The images presented here are unedited photographic proofs. They represent the current work-in-progress of the author. These proofs were first printed from original black-and-white film negatives, then digitally scanned for display online. These particular images were selected from more than one thousand images created over the last fifteen months.
“Yet the fact that the Indian and his surroundings lend themselves to artistic treatment has not been lost sight of, for in his country one may treat limitless subjects of an aesthetic character without in any way doing injustice to scientific accuracy or neglecting the homelier phases of aboriginal life.” (p xxiii)
“… when asked to document what they like and dislike in their community, the participants mainly chose to photograph and comment on positive aspects of their lives. The relational nature of the annotated photographs and the editorial choices of the participants highlights the responsibility of both mass media and academic literature to balance their reporting with young people’s input.” (p 254)
The act of photography exposes the photographer to the subject, inasmuch as the subject is exposed to the photographer. This mutual exposure creates an opportunity for engagement. The act of photography provides for a dialogue between the subject and an imagined audience, with the photographer as intermediary.
These are excerpts from a “model letter” given in an English language textbook in 1890. Morley, Alberta, was the home of the so-called “MacDougall Orphanage and Residential School” which was an Indian residential school from around 1875 until 1910.
“Maori position themselves in time and space by locating their ancestors in time (by event) and relating themselves to that ancestor. … To present one’s identity in Maori society is first to establish a relationship between oneself and one’s ancestors (time), and second, to locate that ancestor geographically in the landscape (space). Time and space, then, are fundamental components of Maori identity.” (p 214)