In the 1950s and ’60s, John Macfie, a trapline manager, extensively traveled across the Hudson Bay watershed visiting communities like Sandy Lake and Fort Severn where traplines were thriving. Armed with his camera, he documented the daily activities of the Anishinaabe, Cree, and Oji Cree individuals he encountered. These photographic records have been compiled into a book titled “People of the Watershed.”
An exhibition showcasing these images is currently on display at the Lake of the Woods Museum in Kenora, Ontario, running until December 21. The curator of the exhibit and author of the book, Paul Seesequaisis, hails from the Willow Cree community in Saskatchewan.
Speaking with Mary-Jean Cormier on “Superior Morning,” Seesequaisis discussed his interest in reclaiming photographs of Indigenous people, particularly those captured by John Macfie. He stumbled upon Macfie’s photos during the pandemic while researching at the Archives of Ontario, fascinated by their extensive coverage of the Hudson’s Bay watershed during a specific historical period.
After locating the still-living John Macfie through Facebook, Seesequaisis learned about Macfie’s remarkable journey as a trapline manager spanning the 1950s to the early 1960s. Macfie’s dual role as an amateur photographer and community journalist in Perry Sound left a lasting legacy through his captivating photography.
Macfie’s interest in photography stemmed from his family background, with his mother being a photographer. Equipped with a camera, Macfie documented his travels through northern Ontario, capturing the vibrant lifestyle of people dependent on the land and the fur trade during a transitional era.
Among the captivating images, Seesequaisis highlighted the Tikinagans, wooden carriers for babies, symbolizing the revival efforts in various communities. He also mentioned Maria Mikenak, an independent woman living in the wilderness, immortalized by Macfie’s photographs in her birchbark canoe.
Regarding the photographer-subject relationship, Seesequaisis emphasized Macfie’s engaging personality and trusted presence within the communities, creating an intimate connection that transcended the typical anthropological gaze often associated with Indigenous photography.
Through the exhibition and book release, individuals have recognized their family members in Macfie’s photos, fostering a sense of personal connection and historical preservation. This ongoing engagement is expected to continue as the exhibition progresses.