 So, this session, they've called it Project Naming and Views from the North. And again, an amazing group of people who have come together and are doing this research project. So again, this panel is about research partnerships, so partnerships between institutions and communities. And I'm going to introduce the people who are sitting here with me if I can find the right page. So I'll start with Beth Greenhorn, who is right beside me here. She has an MA in Canadian Art History from Carleton University. After graduating in 1996, she worked in the Canadian Art Division at the National Gallery of Canada. In 2003, she joined the National Archives of Canada, now Library and Archives Canada, also known as LAC, where she curated web exhibitions and led web-based projects. From 2003 to January of 2017, she has managed Project Naming, a photo identification and community engagement initiative involving Indigenous Peoples. The first 12 years largely focus on photographic collections depicting Nuna Vimuit, sorry. Her article Project Naming and Visage in Nome was published in International Preservation News in 2013. In 2015, the project was expanded to First Nations, Métis and Inuit communities in Inuvialia, Nuna and Nunatiavut. In 2016, she curated the exhibition Hiding in Plain Sight, discovering the Métis Nation in the collections of Library and Archives Canada. An adaptive version was on display at the UNESCO headquarters in Paris in February of 2017, and will become a traveling exhibition in Western Canada, beginning with St. Boniface Manitoba in 2017. This past March... Oh, you can stop. I thought of just... But there's so much. You're so accomplished. No, it's on the website. It's okay. Okay. So you will learn more about her as she speaks further. Carol Payne in the middle is an Associate Professor of Art History, a research fellow in Public History, and a member of the Center for Indigenous Research, Culture, Language and Education, all at Carlson University. She's author of the official picture of the National Film Board of Canada's Still Photography Division and the Image of Canada, 1941 to 71, and co-editor of the Cultural Work Photography in Canada, among other publications. Between 2005 and 2014, she was the principal investigator and a SHERC-funded collaborative photo-based research project with the Inuit Training Program, Nuna Vets Vinit Savat, and Library and Archives Canada's Project Naming, a photo-based Inuit history initiative. This past March, she co-organized with Beth, a workshop celebrating 15 years of project naming. That workshop is the basis for a collected volume that she's now editing, tentatively called Photographs, Generations, and Inuit Cultural Memory. Among her other recent publications on collaborative photo-based methodologies with Inuit include a 2016 article in the Royal Anthropological Institute Series Anthropology and Photography. And last, and her bio is so short, although... I haven't accomplished anything. She's on the boat to significant accomplishments and greatness. I met her for five minutes and I'm already impressed. So she's worked on the project naming at Library and Archives Canada last summer, and she's working on the project again this summer. But what's really awesome about Harriet Matthews, she just finished her bachelor of her honors BA in history at the University of Ottawa, and starting in September, she's starting law school. So she's on the road. So I will turn it over to these three fine women, and they will tell us about project naming and their partnership model. And I just move it this way? Yeah. Okay, thank you. So thank you everyone, and thank you to the organizers of CUREUP for inviting us. It's a great honor to be here and to hear the stories of elders that we've heard over the last couple of days. And before I start, I just want to say or acknowledge that we're on unceded Algonquin territory, so it's an honor to be here. I also just want to position ourselves, particularly Carol and myself, because we're non-indigenous, and that as an indigenous photo-based project called Project Naming and the research that came out of it, these research collaborations involve indigenous communities. And as Anna mentioned, it particularly focuses on the territory of Nunavut, but it's since expanded. But as Library and Archives Canada, we're a government organization that has collected the dominant mainstream history. So we have really one-sided or part of the history, and what we're trying to do through our work in this project is to collect and retell as many other stories and histories as possible, because they're multiple stories and narratives that come out of this collection. So again, just to state that in undertaking this work, we do not claim to speak for indigenous people, but instead we're trying to and through our work to collaborate with it, and through our work we're working through what we hope is a reciprocal engagement and initiative with the communities. So with that I will start, and I'll try to be very fast. Project Naming has existed for about 15 years, and there's lots to say, so I'm going to go through very quickly. I'm not going to read all the slides, but there will be, you can read the names that I've noted on there, but I just want to go through just the basics of the project, and then I'll be handing it over to Carol and Harriet to continue the story. So this was the first iteration of our website. We've had three phases now, and this is what we launched in October of 2004. It initially started out as a partnership with Nunavut-Simonixovit training program, and this is a college based in Ottawa, and it was also a partnership with the Culture, Language, Elders and Youth Department of the government of Nunavut. And what had happened was over the years the instructors from the college brought their students each fall to Library and Archives Canada to do photo research and look for pictures from their communities that they could take home at Christmas to share with their families. And by and large, I'd say 90%, if not more, of the archival descriptions that we have of our photographic collections never named the Inuit or Indigenous people that are depicted in those. So if you were a non-Indigenous person, you probably had a name, a caption written under that photograph, but most anyone else who was not part of the mainstream dominant culture was left either anonymous, unnamed or in many cases when we go back, which makes me cringe today, is that the captions that were written are racist. They use outdated terminology, and so that's part of what the goal of this project is to correct those past wrongs. This is just a one example from the Department of Indian and Northern Affairs. This is what, or using the historical name for Indigenous and Northern Affairs Canada, that this is one of the departmental albums. And there are, I'd say, hundreds and hundreds of pictures such as this photo that we now know is Kaju Juyak with an unnamed little boy in the corner. But she and hundreds of other people were just called native type in these albums. So we want to correct that. So here are two students. This really started before I came to Library and Archives Canada. That was in June 2003. And these were two of the students that were part of the program that started the photo research. So this is really pre-digitization time with us that when they first came, they would come to our research area and look through the card catalogs. So over the years, the project's really grown and expanded in ways that I never imagined. As I said, it began with a partnership with the college, Nunavut-Siviniksovut and the government of Nunavut. And it's had a lot of different, just to directories and other paths that I just really wasn't expecting. In October 2005, I had the honor to work with two elders and a government of Nunavut staff who came down and spent two weeks with me. And we poured through literally hundreds and hundreds of photographs. We made selection based on what they were interested in. So we had some material digitized from that. And Elder Louie Utak and Elder Abraham Yulal Yuluk. I'm so sorry. I feel like I've got marbles when I'm pronouncing these names. They were completely awesome. And one of the things that I've experienced over the years, and it still gives me goosebumps and it still is so amazing that when you are sitting with elders or someone from the community and they find a picture of themselves or their parents or another community member is completely awesome. And it's just that emotional connection when someone is connecting with their past. It's truly a special moment. So again, as I mentioned earlier, we've had a couple of different phases of the website, which is attached to a database in the summer of 2007. We I was just about to launch the next phase of the website. And before I launched that, I created a tri-lingual poster that I sent out in PDF format to every contact that I had made as a result of the last couple of years of my work. And really, it was to announce that we have this project. We want people to come and visit it. We want to share the photographs. And what was really amazing, the pictures I put in this poster were all anonymous. I did that on purpose. And the following day after sending my initial set of emails, I had an email from Betty Lyle Brewster, who is depicted. She's the baby with her sister, Bella, who's now deceased in the photograph. And she was one of the pictures in the second row of the poster. And she immediately had a long back and forth conversation by email. She lives in Tel-Oyuk, and she sent me a picture of her and her daughter, Janet, and then her grandson, and was wanting me to share those pictures. And at that time, we didn't have social media. We just had our website, and there was no place for me to share that. But I'm sharing it with you today. And Betty has given me full permission to do that. Again, as I said, the project has taken lots of twists and turns in the community of Pangerton in 2005. They went through, printed off on, you can't tell by the scale, but they had on whatever year left, they made posters that they put in their community center. And they had these up for several months, and they had people from the community go through in a name and identify the people that they could in these pictures. And just one thing is that one of the challenges I've faced is when you have these large groups of people like we have in this one, it's really difficult trying to figure out who's exactly standing where. So normally we don't, yeah, we would never put numbers on the pictures, but for the community members, it was certainly a way to aid that. And then they brought back to me when the organizers came to Ottawa to a visit. They brought back these huge sheets, which was to my great surprise and delight. And then we were able to add at least some of the names that they were gathered through this event to our database. And in the winter of 2011, the community, or the Kitik Miak Heritage Society, organized a photo identification afternoon event at their community center in Kutluktuk. And again, this is another one of these amazing connections where Mona Tikikok was one of the elders who she, there's a really awesome video, which I cannot find, but she was in the kitchen and you can see her coming into the kitchen, seeing her picture as a young woman taken 50 years prior to 2011. And of course, she recognized herself. So the picture that we have is her standing with her younger self. And what is really sad is that it was only a few months after that that she passed away. So it really reinforced the time sensitivity of this project that if there, I mean, there's a lot of people that can recognize the people and events in the project. How am I doing? Am I running out of time? A couple minutes. OK. Minutes. But when the elders go, that knowledge is we've heard several times over the course of the last few days that's gone. So it's really important that we connect with them and share this material. I got a really hurry. So I was in Rankin and Lett in 2008. It was an awesome community event. At least 90 people came out one evening. We were there for about five hours. And we gathered out of about the 500 photographic prints I brought about 225 people were identified in those, which was incredible. And Lavinia Brown was one of the people that found a picture of her parents. And she's never seen that photo before that evening. Since 2007, we've worked in collaboration with Northern News Services that published two papers, Nunavut News North and Kiva Lick News. And it's published under a byline. Do you know your elders? So this was another way that we could do outreach to the 26 communities in Nunavut. And Margaret Yul Park Anak Sak was identified by her great-granddaughter and granddaughter in this photo. And before I turn it over to Carol, just to say in terms of we do outreach through our website, through public presentations, but we also do a number of onsite visits, as you saw earlier. And Curtis Konek and Martha Oda-Kalao, they were part of the Nenisevich Arviat History Project, which was based in the community of Arviat. And what was really exciting about this is that they came, spent a week with us. We went through, again, hundreds of photographs. We made digital copies that they took back and other archival records. And what was really cool about this is that then they, the youth and elders from Arviat then created or recreated the history of their community using these archival colonial documents, but retold that story in their own voices. And they used social, they're heavily into social media. So Tumblr, they have a blog, they would create videos. And since then, Curtis and his cousin Jordan, who was also on the project, created their own production company. They learned how to use video equipment just to, like, the technology. And Jordan is now a CBC reporter in Akaliweat. And Curtis is doing a lot of other recordings and working with the elders and doing other historical work. In May 2015, we finally launched a page under Library and Archives Canada's Facebook banner. And it was pretty successful. I'm going to let Harriet talk a little bit about where we are right now on Facebook. But this is a poster that we use to promote that. And we have it on our website to encourage people to share it and share the news. And I think I'm almost done, I'm so sorry. I just wanted to tell this one story again. And this is really what brings the project home to me. And it makes it so personal in so many ways. In the winter of 2015, I connected with Johnny Kassoud-Lewak and and through his mother Martha Kassoud-Lewak from the community of Nukshawak in Nunavik. And Martha was able to find three pictures and then other family pictures of her relatives in the collection. And I made prints for them, mailed them to them. And he Johnny emailed this picture of his mother standing with the three pictures. And he I don't have the quote from him, but he just wrote a really nice email, which was so heartwarming and very sad at the same time that his mother is in the early stages of dementia and she stays in a nursing home, but comes home regularly to visit. And he just said that it was so awesome being able to look at these photos of herself as a young woman. And it really triggered a lot of memories and they were able to have this conversation that he said they probably wouldn't have had if she didn't have access to them. So it was like, OK, this is this is really, really incredible. Oh, that's supposed to be at the very end. So we'll just skip back afterwards. Carol, I'm going to hand it on to you so I didn't need to go over so long. Thank you very much. I'm going to talk about another component of the project. As Beth said, there's been a lot of excitement about project naming and it has sparked other projects, including the RVOT project that Beth talked about. And I'm going to talk about one that I've been involved with between 2005 and 2014 and some components of it continue on today called Views from the North. Basically, views from the North are extend project naming to longer oral history interviews based on photos, so photo-based interviews. But to give you a sense of or a flavor of what that's like, I'm going to talk about one of these conversations. And it's a conversation between these two women that took place again in Kitikmia in Kugluktuk in Western Nunavut in 2012 between elder Bernadette Elgok on the left and Katrina Hatogina. And they sat down over a series of photographs that depict that area of Kugluktuk, usually during the 1950s and 60s. And for about an hour, 30 minutes on tape, Bernadette talked about these photographs, what memories they brought up. She told stories and she brought them back to life for the young woman she was sitting with. So they spent a lot of time together talking, sharing community news, gossiping, posing for selfies and had this moment together. Nothing we can imagine would seem homey or more familiar than that kind of a conversation. I'm pretty sure everybody in this room has been engaged in conversations like that. But for Nunavut, for Inuit Nunavut, and I imagine for many Indigenous people, that kind of memory work is really important culturally. And I would say it's even a political act in many ways. So these simple conversations over a cup of tea were a way of reclaiming and connecting between generations. So this project that Bernadette and Katrina were involved in is part of Use From the North, which was actively engaged in research like this between 2005 and 2014. And it's a collaboration, as I said, with project naming out of Library and Archives Canada, Carlton University, where I'm affiliated with, and also the school that Beth mentioned earlier, Nunavut, Suvenaksovut. And that was a school where Katrina was a student at the time when she conducted this interview. The project still exists online through a cyber-cardographic atlas that Carlton's Geomatics and Cardographic Research Center has developed and through an active Facebook page. Use From the North is concerned above all with engagement over photographs and a reclaiming of history from the position of the people involved and the descendants of the people depicted. It was funded, it started in 2005 under Shirk funding and it had a couple of grants under Shirk. And it's rooted very much in the pedagogy that grows out of Nunavut, Suvenaksovut. So there was a connection as an early project naming with the school Nunavut, Suvenaksovut. I won't tell you much about Nunavut, Suvenaksovut except to say that it's an Ottawa-based, Inuit college and in fact, David Sarkoak, who is going to be speaking tomorrow, was a teacher for many years. David's over here at Nunavut, Suvenaksovut and you can see him in the center picture. He's at the lower left and so I imagine he'll be talking about that. But this project, Views From the North tried to complement the emphasis on Inuit cultural values and learning across generations that is very much at the core of what Nunavut, Suvenaksovut does. And it's a project that's also available through an online platform, which is something many Inuit Nunavut, especially people like Zacharias Kunak, the filmmaker, laud as a way of connecting all of the diverse communities. A little bit about how the project worked. Students from Nunavut, Suvenaksovut were actually hired as research assistants to interview elders of their choice in their home community about photographs that depicted that same community. It was an optional thing. Sometimes it was tied to the curriculum, sometimes not, but they were always paid as research assistants and then the elders they spoke to were also paid as research assistants and sometimes there was a translator from the community involved who was also paid. And so those small groups would gather in a kind of intimate situation and it was a kind of way of resisting the sort of prototypical anthropologist going up and extracting the mosquito research we've been hearing about instead leaving it within the community in much the same way that project naming does. It's people telling their own stories. And I'll give you just really briefly some things that came out of this. So this is an interview on the right between Anne Hansen, a former commissioner of Nunavut with three young people just outside of a hallowed and she identified some of her relatives in the left. Some of these people have also been identified in project naming. In an earlier interview in 2006, Rebecca Samartuck of Chesterfield Inlet identified her grandfather in this photograph. And the anecdote that I began with about Bernadette Elgok, like the woman in Kugelaktok, that Beth talked about earlier, Bernadette identified herself as well as this beautiful young woman posing in Foxford from the area, something that was very emotional and meaningful in the conversation between these two women. So naming names is really important to views from the North as it is in project naming. But sometimes the conversations go further. So often the photographs prompt memories and stories go someplace that hadn't been predicted wherever the elder wants to go with them. So some examples of that. In 2014, I'm sorry, in 2013, Arkna Adlolok and Pauline Akeagok spoke with Arkna's father and aunt and other family members about being relocated to Greece Fjord. In 2014 in Pond Inlet in Northern Baffin Island, Terry Milton spoke with various family members who talked about hunting in that area. And in 2009, student Natasha Moblik, who you see holding the drum with Obama's face on it, outside parliament, she found out how her family, her parents had met, something she had never known before. So the conversations depart from the actual photographs, but they go in interesting directions reflecting what Beth said earlier. I've also been told people saying, these are conversations I could have had, but we probably would never have had if we hadn't had the photographs to spark things. And elders consistently bring in the young people into the stories that they're telling. So there is a real intergenerational caring that often works both ways. The photographs they actually look at are kind of prototypical colonialist images. Most of them were made in the 1950s and 60s, a period of detrimental harm in this area of the Eastern Arctic. And they were often used to promote assimilation. And I often say when I write or talk about this work that when I look at these images, I see harm being done. I see vestiges of colonialism. But in fact, the people in the interviews don't see that. They often see family members. They see traditions. They look at the photographs in quite a different way and they've really taught me how those narratives can change. So Views from the North is basically a connection between generations like project naming and it builds from project naming. And it's a project where I think I got involved because an academic can do some things with certain fleet footedness that institutions can't and institutions can do other things. And so it's been a good, I hope, working partnership. And as you heard earlier, there's a volume that we're working on that will come out and lots of things from project naming too. So I've probably talked too long. Harriet? No worries. Okay. So like we said, my name is Harriet Matthews. We'll introduce myself real quick. And I'm Cree from AdWobbscat. And so I'm going to speak today about my experience as a student working 8.30 in the morning to 4.30 in the afternoon on the weekdays during the summer at the Library and Archives in our lovely location, Gatno. And just what it's been like for me as an indigenous person to work with these photographs that I didn't even know existed until I started working at the Library and Archives. And what I try to do in the work that I do in contributing my voice as an indigenous person to these photographs. So respect has been brought up a lot. And for me, my grandmother always taught me to walk with respect. And so in the work that I do at the Library and Archives, I really do try to respect the images, respect the people in the images, the communities, the traditions, and the culture. So in my work, I'm not only, I'm super happy when I can identify the people, but I'm also happy to identify the cultural items. If I can identify that beyond just calling people First Nations, Métis, or Inuit, or if we're kind of unsure about the situation just going with indigenous, I'm really happy when I can identify what specific nation they're from and their location, because some of the photos just have no information. So it's really great to be able to identify who these communities are, what the culture is, or cultural items, like, you know, that that's not just a baby attached to a board, that's a cradle board, or in my culture we call that a tiki-noggin. So I have here an example of some of the problematic descriptions we have. We have beautiful photographs in our collection, but the descriptions often leave something lacking. For instance, Indian Squaw seems to be a popular title to call indigenous women, First Nations women, Métis women, even Inuit women, Inuk women in these photographs. And so for me, as a historian, I recognize that it's important because that was an inscription in the photograph to make sure that we keep that information so that we can acknowledge our past and the past wrongdoings, but we really do need to decolonize the collection and move forward and input the correct information. She's not an Indian Squaw. She is probably a First Nations woman. And if we can learn which nation she's from, then that's all the better, and her name would be ideal, but her face is kind of hidden. But I also think that the canoes in the background are important, as is the teepee, and just what she's doing, cleaning fish, you know, it really tells us a lot about the culture and the community that she's from in the Northwest Territories. This is another one, the title's gone, but I'll just tell you that the title for this photograph was originally Man with Big Knife. I don't know if it's going to be Gordon Ramsay or if it's going to be handsome man here. But another part of what I try to do is make these images accessible so that researchers, whether they're just like igloo enthusiasts or students, academics, or people from the communities trying to find these photographs and find examples of their traditions, their traditional traditions, and their communities. So I changed the record, obviously, so that it says a nook man, you know, building an igloo, because as we can clearly see with our own two eyes, that is in fact what he's doing beyond just being in the man with the big knife. And hopefully we'll be able to identify where specifically in the Arctic this is, but right now we just kind of know that it's probably none of it. But we can tell a lot by the clothing that they're wearing, which has been an amazing part of the project, especially working in photographs from the North, is seeing the different styles of parka and clothing that they wear. It's very beautiful, and I hope to do them, to respect them and do them justice as I do my work. Another really important thing for me was I, of course, then went to look for my own community in the archives and see what I could find. And so most of the pictures were from our treaty nine signing, which was in 1929, we were the last adhesion. And so most of the captions just said, I think for most of the collection, they were all captioned the same, and it just said gathering of Indians together. So, vague, I know, and insensitive as well. So I just updated the records to say that they're Cree, because I'm from there, so I know they're Cree people, first of all, and they're from the Cree First Nation, Attawapiskat First Nation, and that is the treaty date, because the date was also missing, but because I know when the treaty was signed, I can put that in there. So for me, it was really amazing to see people from my community from way back then. I won't be able to identify them from 1929. I'm a little bit young for that, but hopefully my elders in my community will be able to identify them because they deserve to have their names, because so much was taken, identities were taken, and then voices were silenced, so it's really great to be able to contribute my voice and facilitate these stories and voices to be heard once again. And it's also important for me to have the indigenous language put into the record, so whenever I can, I'm not fluent in Cree or any other indigenous language, but whenever I can insert those traditional words in terms, I do the best I can, and I also make sure to put a note to explain for people who don't know what that means, so that we get a little bit more of the culture that way in the records. One of the images that really touched me in as far as having names taken and having just not respecting people in the records was Dirty Daisy, as she was called in the caption, and it's an image of an Inuit woman, an Inuk woman with her baby in a tent, and just the caption saying Dirty Daisy was found feeding her baby a very weak mixture of powdered milk and water, making her sound like a bad mother, but also dehumanizing her by calling her dirty when this picture was from 1948, and given the context of the historical situation with what was going on with the Inuit at the time, you know that they were doing their best to thrive in the conditions that the government was forcing them into, so it's important to recognize that colonial history, but we really need to do a lot to decolonize and to restore dignity and respect to these images and the people especially. On the brighter side, whenever I do get to identify people from communications we have and partnerships we have with communities, I got to work on images from Kujak, and Senator Charlie Watt actually was able to identify himself and his mother and other community members in these photographs, so I got to update those records and be like, that's Lizzie Supa with her accordion and Daisy Watt and Charlie Watt, and so it's really amazing to see that even though I didn't get to physically talk to them, there's just kind of email in my cubicle, being able to see, I don't get to interact with people very much, but it was like, I'm bad. It's great, it's beautiful out in Gatineau. Please hire me back. But it's amazing to have that interaction because technology just enables us to reach out so much more and I couldn't go up to somewhere, like Kujak for instance, and go talk to the people myself. I wouldn't know where to begin, I'd really have to research and immerse myself in the culture before I go and even attempt, but it's amazing what we can do via email and the connections that we're able to have thanks to technology. And we had in March our 15th anniversary for Project Naming, which I got to participate in, which was amazing, I got to interact with human beings. I get to interact with my colleagues, but I'd like to interact with people from time to time. They're all very great. This was in Ottawa, so not Gatineau. It's at our main location in 395 Wellington. We got to see elders and youth come together and elders walk up to screens and identify people immediately, which was so amazing. I'd never gotten to witness that for this project ever before. I have my grandmother identifying things at home in our photo albums, but I mean, this is a different scale. And the interaction with the elders and the youth was what really touched me, getting to see the past generations working with the future generations. And I love that picture of Elder Manitoc with Kathleen and Manitoc has the paper and Kathleen has the iPhone at the ready, taking a picture to send away to her community to see if her other elders will be able to identify the photographs. It was very touching. And the first two days looked at the past, looking at the foundations of Project Naming, our partnerships with the Inuit and celebrating all of our successes and talking about where we need to go. And then the last day was celebrating the future, looking to the future. And we expanded the project into 2015. Yes. To include not just the Inuit, but the Métis and First Nations as well. So we're trying to expand our networks and to work with Métis and First Nations as well. I guess that's part of the reason I was selected to be here, which I'm very honored to be a part of this project because I really believe it's for the good and it's really trying its best to do justice. But by the way, we're on social media. Speaking of technology, we recently launched in May a Facebook page and a Twitter that we get to upload photos three times a week. And we try to do Inuit, First Nation, Métis, like one from each of the major communities. And we try to have a good sampling of the regions as well so that it's not just all from Ontario or all from like Manitoba. So that's what we're trying to do. And it's amazing to see the interaction on Facebook because it's touching when people will comment, that's my grandfather. And I never got to see this photo of him before. Or people tagging, it's like, I think that's your mom. Or that kind of interaction. Or is this you at whatever their name is? And it's interesting to see people come back and say, yes, that's Ernest Yellowfly, who is in fact identified in this photo. And so we're able to thank them and update the archival record to say who this man's name was because he deserves just to be more than man wearing hat, you know? So that's been my contribution thus far. I'm very honored and privileged to be able to share my voice. I don't know everything obviously, but I'm trying to do my best and to research more and do better, suck a little bit less as was said yesterday. So I think that that is what we're trying to do at the Library and Archives of Canada is we're really trying to acknowledge the past but build a better future together in collaboration and the equal partnership that should have been from the beginning now. So that's my little bit. I think that's the end of my slideshow. I'll leave that up for the social media so you can follow us on Facebook or Twitter. It's at the bottom. Yes. Right. We do encourage you to share that just to get the word out because it's been sort of a little hidden project as I sit under the banner of Library and Archives Canada for the last couple of years. So I think we're one of the first government departments where a program actually has its own Facebook account which was a huge feat, believe me. So yeah, share away and yeah, hopefully we'll be able to gather more names and other identifications about activities or as Harriet said about the objects or anything else that's taking place in those pictures just to enrich that material. So we do have time for maybe two questions if anybody has questions. Does anybody have a question or a comment? Manik in the back. Are you taking photographs that are recent? I work with youth and I'm doing a project this summer up in my community and I know there's going to be a lot of photographs being taken. Is that the sort of thing that we could submit to Library and Archives Canada for this project? I guess there's two things with your question. One thing that I've been exploring and I don't have an answer yet is that for the most part I think images should stay in the communities that as the government repository we've collected the government collections and private collections. So that's not to say we're not open to acquiring more photographic material. I'm not in the acquisitions area so I would have to hand your request over. But what I am hoping to do is to find a virtual space where we can share photographs from our collection but also have a space where communities then can also upload and share those because what I think that so much, I mean as the previous panel mentioned was that youth are online and I think more and more older generations are accessing Facebook and other social media channels. So yeah, I don't know what that specific space will look like but I hope that we have something sort of like the graphic database. Yeah, would be really amazing and then we could just bring together disperse collections virtually and then anyone from anywhere as long as they have the internet and enough broadband then could access them. Hello, that was an awesome presentation. It's really exciting. I have a couple of questions. One is when you go through this collection you're looking at sort of the tags that have been sort of attached to them. I wonder if you come across any, if you have come across any photos that have been sort of doctored or altered. You hear stories of like they take away certain, like in the background they'll take away certain images because it doesn't show what they wanted it to look like. I was thinking of Edward Curtis. You're thinking of Edward Curtis and dodging out things that would be vestiges of modern culture. Or bringing his props to exoticize the people within those and really romanticize those historical pictures. But even the national film board pictures that Carol was talking about earlier, they had an agenda and it was to bring sovereignty to the North to like civilize these people to assimilate them. I mean the Department of Indian Northern Affairs, I mean the government departments were basically doing that, but especially the photographs of the Governor General's tour, they really promoted that agenda and the picture that Harriet showed of Dirty Daisy, that was from the Department of Indian Northern Affairs albums, but they by their through words and text or what they left in or omitted. You could just turn the lens just a little bit and then you cut out a whole bunch of stuff you don't want these outsiders to see. I think most of these collections, because of course LAC has vast and diverse collections and millions of images and most of them are governmental and so they wouldn't put that kind of care that Edward Curtis did into object, but is there mediation and manipulation? Absolutely of course. Great. Oh, okay. Hi, I'm a huge fan of following this project. It's fantastic what you're doing. What I do have a question about is how do you go about, like you mentioned at one point where you went and took 500 pictures with you? How do you make that selection? How do you narrow down what images to focus on when it is such a time sensitive project? And well, for the trip to Rank and Inlet, I also went to a Caluit. I went through the collection and so for the Rank and Inlet event, I printed off as many pictures as I could from all the communities that are on the West Coast of Hudson Bay and at that event, I know that there were people from Coral Harbor, from Arviette who were visiting and I think some from Baker Lake as well. So I just made an initial selection quickly and I didn't take photographic prints, I should say. I just printed them pretty high quality paper prints out that I left, but generally, or if I know that someone, if they happen to contact me beforehand and they want to do an onsite visit, then I would at least get the information about what community they're from and then I would order, or I order material from that community so that they could see the originals and if it's not digitized then as best I can, I'll put that into our digitization plan and usually I'm able to get things digitized fairly quickly and then I can share that with them on CD and then we'll put that back on the database. Just as a second part to that question, if you don't mind or is there? Thanks for the presentation. I think it's a wonderful project and I love going into the communities and seeing the byline of, you know, know your elders. And I, given the context of all the conversations we've had here and specifically the context of sharing and consent, how is this project incorporating consent of these photos to be in the archive and then once they are named to still exist and for those people to be named in the archive and I'd like to know thoughts on if that's being considered or not or how or. So, okay, so we don't have consent from every single person that has been named and has a photographic, or a photograph of themselves in the database. Generally though, I don't, I personally haven't come across any, any instance in the 14 years that I've been working on the project that people or family members don't want their family's picture online. If I did, I'd certainly, I have the power that I can unclick it, so does Harriet. So we can remove that digital image. And I mean, a lot of the time for myself when I'm making selections, if I'm just doing it like on my own, but selecting material for digitization, I just try to use my own moral compass and to say if this was me or my family member would I want that picture? Online, and there's some that are, well, I mean, I know there's a whole continuum of what makes some people uncomfortable to others. And that's a whole other thing, like the picture of Dirty Daisy with that caption, that is online, which is horrible, but Harriet's corrected that really racist, terrible, terrible original caption for it. But if in any case where someone said, I don't want to see this online, this is degrading or it makes me uncomfortable, we would remove that. But in my time, and I've talked to a lot of people from communities over the years, I haven't had that conversation yet or request. I don't know if there's an answer, but I get less concerned about it. I think part of the problem there, and my portion of it was different in this way because there were consent forms and REBs and all the rest, but is the vastness of this collection and frankly the limited staffing LIC. So it really does need, I always say this to Beth, it really does need more people to help do things like that so that people can be in conversation about those things. But that's again another one of those systemic problems. If there isn't enough staffing to ask those questions and it's hard to ask those questions and communities have been so happy about project naming. Yeah, I was thinking like at the beginning it really started as a very small project. It started off with a digitization of 500 pictures from the collection of Richard Harrington who was a Toronto PACE photographer who went to four or five communities in Nunavut. And with that, there was consent through that, that we have these pictures, we will digitize them and put them on CDs that these students from Nunavut-Simonix of it took to the communities in the north. But part of, I guess part of the reason when I joined the community group yesterday, just even figuring out where I work at within a federal government department is that we don't have an advisory committee or body, an external one, where we've sort of reassembled one internally and we have a number of colleagues that we're bringing together that we at least we call it our guerrilla working group right now. But we need, absolutely need a mechanism for that's based in the community that we're just not always like going to elders or community groups or organizations after the fact that we started and we just don't have that now. So we're behind times, but I can say that or show you that my colleagues and I at Library and Archives Canada are cognizant of this and we're working to try to change that. So it's that we're not being reactive but that we can be more proactive in our planning and programming. So, and as our official count of photographs in the collections around 30, 33 million. There's just so many and there's so many, the communities are so geographically diverse and dispersed that it's, that if we can even start with an advisory, external advisory council that meets a couple of times a year and say, hey, this is what we're thinking of. What do you think? Then I think that would be at least a really positive step forward. So I think this is a really great time to thank the three presenters sharing this really fascinating project with us. Thank you very much. And I see that John is sorting out perhaps the, what is the plan? Okay, so we're gonna break for lunch and there are going to be announcements. So anyway, I'm gonna finish my moderation. Thank you everyone for the presenters from both panels and I'm gonna hand it over to John.