representation

I first saw this picture last week. Several people alerted me to this image. The graphic rates well for shock effect. It was published to accompany an article published in the September edition of Maisonneuve magazine, to go along with Halifax’s Saint-Mary University professor Darryl Leroux’s article “Self-Made Métis,” in which he writes how tens of thousands of Canadians have begun calling themselves Métis, and now they’re trying to get the courts to agree. 

I can’t tell you who the artist is or whether s.he is Indigenous. It’s obvious that whoever made this drawing knows something about Indigenous symbolism and was going for a shock factor.

Everyone should be concerned about this image.

Who might fit a stereotypical image of the Noble Indian?

Before you continue reading, stop. Ask yourself if your grandchildren’s grandchildren would loose claim to your Nation, to your community, based on how s.he may physically appear on the outside.

The drawing is being used as a commentary on identity politics between First Nations without status and Métis from outside the branded Métis “Nation” (a specific geographic area that excludes parts of BC and Ontario, as well as all of the NWT, Quebec, Nova Scotia and New Brunswick.)

Let’s face facts:

This picture is violent in nature. It’s blasphemous. It’s full of imagery and innuendos intended to send a clear message of segregation. The image clearly mirrors disrespect for Indigenous symbolism by way of poking fun of sacred objects such as the Medicine Wheel and traditional Regalia. It uses the stereotype of a Caucasian, Aryan-looking male desecrating the Peaked Hood  worn as part of the women of the Wabanaki Confederacy Regalia.

Traditionally embroidered with beaded swirls, the Peaked Hood is sacred to the woman of the Confederacy. In this case, a Christian crucifix that looks like a Nazi cross replaces the bottom embroidery.

The Peaked Hood is placed on top of a camouflage-coloured baseball cap that would somehow imply that everybody seeking to assert Indigenous identity is doing so for hunting privileges.

Along with the rappala fishing lure that misappropriates the use of the Sacred Medicine Wheel, while featuring colours of the four directions in wrong order, the graphic seeks to reaffirm the trope that Indigenous Peoples get free, unlimited money and harvesting rights in Canada.

The Fleurs de Lys: an image associated with the French-Indian war, a symbol used by Louis Riel’s provisional government. The Fleur de Lys was a symbol of resistance to the Hudson Bay Company and to British colonization.

In what should be seriously examined as an affront to all Métis, the artist misuses the Fleurs de Lys, a symbol close to the heart of every Métis with French ancestry as well as every First Nation  who held alliances with France.

S.he makes it about how Québécois identity is not compatible with Indigenous identity and reduces the history of Indigenous Peoples to British colonial rule.

Last but not least, the red nose. Symbolism of the drunk native. Reducing to a stereotype the blood quantum theory at the basis of the Indian act.

One can assume the image content displays that whatever DNA is left in a mixed-blood native individual is a genetic leftover of generational alcohol dependency. The drunken Indian stereotype, one of the most harmful discriminatory tropes associated with First Nations, Inuit and Métis Peoples, seemingly is what remains during Whitewashing, all cultural traits diminish and are lost yet only the worst stereotype remains, carrying forward to future generations.

I’m sure I’m missing a few more imageries in this egregious art piece. I’ve relied on the keen eye of a few Métis and First Nation artists (who wish to remain anonymous).

Readers may or may not agree on the definitions of Indigenous identity.  These are important, crucial discussions that should not be influenced by White academia, in my opinion, no more than the criteria that states community acceptance be dictated by its Own People and not by the Settler’s governments.

We owe it to ourselves to speak out. We need to do it for our grandchildren’s grandchildren; those not yet born, for whom we hold land, traditions and culture.

The image has been made public and no copyright infringement is intended during this artistic critique and study of this work.