The reopening of Blackfoot Crossing Historical Park’s exhibition marks a pivotal moment for Indigenous representation in our city. Standing in the newly renovated space yesterday, I couldn’t help but reflect on how long this moment has been in coming for Calgary’s Indigenous communities.
“This exhibit represents healing through truth,” Chief Siksika Roy Whitney told me as we toured the installation. “For generations, our stories were told by others. Now, we speak for ourselves.”
The Confluence exhibit, which opened to the public last weekend, is the first permanent installation dedicated to Blackfoot history and culture in Calgary in over two decades. The significance wasn’t lost on the hundreds who gathered for the ceremonial opening, myself included.
What struck me most was the meticulous attention to detail. Traditional artifacts sit alongside contemporary Indigenous art, creating a visual dialogue between past and present. The exhibit doesn’t shy away from difficult truths about colonization, but equally celebrates the resilience and ongoing vibrancy of Blackfoot culture.
Elder Dorothy Rabbit Carrier, who consulted on the project for three years, explained the exhibit’s importance. “Our young people need to see themselves in these spaces. When I was growing up, we weren’t in museums except as artifacts from the past. This shows we’re still here, still creating.”
The timing feels particularly meaningful. Calgary’s recent commitment to reconciliation efforts has sometimes felt more symbolic than substantive. The Confluence exhibit changes that narrative by centering Indigenous voices in the curatorial process.
Museum director Sarah Blackwater emphasized this point. “Every decision, from layout to language to lighting, was made in partnership with community members. This isn’t just about displaying culture – it’s about cultural sovereignty.”
Funding for the $2.8 million project came from multiple sources, including provincial grants, private donors, and significantly, contributions from the Siksika Nation itself. This financial model represents a shift in how cultural institutions approach Indigenous exhibitions.
During my tour, I noticed school groups moving through the space, stopping at interactive stations designed specifically for young learners. Calgary Board of Education has already incorporated the exhibit into its Indigenous studies curriculum for grades 6-12.
“We’ve already booked 43 school visits for the spring semester,” Blackwater noted. “This isn’t just for tourists or special occasions. We want this to be an everyday learning space.”
The exhibit’s location itself tells a story. Situated at the confluence of the Bow and Elbow rivers – traditional gathering places for the Blackfoot people – the museum building incorporates design elements that reference traditional Blackfoot architecture.
“When you enter this space, you’re not just seeing our history, you’re experiencing it,” explained curator Thomas Running Wolf. “The building itself is part of the narrative.”
Having covered Calgary’s cultural scene for over a decade, I’ve seen well-intentioned but ultimately problematic exhibitions about Indigenous communities. What sets Confluence apart is its refusal to frame Blackfoot culture as something historical or static.
Contemporary issues facing Indigenous communities are addressed head-on. One powerful installation examines the ongoing water crisis on reserves, while another highlights the work of young Blackfoot entrepreneurs creating economic opportunities within their communities.
The exhibit has already attracted national attention. Representatives from the Royal Ontario Museum and the Canadian Museum of History attended the opening, potentially signaling a shift in how major institutions approach Indigenous exhibitions.
For Calgary residents who haven’t visited yet, I’d recommend allowing at least two hours to fully experience the exhibit. The immersive elements – including a stunning 360-degree projection of traditional territories – deserve unhurried attention.
As our city continues to reckon with its colonial past while building a more inclusive future, the Confluence exhibit offers both a challenge and an invitation. It asks us to listen to Indigenous voices, to confront uncomfortable truths, and to celebrate the living cultures that have always been central to this place we call Calgary.
Twenty years is too long to wait for such essential storytelling. Let’s hope this marks not an endpoint but a beginning for Indigenous-led cultural spaces in our city.
