Throughout May and June, I collaborated with Kayla Matthew and curators from the Unsettling Pioneer Museums in Alberta project to complete the Main Gallery at the Camrose and District Centennial Museum. In this blog post, I will outline how the displays relate to one another, mirroring ideas and creating conversations that result in an underlying shared narrative that informs the gallery. Our displays are informational in isolation, and provocative in collaboration.

The Western Canadian Landscapes as Souvenirs Display, which I curated, describes the commodification of land and the environmental impacts of separating monetary gains from the actual ecosystems that support various species necessary for biodiversity and sustaining life on earth. In my display, I decided not to mention Indigenous peoples since I am a settler, but the Indigenous displays we do have in the gallery work with my display to emphasize that this land and the money made from it have never properly belonged to the Canadian government. The Sunny Boy Display, for example, describes how stereotyped images of Indigenous peoples were used as stamps for prizes found in Sunny Boy cereal boxes, and ultimately brought in profits that were never seen by the Indigenous peoples stereotyped.



Neither the profits from Sunny Boy nor tourism originally benefited Indigenous peoples. Indigenous peoples had to source their own income from tourism. During the 19th and 20th centuries, increases in tourism at Niagara Falls created an independent source of income for Haudenosaunee and Anishinaabe women. These resourceful women created souvenirs using traditional beadwork to cater to the tastes of Victorian visitors to the Falls. The Souvenir display exhibits these objects, preserved by the tourists who bought them. The Niagara Falls tourism booklet placed in the case alongside the souvenirs shows how landscapes, sourced from Indigenous land, were also commodified and sold to tourists as souvenirs. These cultural artifacts remind us of how crafting and making are important to preserving and also shaping culture as practices are adapted for new audiences.

Métis, Haudenosaunee, and Anishinaabe beading, along with Norwegian crafts, are all artifacts that emphasize how making is an integral part of preserving culture. While the genocide of Indigenous peoples is completely different from the experience of cultural loss after emigration, settlers in Canada also used crafts to preserve and adapt their cultures under challenging circumstances. The Norwegian rosemåling that decorates the bowls we have on display is an example of settlers preserving culture through traditional folk art. Curating is also a type of craft that can be used to preserve culture and influence the types of stories we tell about cultural histories. Crafted items from curators can be used to highlight certain artifacts or cultural representations.

The arrowhead display, curated by Heather Caverhill and Skye Haggerty, utilizes cyanotypes to showcase the shapes and details of arrowheads in the Museum’s collection. Alongside the display case is an example of how cyanotype was used to make blueprints. There is an interesting tension between the old use of this process to plan settler developments on Indigenous land and the contemporary usage to showcase the technology and skill of Indigenous Peoples. Haggerty also plans on adding additional crafted items to the display. Functional applications of making are also seen in the 19th and 20th-century settler crafting display. While the embroidery and other embellishments may draw most of your attention, do not forget that these items all have functional purposes. The table runner and crocheted trivet protected the surfaces of tables. The floral bag was used to store objects, and the rag rug kept floors dry. The embellishments and colourful fabrics were added to the making of these objects and emphasize the time and detail put into them, just as the cyanotype works to showcase the skill used to make the arrowheads. By showcasing their outlines and calling attention to the details of the objects, the skill required to make them is made obvious.


The preserved crafted items alongside the crafts of curators show how narratives are continuously made and adapted. How we choose to display artifacts dictates what narratives we are presenting. The gallery we have created tells a complex narrative about ownership, making, preserving, culture, and colonization, which invites visitors to ask themselves how they fit into this narrative. Through the diverse voices and expertise of the curators, we have created a dynamic gallery that provokes thought and reflection.























































































