for many of us working in law:  how do we as professors strengthen the grounds of our own intercultural competency?   Part of what we are engaged in is a new practice of balancing.  What resources are available to both students and faculty alike?

There are some very interesting resources out there and available in the world.  Just as one example, here at UVic, our colleagues Robina Thomas and Rob Hancock at the office of Indigenous Academic and Community Engagement have developed a Cultural Acumen Training, program, and have been providing the first module (an 80 minute ‘foundations’ session) to Faculty, to staff, and in classrooms.   It is a delight (and a politically meaningful one) to see institutional support for the kind of learning/unlearning that has to be done as we move forward on this work.  One of the ways I think all of us can contribute to the work is to support and make use of the resources available in our particular institutions (conscious of course of the thoughtful cautions of Jula Hughes re the colonization of cultural competency work).IMG_20171122_112632

I also want to do a big shout out to University of Alberta, and their Indigenous Canada MOOC (Massive Open Online Course) [taught by Professors Tracy Bear and Paul Gareau].  It is a wonderful response to the TRC, and I cannot recommend it highly enough.

If I were to suggest a gift for the holidays, it would be to give yourself the gift of signing up for this course.  OK.  The thing is, this gift is FREE!  But you can also pay for it.  I think it was something like $65 if you want to take it for the Certificate.  I took the PAYMENT option, partly as a way of trying to keep myself accountable (and so i would have a small amount of pressure, so i would TAKE the time needed each week to actually DO the work).

The Course is super well designed, and has 12 lessons/weeks.   The site tells you to anticipate a time commitment of 3-5 hours a work per week.  I will say it took me less time… maybe because i am just so smart already?!  🙂  That said, i have subsequently returned to and re-watched several components (sometimes with my kids), so there you go on the time front.

Here some truly delicious things about the course:

  1. It is in manageable time chunks!  The course is online (I guess that is why one of the “O”s in “MOOC” is for “online?”)  It has been designed so you can work around a fragmented schedule (if your life works as does mine).  It is broken down into small video components (each between 10 and 20 minutes long at the most).  The videos have little quizzes built into them (so you can answer questions right at the spot that you are getting access to new information).  I totally enjoyed watching a segment or two in the evening, sometimes while eating dinner. IMG_20171122_152153
  2. There is art!  In the design of the course, they worked with artist Leah Dorion, to have her produce original art work for the course.  For each week in the course, there is “Interactive Painting” segment where the artist walks you through one of the paintings, discussing the elements in the painting, and how they relate to the subject.   Various elements from the paintings are then incorporated (as visual markers) into the weekly lessons in ways that really help to anchor and extend the content.
  3. There is significant breadth in coverage.  Topics for the 12 lessons include the fur trade and other exchange relationships, land claims and environmental impacts, Indigenous women, legal systems and rights, political conflicts and alliances, Indigenous political activism,urban Indigenous governance practices, contemporary Indigenous life, art and its expressions and more.  There is also a great 49 page “Native Studies Glossary” with links to internet resources.
  4. The production values make it a pleasure to watch.   We academics are smart, but not always fun to watch when filmed.  They did a really good job on the design, and so I found the mix of talking heads, images, animations, and text to really hold my attention.   It is designed in a way to touch various learning styles.  In short, the videos not only held my attention, but gave me lots to think about in terms of pedagogies!  I am also in love with the intro music for the course (and often found myself humming along).

In short, there are great resources out there to support us as we do the work of extending our own intercultural acumen, of familiarizing ourselves with the history that is our own.  This is a resource that I would feel comfortable recommending to students and colleagues alike.  Certainly worth thinking about as a concrete action each of us can take in the direction of taking up our own personal obligations under the TRC to educate ourselves for the work ahead.




Songs of Law? — Thinking about Indigenous and Settler Laws on the Use of Music


Sometimes I wonder if life in a law school doesn’t involve a “Midas Effect” — that is, everywhere you turn, everything you touch seems to involve (or become?) law.  I have been noticing this myself with respect to the law school’s ongoing obligations under TRC Call to Action #28.  I have been increasingly noticing how often questions of Indigenous Law seem to be in my field of vision.   Or perhaps I am only now beginning to see/acknowledge what was there all along?

Here is a specific.   I was on a phone call with my sister this morning, and the conversation (which was focused as it often is on activities with kids) moved from stories about the family dog, to piles of laundry and Orange Shirt Day and finally turning to the Louis Riel Opera with the Nisga’a song in it.  What, said I?  A Louis Riel Opera with a Nisga’a song in it?!  I had missed that discussion (a list of links to media discussions about the opera follow below)


As is our way, my inner interrogator emerged, and so the conversation turned to questions about music, appropriation, and intellectual property law.  It was not the conversation I expected, but it has really had me thinking all day.  And it had me thinking about how a piece like the Louis Riel Opera could open space for a discussion of Indigenous Law in a very particularized way:  that is,  in the context of a Nisga’a song being drawn into a Settler/Canadian piece of music.  We have here an encounter involving two legal orders, each of which has rules about the creation and performance of music.

I asked my sister if she would write up a few paragraphs that I could share on this blog, paragraphs that would capture the essence of our conversation, with its questions about what the Opera might have to teach us about law and legality.  She, still sometimes pressed to fill the role of ‘relatively compliant younger sibling’, agreed!


I am a settler who grew up on Treaty 7 territories.  I graduated from the University of Calgary with a Bachelor of Art in Canadian Studies.  I love Canada.  I love being exposed to Canadian art, music, and literature.   I now live in Ottawa/Gatineau on unceded traditional territory of the Algonquin Nation.  Because I live in the Nation’s Capital Region, I am constantly surrounded by opportunities to participate in cultural activities celebrating Canada and its diverse talents.  These opportunities were intensified in 2017 with the Canada 150 celebrations.  I often felt conflicted during these celebrations as I don’t think Canada’s nation-building efforts are to be celebrated as such.  We need to not only acknowledge the harm Canada’s nation-building efforts have brought to Canada’s Indigenous peoples, but we also need to recognize these harms are not only historical, they are on-going.  Every Canadian needs to be engaged in doing the work of reconciliation.


With this in mind, I tried to be thoughtful and deliberate about my participation.  When I realized I would have the chance to take my family to see the Louis Riel opera, I wanted to attend. I love opera, and there is a not a lot of Canadian opera.  But I was also very aware that this opera would be infused with appropriation.  Before the performance, I had read about some of the innovative ways this 50th anniversary production of the Opera attempted to acknowledge this appropriation, including a Land Assembly, a mostly silent group on the ground, dressed in red to represent Metis and First Nations peoples.  For me, watching the Land Assembly bear witness through the opera was very powerful.

What I had not read about in advance was not expecting, and what perhaps touched me the most, was a pre-show in the lobby by a group of Nisga’a Nation singers.  The group then moved onto the Opera stage to open the show.  A musical highlight of the opera is the third act’s opening aria, Song of Skateen. The Kuyas lullaby is sung by Riel’s wife, Marguerite. As noted in the program, the song is actually a Nisga’a lament from the West Coast, incorrectly used by Somers and Moore (the composers of the opera) in this context. Nisga’a protocol dictates such songs must only be sung at the appropriate times and only by those who hold the hereditary right to sing them. To shed light on this, a prelude to the opera featured a group of Nisga’a Nation singers, who acknowledged the fact the song was taken from them, and performed a victory song of their own.

I think this example of the Louis Riel opera taking and misusing a Nisga’a song provides an opportunity to initiate discussions around compensation for the use of cultural/intellectual property.  Western intellectual property laws often focus on monetary compensation for the use of cultural property, or address use through licensing.  But what are other possibilities where monetary compensation does not come close to addressing the issue?  What other ways could we approach this situation?  How do different indigenous legal systems work through such conflicts?


  1.  Here is a short piece from the Queen’s Gazette,  interviewing Prof. Dylan Robinson (Canada Research Chair in Indigenous Arts).  Queen’s Gazette, “A dialogue on Indigenous law, song and opera” Monday, April 24, 2017
  2. Michael Cooper, “Canada Turns 150, but a Silent Chorus Isn’t Celebrating” (April 19, 2017) New York Times,


Pulling the Weeds – by Suzanne Lenon, Kara Granzow & Emily Kirbyson

As non-Indigenous faculty and graduate student teaching in the disciplines of Sociology and Women & Gender Studies, we regularly include discussions of settler colonialism in our course material. And, as teachers in disciplines that encourage critical thinking about societal power arrangements, we wish to develop learning resources in ways that build accountability to the TRC’s calls for reconciliation and Indigenous scholars’ calls for decolonization.To this end, we were awarded a small grant from our university in which we proposed to develop pedagogical tools that would more tangibly speak to the colonial politics of knowledge production, trouble the idea that settler colonialism is of the past, and ‘unsettle’ the racial and heteronormative colonial logics of identity and belonging.

Situated as we are at a post-secondary institution built into Blackfoot territories and in close proximity to the largest land-based reserve in the nation, we have a student body that seems to experience settler colonialism in a variety of ways, directly and/or recognizing its importance, or as completely disconnected from their everyday life. It is this full range of student experiences that we attempt to invite into an ‘unsettling’ pedagogy.

Spotted Knapweed in bloom []
We offer here a discussion of one assignment we designed called “Pulling the Weeds.”[1] The assignment was designed to foreground land as crucial to decolonization and to provoke student thinking on the relations between themselves, land, property, and nationhood in a local context (Tuck & Yang, 2012). Students were to (1) read the Wikipedia entry for spotted knapweed and submit a hard copy, marked with notes and/or highlighted excerpts; (2) go out on to the prairie and find the knapweed; (3) document the experience of picking it; and (4) write short responses to versions of the following questions:

  1. Describe the experiences of seeking out the knapweed.
  2. Describe the sensory elements of picking the knapweed (how did the soil smell, what was the texture of the weed, etc.).
  3. Where did you pick the weeds? Whose land were you on?
  4. What is your relationship to the patch of land that you picked the weed on?
  5. Write on your (dis)identifications with the knapweed or the plants that you left in the ground.
  6. Why do you think I asked you to pull an invasive plant species in this course?
  7. What connections can you make to this week’s readings?

The activity was assigned in a second year feminist theory course, a third year sociology of race and ethnicity course, and in a graduate level methods and theory course. The readings that students were required to complete varied from course to course, and ranged from Leanne Simpson’s (2014) Land as Pedagogy: Nishnaabeg Intelligence and Rebellious Transformation, Adrienne Rich’s (1994) Notes Toward a Politics of Location, and chapters from Audra Simpson’s (2014) Mohawk Interruptus: Political Life Across the Borders of Settler States.

Students were encouraged not to worry about having the correct answer. They were encouraged to be creative and thoughtful, and to respond even if they were unsure of a question’s meaning. In spite of the bewildered looks when we asked them to go weed-picking, the very physical nature of the assignment expressed in their papers (the heat of the sun, the toughness of the weed’s roots, the itchiness of the weed, the pleasure of being outside), and the anxiety expressed about not being able to ‘find’ knapweed and hence complete the assignment, students wrote rich, varied, complicated, and thoughtful reflection papers. In their course evaluations, some students articulated the transformative learning that occurred from this assignment, suggesting that we delivered in fulfilling our institutional motto, “Fiat Lux” (Let there be Light).

Rocks painted by Alice Matisz, artist

However, we also wish to reflect here on two inter-related sets of limitations to the assignment.

The first set of limitations is related to the mechanics of the assignment and the strictures placed around it by virtue of being developed and carried out in the context of a post-secondary institution. We asked students to pick knapweed only once, but now wonder about requiring multiple knapweed pulls over the early fall months of the semester as part of an ongoing reflexivity-praxis assignment. Leanne Simpson (2014) writes in “Land as Pedagogy: Nishnaabeg Intelligence and Rebellious Transformation” that theory is not just an intellectual pursuit – “it is woven within kinetics, spiritual presence and emotion, it is contextual and relational. It is intimate and personal, with individuals themselves holding the responsibilities for finding and generating meaning within their own lives” (p. 7). This beautifully captures our aspirational desires for this assignment.

We wonder, then, what effect(s) several knapweed pulls might have on students, on their intimate engagements with the prairie, on their meaning-making of social locations, on fostering the process of an ‘unsettling’ pedagogy? Moreover, how would a focus on the restoration or identification of native plant species (rather than only on the eradication of invasive ones) shift the performative and meaning-making axis of this assignment? Yet, as Simpson also reminds us, neither the practice of picking knapweed nor the restoration of native plant species can be performative of land as pedagogy when the necessary conditions are not in place. For Simpson, such conditions include the requirement that our post-secondary institutions ensure “the full, valued recognition of [Indigenous] freedom, sovereignty and self- determination over bodies, minds and land” (p. 17).

The second set of limitations has to do with some of the oversimplifications of the assignment. We required students to identify knapweed with the help of a Wikipedia page that, among other things, describes the weed’s ‘systematics and taxonomy.’ We chose this website because it is highly likely that it would be among the first sites a student might otherwise visit to find out more about knapweed, and because the literary practices constituting the webpage’s knowledge production remind us of those employed in the classificatory work at the heart of scientific racism and the colonial project. What we did not foresee, however, was the extent to which students would rely on the language of the Wikipedia entry to explain their processes of weed identification thereby unwittingly reproducing and reifying colonial systems of classification. This constitutes more than a limitation for us; it is also a failure of the assignment.

Complicating this, students’ papers drew parallels between the tenacious ability of knapweed to stunt the growth of other plants and the white settlers who worked to invade and take over Indigenous bodies, lands, and lifeways. This raises a number of concerns for us. First, despite our attempt to heed Tuck and Yang’s (2012) warning, the assignment provokes primarily metaphorical understandings of knapweed as settler colonialism and its eradication as decolonization. Second, this metaphor relies upon and reproduces a settler/Indigenous dyad as ahistorical and naturally existing. Third, it naturalizes a hostile relationship between the two, the outcome of which is both anticipated and assumed final. How can this then constitute the assignment as an ‘unsettling’ pedagogy? As problematizing settler colonialism “as a living phenomenon?” (Monture 2007, p. 207). Moreover, we worry that in attempting to address “the settler problem” (Regan 2010, p. 11), we inadvertently re-centered precisely that which we hoped to unsettle. This is a failure for us. One of the unforeseen outcomes in attempting ‘unsettling’ pedagogy is producing communities of individuals who embody and enact another version of settlerhood, that of the enlightened settler. We realize that we must be vigilant about the subtle and less obvious forms that uphold settler colonialism: we worry that success in teaching about colonization that leaves any room for a redeemable enlightened and benevolent settler subject (including ourselves as teachers), whose governments have apologized and who ‘know better’ than earlier generations, is part of the ongoing remaking of settlement.

One of our intimate attachments is to be ‘good’ teachers, that is, to teach anti-colonization and antiracism on the Blackfoot territories occupied by the University of Lethbridge in a way that avoids the pitfalls of pedagogies of inclusion and the fallacy of ‘safe spaces’. We share our experience of this assignment in the conviction that the moments of disorder, failure and uncertainty that arise within our teaching practices are sometimes necessary mis-steps. Though such practices may propel us towards imagining other, perhaps less colonial, ways of being in and of the world, they are also only made because of the colonial foundations on which our presence here as teachers and citizens resides.


[1] Pulling the Weeds was inspired in part by a published conversation between Snelgrove, Dhamoon, and Corntassel (2014) wherein Corntassel describes efforts, largely on the part of Cheryl Bryce of the Songhees First Nation, and a “Community Tool Shed”, to revive Lekwungen “foodscapes and landscapes” (p. 25). The Community Tool Shed, located in what is now commonly called Victoria, B.C., is a site that brings together Indigenous and non-Indigenous folks who work to rid Lekwungen homelands of invasive plant species and to foster traditional plant growth.



Monture, P.A. (2007). Racing and erasing: Law and gender in white settler societies. In S. P. Hier and B.S. Bolaria, eds. Race & racism in 21st century Canada: Continuity, complexity, and change (197-216). Peterborough: Broadview Press.

Regan, P. (2010). Unsettling the settler within: Indian residential schools, truth telling, and reconciliation in Canada. Vancouver: UBC Press.

Rich, A. (1994). Notes towards a politics of location (1984). In A. Rich (Ed.), Blood, bread and poetry: Selected Prose 1979-1985 (210-231). London: Little Brown & Co.

Simpson, A. (2014). Mohawk interruptus: Political life across the borders of settler states. Durham & London: Duke University Press.

Simpson, L. B. (2014). Land as pedagogy: Nishnaabeg intelligence and rebellious transformation. Decolonization: Indigeneity, Education & Society, 3(3), 1-25.

Snelgrove, C., Dhamoon, R., & Corntassel, J. (2014). Unsettling settler colonialism: The discourse and politics of settlers, and solidarity with Indigenous nations. Decolonization: Indigeneity, Education & Society, 3(2), 1-32.

Tuck, E. & Yang, K.W. (2012). Decolonization is not a metaphor. Decolonization: Indigeneity, Education & Society, 1(1), 1-40.


Let’s not colonize cultural competency

For the past few months, our “Looking Out For Each Other” research team has been conducting community consultations with a view to establishing a helpline for families and friends of Indigenous folk who go missing in Eastern Canada. In the course of these consultations, something has come up a number of times that seemed worth sharing among educators, viz. a concern by Indigenous businesses and not-for-profits that academics are getting in on the work of cultural competency training. Of course it is good that many faculties and departments are working towards developing cultural competencies in their students. And it’s great that some faculty are mobilizing that knowledge beyond campus. Apparently though, these efforts have sometimes resulted in academics using their privileged position as salaried workers to undercut the bids of Indigenous consultants who have been doing this work, in many cases for decades. So if your institution, faculty or department is developing curriculum and you are thinking of offering workshops to organizations, institutions or government departments, you may want to make sure that you are not replicating and/or competing with services that an Indigenous business or not-for-profit is offering in your area. One easy way to do this is to reach out to the band office of your local First Nation community, your Native Council and Friendship Centre for information about existing service offerings.

Art as Intervention in a Time of Reconciliation [by Tasha Henry]


[Ed. note]  The following post is a report by educator Tasha Henry, discussing a recent partnership between the Art Gallery of Victoria, and students in three schools.   The work here, which was done with Grade 3 and 4 students, is a very interesting model of the kind of work one might consider when thinking about Art as intervention in the TRC Calls to Action (and indeed, art as intervention within a law school context).   We thought folks would find it thought-provoking (and a bit inspiring!) Here, then, is  the post by Tasha [and she has permission from the students and families to use the photos appearing in this post]


Taking a place at the table:

Art as Intervention in a Time of Reconciliation

By Tasha Henry

In collaboration with several artists of a recent exhibit at the Greater Victoria Art Gallery, entitled “It’s in the Making”, Selkirk Montessori students, were initiated into the world of art installation with contemporary artists who challenge the notion of art as product. The students met with Nicholas Galanin, Tlingit/Aleut artist and Cedric, Nate and Jim Bomford while they constructed their installations in the gallery. The grade 3-4 students interviewed the artists with questions such as:

  • “Why is art installation important?
  • When do you know when your art is finished?
  • How is art an intervention?”

The students then attempted their own installation work in the gallery mansion as a response to their ongoing work with Canada’s Truth and Reconciliation Commission, “Calls to Action”.

IMG_5782Art installation as social intervention felt like the appropriate vehicle to explore the children’s emerging awareness and questions around the devastating history of Residential Schooling in Canada. As teachers, we are in the unique position to respond to the TRC’s Calls to Action in ways that model sensitive and historically respectful approaches to Canada’s shameful investment in Residential Schooling. Rather than approach this work as a prescriptive curriculum, we approached the concept of reconciliation as a process of responding to the ongoing impacts of colonialism on Indigenous communities. It was important to us that the children’s work around redress be responsive, multi-voiced and open ended.

To prepare for the day of the installation, for months, the children studied and learned from the Lkwungen First Peoples’ history and the traditional territories on which our school stands, known today as the Esquimalt and Songees Nations. The children were honoured to receive teachings by such highly esteemed and beloved artists and elders such as Richard Hunt (Kwakwaka’wakw), Butch Dick (Songhees), Monique Gray Smith (Lakota/Cree), and Ron George, Heredity Chief Tsaskiy (Wet’suwet’en).

They studied the cultural traditions of the Coast Salish First Peoples by attempting artistic forms such as beading, sewing button “blankets” on felt, and by constructing their own cardboard “cedar bentwood boxes”. They expanded their learning to conceptual art by analyzing the work of two contemporary Tlingit artists, Nicholas Galanin and Blake Lepine. The students were also introduced to the history of Residential Schooling through Nicola Campbell and Kim La Fave’s acclaimed children’s books, Shi-Shi-etko and Shin-chi’s Canoe.

IMG_5635 2The students were then given a white ceramic plate (bought from The Salvation Army) where they created their own free hand drawings using only red and black Sharpie markers. On the day of the installation, the students brought their ceramic white plates with their drawings carefully illustrated through a mix of personal designs and traditionally influenced images.

IMG_5636With the guidance of elder and artist, Butch Dick, the children were taught the importance of ceremony and the symbolism of laying a table in the Songhees tradition. They were asked to place their plates in the dining room area in a spot that meant something to them in relation to their understanding of the history of Residential Schooling in Canada.

With reverent gestures and words, the students spoke to their installation choices. They had been particularly struck by the descriptions of malnourishment from the testimonies of Residential School Survivors. Many of the children hid their plates under the large oak table, or under the chairs to represent the starvation of Indigenous children while at school. As the installation took its living form, the children chose to turn the chairs on their side, and to cluster their plates in the corners of the room to represent the upheaval of home and culture due to mandated schooling for Indigenous children.

IMG_5678Shion: “We put our plate above the fireplace so that people could remember the children that didn’t get to have these plates in Residential School. The fireplace is a symbol of First Nations hope”

James: “I put my plate away from everyone else’s because people were trying to destroy their culture and keep it away from them. Our plate represents the culture that was taken away from the kids.”

Maciah: “We put our plate on a shelf on a smaller table because maybe not all kids got to sit at the table and maybe had to sit on the floor. It was meaningful because we are bringing back the memory of First Nations kids who were forced to go to Residential Schools.”

IMG_5749 2By inserting their voices through the act of installation the students experienced a powerful social intervention. They were called to speak to their intentions to disturb the establishment of the Greater Victoria Art Gallery, on their own terms, in their own words. As Layla, a grade 3 student said, “When I made the drawing I felt I was learning about the culture and also doing something kind for the children by drawing their designs”. The children realized quickly that their art work was not for them; it was not a product to take home or display on the wall. As Adison said, “I like that some people learned that not everything is for yourself you have to make things for others, as well and learn about other cultures”.

In the collective experience of installing their art work as a social intervention, witnessed by their teachers and Butch Dick, who himself is a Survivor of Residential Schooling, the children experienced the importance of standing up for those who have been silenced. Jamie, a new student from Japan, reflected on the experience with poignant simplicity, “the kids couldn’t see their parents for a long time. So, we honour them.”.

After the children installed their work and spoke to their choices, we circled the installation and read this quote out loud:

IMG_5780 2“We are thankful for these and all the good things of life. We recognize that they are part of our common heritage and come to us through the efforts of our brothers and sisters the world over. What we desire for ourselves, we wish for all. To this end, may we take our place in the world’s work and the world’s struggle.” (J.S. Woodsworth)

When teaching a response to the Calls to Action, we can only hope that we are able to model what social justice learning looks like within the various institutions that frame social thought. This is not work that can rely on detached lessons within the confines of a classroom. The work of reconciliation must be work with the First Peoples of the land from which we learn, through meaningful, conscious and open ended forms that refrain from a settler agenda, or desired outcome. By precisely not desiring an outcome or a finished product, the children’s temporary installation became a visual testament to the missing and unaccounted for children due to Residential Schooling. On that day, it wasn’t our words that filled the space, it was the sound of children moving with intention, fuelled by a quiet collective heat burning within each of them, to seek retribution for children they had never met. Their innate desire for reparation permeated the space, and moved them to set a place at the table for the Indigenous children who were not permitted their rightful place in Canadian society.

Photo credits:  Tasha Henry

[Ed. Note:] A truncated version of this discussion can be found on the Victoria Art Gallery’s website (