Today, Alanis Obomsawin’s first film, Christmas at Moose Factory (1971), joins Annie Pootoogook’s Coleman Stove with Robin Hood Flour and Tenderflake (2003-2004) in the space of Wood Land School: Kahatènhston tsi na’tetiátere ne Iotohrkó:wa tánon Iotohrha. Conceived as a single year-long exhibition unfolding through a series of gestures—clusters of activity that bring works into and out of the gallery space—the exhibition is in a constant state of becoming, and today it shifts.
Christmas at Moose Factory brings together children’s crayon drawings and the voice of a girl narrating the images to create a study of life at Christmas time in Moose Factory, a community of mostly Indigenous families on the shore of James Bay. Incidents big and small are illustrated and described with candour, conveying to the viewer a strong sense of being there with the children and their families. As Obomsawin comments in the film, the children “speak with their drawings about life around them” and the resonance between their stories and Pootoogook’s study of domestic rituals makes for a moving illustration of the power of a line to circumscribe living and mark history.