| Summary: | In aiming to dispossess Indigenous peoples from their land and destroy their cultures, settler colonialism increasingly operates by “recognizing” and appropriating Indigenous identities into dominant national narratives. However, Indigenous peoples globally have found numerous ways to unsettle colonial powers, including claiming and reclaiming cultural practices in formerly colonial institutions such as museums. This dissertation examines the role of museums in perpetuating and opposing settler colonialism in Canada. First, I critique museums as forwarding settler colonial narrative and material violence against Indigenous peoples. Second, I examine the ways that Indigenous peoples have been engaging in museum spaces in order to “turn away” from the colonial politics of recognition.
This dissertation engages with literature in political theory, critical museum studies, Indigenous political thought, and the colonial politics of recognition. In the first two chapters I examine three logics of settler colonialism: disappearance, appropriation and obfuscation. I put this theoretical framework in conversation with three case studies. I look at the 1988 exhibition “The Spirit Sings: Artistic Traditions of Canada’s First Peoples” to examine the turn towards the settler colonial politics of recognition. The second case study, a multi-sited exhibition called “De T’a Hoti Ts’eeda: We live securely by the land” (Yellowknife and Ottawa) and “Extremes: Life in Subarctic Canada,” (Edinburgh) is used to think through multiple experiences of collaborative exhibition. The third case study is the “Gwich’in Caribou Skin Clothing Project” (2000-2003), exemplifying the role of knowledge repatriation projects for supporting Indigenous decolonial resurgence. The final two chapters of the dissertation examine how Indigenous peoples relationships with museums counter the logics of settler colonialism. I use the collection of Athabaskan Dene objects at the National Museums Scotland (Edinburgh) and the “nation-to-nation” relationship established between the Tłı̨chǫ Government and the museum as exemplary of relationships exogenous to settler colonial domination. Second, drawing on Hegel’s master/slave dialectic I offer a theory of “labour against recognition,” where the process of making objects is generative of relationships that simultaneously turn away from the colonial politics of recognition and foster a decolonial politics of Indigenous resurgence. === Arts, Faculty of === Political Science, Department of === Graduate
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