Ethnic Communities and Museum Realities: Untold Stories

Storytelling is an art and provides a customary frame for explaining the historical events, conveying knowledge, wisdom, values, spirit, meanings, customs, beliefs, behavioural patterns and our way of life. It also expresses the lessons we learn from history and transmits that to the future generations. It explores “contradictions inherent in social life’” and we could “live life like a story” (J. Cruikshank, 1990:ix).

Life is complex, complicated and is full of stories to tell. The tellers will relate the stories of many political, economic, social and cultural issues. Some stories are controversial and painful reflecting the dark episodes of our history and legacy; some expose our roots of injustice and prejudice and some record our sufferings and inhumanity. Like Professors Paul Wood and Martin Segger have said, some stories we know but won’t tell, some we forget and some we suppress. Looking at our past, Roberta Jamieson (1998:47-48) wrote that there are not many museums that tell the stories of slavery along the Northwest Coast of Canada, the residential school of the First Peoples in North Vancouver Island, the “genocide of the Beothuk,” the use of Inuit people in the North to assert Canada’s sovereignty and the Mounties in the prairies provinces. To this list, we can add, the interdiction of the potlatch (A. R. Radcliffe-Brown, 1952:197-98), the deportation of Acadians, the illegal adoption of the Butterbox babies of Nova Scotia (B. Cahill, 1992), the Black settlement in Halifax, the Proclaimation for the skulls of Mimac (S. Augustine, 2002), the revolt of the Patriots of 1837 in Quebec, the conscription issues, the Maurice Duplesis’s children, the October crisis, the reference and separation issues, the brain washing experiments in Montreal, none is too many: the refusal to accept Jewish refugees, the forced sterilization of the mentally handicapped in Alberta in 1920s and 30s, the Chilcotin Uprising of 1864 and the hanging of the chiefs (E. S. Hewlett, 1973:50-72), and land claim issues.

As a people, we should not remain silent on many of these stories; for the stories provide a historical link with our lives and define our national identity. The country should be mature enough to confront and to come to term with its dark past; for the past is where we search the meanings for our lives. To tell the stories define “our characteristics as human beings” (D. Leeming, ) and build bridges between peoples. To repress our collective memories will serve no purpose. As Jamieson has noted that the risks of not telling nothing will make us irrelevant; and to be relevant, we have to demonstrate actions of equity and diversity (1998:48).

And now, what are the untold stories in some of our Asian ethnic communities?

(I) The Chinese, Japanese and Indo-Canadian have a long history of immigration in British Columbia. And not until the Second World War, most of them lived in B C. In 1881, 4,350 Chinese lived in BC out of a total of 4,383 in Canada; in 1941, 18,619 out of a total 34,627 (Census of Canada, 1881 – 1941). And more than 95% of Japanese lived in BC until the attack of Pearl Harbour (P. Ward, 1982:8), 22,096 out of a total of 23,342 (Census of Canada, 1901 –1941). The same is true for the immigrants from India, from 5,195 in 1904 – 10 to 6,439 in 1940-50 (Johnston, 1884:7) and most also lived in BC. Because of the racial hostilities of the time, they were considered as unwanted immigrants, even though they had begun to write the history of Canada. In “A White Man’s Province,” Patricia Roy gave a detailed complex account of anti-Oriental traditions and systematic exclusion and racial hostilities against the Asians and violent agitation against them by various anti-Asian organizations notably the Asiatic Exclusion League and Anti-Mongolian Association (1989). It is a tragic story yet to be fully and adequately told showing how the powerless minorities were subjected to political persecution, legal exclusion, economic discrimination, social segregation and cultural isolation (Hoe, 1979). It was a form of internal colonization whereby a dominant group exerted political and financial power without due regard to the well-being of the disadvantaged minorities (Blauner, 1969:393-408) in late 19th and the first half of the 20tt centuries’ Canadian society.

The consequences were tremendous and the rippling effects still exert impact on the Asian communities:

(1) Among the Chinese-Canadian, the racial riots of 1887 and 1907 have left a painful memory in their legacy. The head taxes amounting to $22,989,512 in 1931 (Canada year book,1932:159) is a constant reminder of racial inequity. The political disenfranchisement and the Chinese Exclusion Law of 1923 had effected not only the structure of the Chinese communities but also their families till 1950s. Because of immigration law restrictions, there were only 27 Chinese females in Vancouver as opposed to 2,053 men (Royal commission of Chinese and Japanese Immigration, (1902); and in Canada, the sex ratios were: 100 females as opposed to 2,790 males in 1911, and 1,533 males in 1921, and 1,241males in 1931 (Census of Canada 1911-1931). Without the women and children, it would be no family live and no way to continue and to transmit the cultural traditions. For those who left their family members behind, the exclusion law delayed the family reunion and the arrivals of Canadian-born generations. In a study of the effect of the immigration law on the twenty Chinese families in Edmonton and Calgary, seven couples were separated for seven years, five for sixteen to twenty years, four for twenty-one to twenty-five years, and another four for twenty-six to thirty years (Hoe, 1979: 270).

(2) Among the Japanese-Canadian, the imposition of the War Measure Act to forcefully deport and intern them during the Second World War and the repatriation of Japanese-Canadian to Japan has left a sad legacy with regard to human right and social justice. The consequences are the destruction of their communities, family lives, properties and artifacts. Their once flourishing salmon fishing and canning centres in Steveston vanished. In their long for acceptance, some opted for assimilation into the mainstream of Canadian life. Carlo Caldarola noted the younger generation was interested in “things Canadian,” and driven by “an exaggerated tendency to go overboard for being Canadian, they shunned their Japanese heritage and even denied their Japanese origins” (1976:12). This coupled with their geographical dispersion and wider contacts with the others, the intermarriage rate among the younger generations was usually high. Gorden Hirabayashi estimated that in 1970-74, the intermarried rate between the Japanese and the whites in Taber and Lethbridge was 71% and 80% respectively (1975).

(3) The legacy of the Komagata Maru affair remains a cause célèbre in the Indo-Canadian community. The ship with 376 East Indians on board was refused admission to Canada. Joy Inglis and Michael Ames wrote that the forcible turning back of the ship by gun boat and the violence, bloodshed and assassination of chief investigator and murder of informants have never been forgotten by the BC Sikhs (1976:9). It is an “unhappy page in Canadian immigration history” (S. K. Jain, :5). Because of immigration restrictions, the men “who had landed between 1904 –08 composed the bulk of Indian population in Canada till 1940s” (Johnston, 1984:7). The sex ratio was 400 women to 5,000 men prior to World War II (J. Inglis and M. Ames, :6). There were more old men than children for those who came before 1908 (Johnston,1984: 9). The stories of the East Indian communities, Hinduism, Sikhism, social lives and cultural traditions and the turban issues need to be told.

(4) The labour history of these Asian pioneers and their contributions to railway and road construction, coal mining, fish canning, market gardening, farming, lumbering, shop keeping, saw-milling, vegetable peddling, shoe making, cooking, laundering, logging, shingle milling and general labouring have not been sufficiently told in our history texts. They carried out these arduous works within the context of allegations of providing cheap labour, economic discrimination and attacks from the trade unions. Theirs is a story of hard work,endurance and survival. It is to be noted that the laundrymen were so numerous around the turn of the 20th century that some whites thought they were genetically programmed to be laundrymen. Even in the house for the insane, they were asked to do laundry work.

(5) The stories of old settlement sites such as the historical Chinatowns, Japanese quarters at Powell street and at Steveston, heritage Sikh Temples and traditional Chinese graveyards can be conveyed to the public. These historical sites give us a sense of place and our historical presence. The once thriving and vivant Cumberland Chinatown had all been reduced to emptiness. Conservation measures aimed to preserve and restore the surviving historical properties should be carried out. The beautification programs of some Chinatowns such as the construction of gateways, pagodas, colourful lamp-posts, Westernized telephone booths and bilingual roads while aimed to attract tourists may lead to standardization of Chinatowns making them look alike and thus losing their unique local personalities.

(6) It is worthwhile to have an exhibition on the infrastructure of the Chinese communities with their altars of ancestors and deities, portraits, painting and calligraphy, photographs, historical documents, furniture, commendatory wooden panels and banners. Several Chinese associations own ancestors’ portraits, and huge folk paintings depicting mythological figures; and one owns the portrait of Lee Hung-chiang, a Manchu Prime Minister when he visited BC around the turn of the century. Several Chinese temples are of importance here: The “Palace of Saints” founded in 1885 and owned by the Chinese Consolidated Association of Victoria is of historical and cultural significance. It has more than one hundred artifacts of the statutes and tablets of Gods and Saints, weapons and musical instruments. The another temple is Tang Gong Temple, reportedly started during the Fraser Valley Gold Rush days and set up by the Hakka immigrants in 1874. It is the oldest in Canada with its elaborate altar paraphernalia, banner, drums, gongs, worshipping tables, divinity sticks and documents. The other temple which was believed to be a “part of the spirit of Tam Gong” was located at Powell Street in Vancouver during the 60’s and 70’s and later moved to Gore Street. It has now disappeared. The altar of the God of War in Prince George was fallen in disarray when I visited it during the 80’s. It had a wooden deity, wooden panels, decoration and vessels. The association which owned the altar was reluctant to donate nor sell. They thought I wanted to buy god and misfortune would fall on the association.

(7) The stories of the Indochinese refugees. As a consequence of war, turmoil, famine, disease and political oppression in Indochina in 1975, many fled to Canada in search of safe heaven. The arrival en masse of Indochinese refugees from different cultures and societies was unprecedented within the background of long standing anti-Asiatic immigration. The refugees have a tragic story to tell. There is a moral lesson of humanity, suffering and survival. It also reflects Canada’s compassionate and humanitarian traditions of helping the dispossessed, the downtrodden and the persecuted. There were 25,670 Vietnamese, Cambodian and Laotian living in Bc in 1996, consisting of 0.7% of the total BC population (Census of Canada, 1996).

(8) The new pioneers who arrived in recent decades with little encounter of institutional racism and social, economic discrimination will have different stories to tell about their new life and opportunities in Canada or they may tell the other side of the story as compared with the earlier Asian immigrants. Among the new arrivals, the largest groups are the Korean, the Filipino, the Indonesian, the Pakistani, the Malay and the Sri Lankan. They are the new faces on the blocks. They will enrich our cultural mosaic and enlarge our ethnic diversity.

These stories are concerned with living people with a living culture. In presenting their stories in the museums, we retell and bring theories alive in an exhibition context. We have to consult the communities to ensure the exhibitions are politically correct, socially correct and culturally correct. The exhibition on “Into the Heart of Africa” organized by the Royal Ontario Museum was labelled racist, stereotyping and condescending by some black groups; their story was not told nor told fairly. There were weekly pickets at the museum (Ottawa Citizen, November 20, 1990; Toronto Star, September 21 and 29, 1990). The exhibition on “The Spirit Sings” organized by the Glenbow Museum and sponsored by the Shell Canada was reported to trigger anger and hurt among the native peoples for the exhibition did not address native political aspiration and past injustice (Ottawa Citizen, 30, 1988).

Certainly it is good museology and good anthropology to consult the communities with regard to interpretation and programming of their history and culture, and to present the exhibition from their frame of reference and with their voices. However the museum is no longer just a silent temple of culture; it also has a voice as expressed in their policies, mandate and objectives. In the days when the ethnic communities have become increasingly politicized, vocal and assertive, we have to find a innovative and creative compromise for the presentation of a good exhibition where all parties concerned are happy. But the communities are so diverse and internally differentially into different sub-groups, each with their own political agendas and aspirations. The Chinese communities, for example consist of overseas Chinese from all over the world and were sub-divided into groups like Cantonese, Mandarin, Hakka, Hokkien, Teochiew, Hainanese, Shandongese and others. It is difficult to find a cohesive and unifying voice to reckon with. The compromise would be a long process of consulting with every available group which identify with the history and culture to be presented. In the exhibition on Beyond the Golden Mountain, I virtually went to every Chinese community and requested their advice and suggestions. Some members of the community insisted that the dark episodes of the Chinese-Canadian life should not be shown and should remain as “untold stories.” The presentation of these stories such as the bound feet shoes, opium apparatus, gambling items, prostitutes, unemployment and poverty would stereotype the community and bring the Chinese into ill-repute. I countered the objections by offering to present these stories in proper historical and cultural contexts for examples: (A) The opium pipes would be shown within the context of British colonialism and the Opium War. It was a colonial imposition on the Chinese. Mackenzie King in his report on the “Losses sustained by the Chinese Population of Vanvouver, BC” as result of the racial riot of 1907 found that there were three or four opium factories in Victoria, two in Vancouver and one in New Westminster; and the gross receipts submitted for the claims from the two factories in Vancouver amounted to $340,000 to $350,000 in 1907 (1908:15). It was a fact of life we have to confront with; (2) In discussing with the women group on the bound feet shoes, I pointed out it reflected a male dominated feudal society with a Confucian ideology where women were regarded as inferior and subservient. The bound feet shoes brought pains and sufferings to the women and perpetuated the image of women as a sexual objects. I also jokingly indicated that Cinderella’s feet might have been bound, and this would add more hardships and difficulties when she tried to please her wicked step-mother and step-sisters (Cinderella is regarded by some folklorists as a Chinese girl, as the first version of the story was recorded in the Tang Dynasty, ; (3) It was the Canadian Immigration Laws and restrictions which forbade the admission of women that created a large gap in sex ratio in the Chinese community. The issue of prostitutes would be shown in the context of single males and married bachelors; (4) Gambling would be shown in the context of a isolated and lonely life. Where could they go after long hours of work in the cafes and grocery stores? And excessive gambling was not condoned in the Chinese community.

In the Vietnamese Boat exhibition, the Vietnamese community wanted to emphasize that they left the country in search for freedom and not due to the war, and their dissatisfaction with the new Communist regime. There were so many political groups in the community that denounced Ho Chi Min and the Viet Cong. They would protest any symbols of the communist regime just like they picketed against Miss Saigon in Toronto. The concern was minimized when these contentious issue was relegated as a backdrop before they arrived in Canada That was also why most of the boat people came.

In additional to being political correct, the selection and arrangement of the artifacts to illustrate the story should be properly contextualized and in accordance with ethnic cultural principles and sensitivities. The object is “a bearer of cultural message” (A. Moles, ) conveying information, ideas, meanings, values, and evoking memories, aesthetics, emotions, taste and revealing the inner intentions of the story. The logic of collecting artifacts to present the story will be artifacts’ related stories. In the exhibition on the Vietnamese Boat People, we did not have many artifacts as most of them were refugees escaping from their country with bare hands. Many things they brought over were of sentimental nature: a pair of slippers given by a refugee’s mother when he won a mathematics’ competition in high school; a pair of glasses from a grandmother for remembering her; a pair of chopsticks from a father to his son hoping he could start a family abroad and to continue the family line, as chopstick means “fast having son” in the Sino-Vietnamese meaning; a rice bowl to wish he always has something to eat; a lime fruit to remember the village he came from and a diary given by his school mates with all their best wishes. These artifact’s related stories were used in conjunction with the objects they brought along from their respective refugee camps such as model boats and souvenir panels, together with those they made in Canada such as painting, calligraphy, lacquered panels, costumes, musical instruments and religious items. A collaborative effort was made with the ethnic communities to solicit for donation and loan. With these artifacts, we elaborated a tragic story of man’s inhumanity to man and human indomitable spirit to live and survive. This is a case where we rely on the community for artifacts and thus illustrate a successful story of mutual help and cooperation. In these day and age where the financial resources are shrinking, we are increasingly dependent on the communities for resources and materials. As we were short of funds to purchase a refugee boat, several hundreds of refugees chipped in with small donations and built one. The question is the museum is running out of space in the future to store large collections. The large items may be donated to the community when they have their own museum in the future. The Boat People exhibition experience brings to light that there must be a collaborative effort in collecting and sharing of artifacts with the ethnic communities. In this case, the objects collected are story-related and has a focus and a logic for collection development.

Research is an integral part of the story line. It determines the direction and trend of the narratives and adds meanings to the content of exhibition and artifacts. Without a solid and leading edge research, the interpretation, exhibition and collection will become unprofessional and even amateurish. The curator has to be curatorially correct in consultation with the ethnic communities so as to properly select, articulate and recontextualize the stories and objects with them; and also to connect the stories with historical realities and the lives of the people. In the “Spirit Sings,” a member of the native community said she was bothered that the show was ut together by non-natives (The Gazette, July, 1988). And “Into the heart of Aftrica,”the researcher was said to be elitist and Wetern and looked at Africa with a colonial lens. It was as if the curators virtually had to go native in order to get to the inner thought and feeling of the people despite their years of professional training and experiences. In this day and age, the curators are expected to be interdisciplinary and engaged in cross-cultural research. The Census of Canada listed more than one hundred different ethno-cultural groups in 1996, not many museums could afford to hire curators for each of the ethnic community. Here again the sharing of knowledge and insights is important for both curator and the community. There must be a delicate balance between scholarly objectives and the understanding of the ethnic communities. Good research elucidates, validates and verifies the stories, the facts and the truth with academic integrity and intellectual rigor, and provide credibility and confidence to the public.

Storytelling is one of the effective means of exhibition. If we are going tell the stories of a people and a culture from whom they come, we have to involve with the ethnic communities. It is a dynamic and complex relationship (M. Hecker and C. Birch, ). L. Harper proposed to build trust and to get community representation, to seek mutual benefits and to respect community knowledge (1996:22). C. Cole suggested to share power with the community, interest and a common vision and to respect community knowledge (1991:22). We need to engage dialogue and open communication and to generate discourse with the ethnic communities. We enlist their support and assistance with regard to our research, collection, exhibition, interpretation, public programming and volunteering; while the museum can offer its expertise and information on conservation, classification and cataloguing and preservation of heritage materials. The cooperation will enhance intercultural exchange and learning as well as to produce good exhibition, valuable collection and quality research.

Museum is multifarious, multifunction, multidiscipline, multi-perspective and multicultural. It is to be a microcosm reflecting the society, the people and the culture. We are now living in a post modern society with changing time, mores, interest, fashion and social and economic conditions. Some of the assumptions with regard to museum may be put to the test of time. The younger generations may have different points of views, morals, values and taste; they may look at the society and culture with a fresh museological eye and question some of the museum’s assumptions. They may see the world differently and want to know how to justify for the collection and the preservation for the future generations. With the changing of time, some of the artifacts collected by the previous generations of researchers may no longer assume the same historical, social and cultural significance as they once were. With space limitation and financial constraint, some artifacts are being deaccession and even give away. Collecting without adequate protection and care will put the artifacts in jeopardy. Some of the museums are overflow with objects so much so hey have become a store house rather a museum’s storage. A few museum administrators have even suggested to photograph and video the artifacts and take as much information and ideas from them rather than collecting them. For the large items, proposals are made to make only replicas and reproduction and discard the duplicate artifacts. This is really a changing time with wider implications. Questions have been raised as to the validity to store reproductions rather then the authentic artifacts. With advanced knowledge and scientific testing, latter generations of researchers are able to add in more information and discover new things from the authentic materials. The rediscoveries of the glazes of three-coloured ware of the Tang Dynasty and of the Jun ware of the twelve century were derived from the originals. Besides the reproduction contain only certain information and knowledge constrained by a specific time of manufacturing. Not all information go into the reproduction. With the development of new theories and methodologies, some of the research findings may be challenged and revised.

With these changing realities, ethnic communities also have to adapt and change. While they may assert their identities in the museum settings and to preserve and interpret their own histories and cultures, they should go beyond their ethnic confines exhibiting and collecting materials of intercultural interest so that other ethnic groups can share a common vision of the country and participate in a multicultural living. By so doing, they could carve a positive image of themselves while connecting with other Canadians who may experience a part of what they are (B. Beck, 1985:126). Canada is increasingly becoming multicultural and multiethnic. The 1996 Census of Canada reported that 35.8% of Canadian are multiethnic and in British Columbia, 44%. Multicultural living is a Canadian reality. The Polish, the Ukrainian and the Quebecois are cooking Chinese food in their kitchens so do the Chinese and the Vietnamese are making Sushi and Shasumi. The present and future generations of curators will have to collect stories, artifacts and research materials from multiethnic Canadian. In fact borrowing and interchanging cultural materials and objects have always been going all along. The Chinese hand laundrymen had always used the equipment like washers, dryers, wringers, irons, and boilers manufactured in North America. These machines were part of their working environment and had impacted on their way of life in Canada. The same is true for the Chinese cafes, many of the equipment like wine presser, cashier, table wares and kitchen apparatus were made in Canada but were used to earn a living. Over the years, these artifacts could be used to illustrate the social, economic and cultural life of the café’s family.
In delineating the interdependent and interaction of museums and ethnic communities, we are facing a new kind of public who are well informed and well educated. They want to know the kind and the quality of our exhibition and collection. They question the way we see things in the museum and what we have left out. What are the untold stories and difficult issues that we have avoided. In a Doukhobor exhibition, some protested that there were no stories of arson and angry confrontation with the RCMP (Ottawa Citizen, January 22,1995) and there were no naked women burning houses. It was as if the more naked they were, the more anthropological. The museum had thus ignored “the most controversial aspects of the sect’s history,” and a “fascinating story of struggle, dissent and ideological purity’ (Ottawa Citizen, January 22, 1995). There was also a complain about the avoidance of Somalia controversy in the Canadian Peacekeeper Gallery ( S. Riley, 1966). As the public are interested and want to get involved in our museum operation, it is time to have a broad public consultation with regard to the kind of museum’s exhibition and collection they want and to get their input.

But the challenge is within ourselves. As museum workers we have to be honest with our conscious and with our integrity. We have to tell the untold stories for the good of our people, our history and our country. Though we may embrace multimedia and high tech to enhance our museum presentation and function, but our basic mission remains; we are committed to the betterment of human lives, humanities, ecology and peaceful co-existence with other living beings. If we were to become Mini-Espcot, Mini Disney and Mini West Edmonton Mall, then the museums will become an endangered species.
I hope my story has a happy ending. May I take this opportunity to wish everyone of you to live happily ever after.

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