Henay, C. (2017). Genogram. NationalPoetryMonth.ca (AngelHousePress,2017). Available at http://nationalpoetrymonth.ca.
Henay, C. All of My Peoples’ Bones Are Here. National Exhibition 8. National Art Gallery of the Bahamas, Nassau, Bahamas. Curated Exhibition, November 2016-March 2017
- What do we remember when we remember together? How might we rethink and redraw boundaries so as to claim space that is exclusive of black subjects in discourses of indigeneity?
- Is it necessary to talk about intersections in racialization? what do we gain/lose through a mixed race discourse about blackness and indigeneity?
- How might we begin to disentangle the complicit discourses of territoriality and identity?
I’m thinking of you sitting with your mother’s bones—real and metaphorical. I’m watching images of archival documents that detail a legalized freedom of slaves. I’m wondering if these images detail your family’s political history. I’m listening to your voice harken back to memories—your ancestors’ and your own.
The word interstitial jumped out at me from your film. Gaps, small spaces that hold undocumented universes. Together, we remember how things really were, because what historian tells it like it is? The interstitial carries the forgotten, the hidden, the taboo. And in remembering and visioning what is undocumented, uncatalogued, unevidenced, erased and suppressed from colonial history archives, we finally remember the details of an impossible survival.
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