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Cover -- Title Page -- Copyright Page -- Contents -- Acknowledgements -- Introduction: "The Body Is a Resonant Chamber" -- Chapter 1 Imaginary Spaces of Conciliation and Reconciliation: Art, Curation, and Healing -- Chapter 2 Intergenerational Sense, Intergenerational Responsibility -- Chapter 3 this is what happens when we perform the memory of the land -- Chapter 4 Witnessing In Camera: Photographic Reflections on Truth and Reconciliation -- Chapter 5 "Aboriginal Principles of Witnessing" and the Truth and Reconciliation Commission of Canada

AbstractAcross the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. The typical display scenario for such belongings places them upon plinths, underneath plexiglass. These cases render the life they contain into objects of display, things to be seen but not touched. For Indigenous people, experiencing this objectifying system of display is often traumatic because that which is on display fits neither category of object nor thing. They hold life, and are beings or ancestors; they are treated as kin. Alongside the life of ancestors who take material form, thousands of Indigenous songs collected by ethnographers on wax cylinder recordings and reel‐to‐reel tape are similarly confined in museum collections. These songs also hold life, but of different kinds from their material cousins. To reassess the role of the museum as a place that confines life is to put into question its relationship to incarceration. If the museum is a carceral space, how then, might we define repatriation alongside practices of "reentry" and kinship reconnection?

In 2008, the Canadian government established a Truth and Reconciliation Commission (TRC) to review the history of the residential school system, a brutal colonial project that killed and injured many Indigenous children and left a legacy of trauma and pain. In Fragments of Truth Naomi Angel analyzes the visual culture of reconciliation and memory in relation to this complex and painful history. In her analyses of archival photographs from the residential school system, representations of the schools in popular media and literature, and testimonies from TRC proceedings, Angel traces how the TRC served as a mechanism through which memory, trauma, and visuality became apparent. She shows how many Indigenous communities were able to use the TRC process as a way to claim agency over their memories of the schools. Bringing to light the ongoing costs of transforming settler states into modern nations, Angel demonstrates how the TRC offers a unique optic through which to survey the long history of colonial oppression of Canada's Indigenous populations