As museums come under increasing pressure to repatriate Indigenous cultural items, Métis author Gregory Scofield has gone to rescue them himself. Indigenous canda metis
From the time he was a kid — the kid who liked to ask questions, who listened to Métis stories while his auntie sewed and beaded, who loved history books and visits to Fort Langley and museums — Scofield had noticed something was missing.
Gregory Scofield’s great-great grandmother, Mary McDonald, nee Henderson, of Kinosota-Reedy Creek, Manitoba.“As I got older and started visiting museums, I noticed that the Métis, specifically western Canadian Métis, really had no presence in these institutions, absolutely no presence.” As Scofield made his way through the First People’s exhibit at the Royal B.C. Museum that afternoon in 2015, he came upon a case displaying women’s Victoriana sewing implements: crochet hooks, tatting hooks, needles, thimbles, pincushions, lace — and something else that stopped him cold.Article content
Museums around the world are under pressure to return Indigenous artifacts to their places of origin, and the repatriation of cultural objects has become an important part of the conversation around decolonization and reconciliation. For many First Nations, what museums call “artifacts” are, in fact, ancestors. While museums grapple with their own colonial history and processes, there are ancestors still waiting to come home.
The first grandmother Scofield brought home was an altar cloth dating to around 1850 or 1860, its provenance expressed in its materials: glass beads tiny as grains of sand, strung on sinew and couched in linen thread. The piece is a sweeping garden of leaves in shades of green, buds and wild roses in bloom that lead the eye up, as if to heaven. There is hope, vitality and beauty in the piece.
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