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In the section about the Sundance, called "The Time of all
Camping Together," visitors learn through panels and a video
that, although the men's Horn Society chose the location and time
for the ceremony, the Sundance could not begin before the Holy
Woman had completed her fasting and prayers and emerged from the
Holy Lodge. Doreen Blackweasel (Amsskaapipikani) says, "Both
men and women had an important role to play. There was a
partnership both in the home and in ceremonies." Jenny
Bruised Head (Kainai) agrees: "No man could become a leader
without a female partner -there was always a balance."
The more difficult post-contact history of First Nations peoples
is poignantly portrayed- the problems of disease, starvation, and
the enforced assimilation attempted in the residential schools. A
series of symbols from traditional Blackfoot "winter
counts" of the population provides a chilling list:
"1764: one third of us died; 1780: half our people died; 1837:
over 6,000 people died; 1864: over 1,100 people died." As the
visitor moves through the gallery, the open, curving layout and
warm lighting gradually give way to the small, square, enclosed
space of a reserve house, which leads into the corridor of a
residential school. Photos show a series of uniformed school
groups accompanied by the statement, "Schools were supposed
to give our people the skills to live among the newcomers.
Instead, schools destroyed our family structure, our sense of
belonging and our identity."
But positive contemporary views are also offered-in one wing of
the residential school display, visitors see through a door the
new use of the Old Sun school as a community college, with
Aboriginal youth working at computers. On videos accompanying most
sections, elders speak of reawakening traditional values. In the
final section, titled "Taking Control," a video shows a
series of successful Native professionals and university
graduates. "Today is a wonderful time to be a First Nations
person" says Kerry First Rider (Kainai). "We are in a
time of reclaiming the traditional teachings that will help us to
live a good life."
Blackfoot team member Andy Black Water (Kainai) states one goal of
the new gallery, "We are gathering our songs, our ceremonies,
our artifacts, and ourselves for learning and nurturing. We hope
that the visitor will leave the gallery acknowledging the
Blackfoot place in Canadian society." But the gallery is also
for the Blackfoot themselves, as Pat Provost (Apatohsipikani)
observes: "We hope that our gallery will benefit our own
youth and our urban population who do not have the opportunity to
see our traditional culture... let their curiosity take them back
home."
Heritage Community Foundation Presents
