A series of articles on the fire at the national museum in Brazil. Raises questions about the role of material culture in studying the past but also of the concept of “national memory.” Further, there were recordings of languages that are no longer spoken that were destroyed. Does the loss of a language represent a loss of knowledge? A knowledge system? Fascinating questions raised by this incident that speak to the volume of loss.
The losses are “incalculable to Brazil,” said Michel Temer, the country’s president, on Twitter. “Two hundred years of work, research and knowledge have been lost.”
Marina Silva, a candidate in Brazil’s upcoming elections, described the fire as “a lobotomy in Brazilian memory.”
BRAZIL’S MUSEUM FIRE PROVES CULTURAL MEMORY NEEDS A DIGITAL BACKUP
It didn’t have to be this way. All of these artifacts could have been systematically backed up over the years with photographs, scans, audio files. The failure to do so speaks to a vital truth about the limits of technology: Just because the means to do something exists technologically doesn’t mean it will be done. And it underscores that the academic community has not yet fully embraced the importance of archiving importance of archiving—not just in Brazil, but around the world.
Restoule claims that, for Indigenous people, “the senses can know more deeply and concretely than knowledge gained through reading and being told.” He asserts that “knowledge is sometimes revealed through dreams, visions and intuitions.” And he offers a Venn diagram with a circle for “Western science”—“limited to evidence and explanation within [the] physical world” and “skepticism,”—overlapping somewhat with a circle for “Indigenous knowledge,” which is described as “holistic,” involving a “metaphysical world linked to moral code” and “trust for inherited wisdom.”
“When our grandparents and parents were forced to go to residential schools and literally torn away from their families, that knowledge was lost,” he said, noting that he had spent hours badgering his elderly aunts to share their old recipes and secrets, including how to make oolichan grease, or fermented smoked fish fat, which he uses to flavor soups or sauces.
Ms. Nottaway considers cooking her best weapon against assimilation, and on a recent Thursday afternoon, she set out to hunt for deer, partridge and beaver in a snow-covered forest on the reservation.
The researchers also found that roughly 175 years ago, the population of Coast Tsimshian in the region declined by as much as 57 per cent. This coincides with colonization and the spread of diseases such as smallpox, the accounts of which have also been passed down in First Nations oral tradition.
“Science is starting to be used to basically corroborate what we’ve been saying all along,” said Barbara Petzelt, an archaeologist with the Metlakatla First Nation, one of the researchers in the study.
Really interesting article that gets into the importance of history and why we fight over it. In addition, how do we acquire knowledge of the past? In doing this project, the lead historian has to distinguish between the massacres based on the strength of evidence to support their happening. What is also interesting is what kind of evidence was used. Should indigenous oral histories be counted on? Or only traditionally western accounts such as newspapers? This argument plays out in the United States as well.
Lastly, rather than writing a book, the research was presented on a map. Why does the impact of this information feel different when presented visually rather than verbally? What does this tell us about the power of art when learning about history?
“In many Indigenous communities, art works have long had dual functions as historical sources, as repositories of cultural or spiritual knowledge, and as maps of territory. There is an established tradition of mapping massacre sites through art, as in the acclaimed paintings by the Aboriginal artists Rover Thomas, Queenie McKenzie, and Rusty Peters, among others. Watson wanted viewers of her video to be aware that any map is a slippery, contested artifact, and also to have a bodily response to the work. She told me the story of one of her relatives, who, after viewing the video, turned to her in anguish, saying, “Where wasn’t there a massacre?””