Local News
Gray Academy excels at online teaching during pandemic with ‘Gray Away”
and Annie (Gr. 6)
By BERNIE BELLAN
It was March 13 when the Province of Manitoba announced that, effective March 23, all schools in Manitoba were going to close for three weeks – with the possibility that the closure might be extended.
While it shouldn’t have come as a major surprise, given the speed with which the novel coronavirus was sweeping across Canada and the United States, still, how do you prepare for something as huge as the closing of all schools?
For staff at Gray Academy, however, adapting to new technology has always been a strong suit. Within a period of days the school informed parents that almost everything that had been done in the bricks and mortar Gray Academy was now going to be carried over into what was titled “Gray Away”.
Now, after over two months of having transitioned to a totally new way of learning, the results are in – and it seems that everyone, from staff to parents to students themselves, are more than satisfied with how Gray Academy has managed to adapt so well to the demands that were thrust upon that school.
Staff forced to pivot to online learning in a very short time
On Friday, May 15 I spoke with three members of Gray Academy: Head of School and Gray Academy CEO Lori Binder, Director of Teaching and Learning Rob Dalgliesh, and Director, Marketing and Communications Andrea Ritter.
We discussed how Gray Academy has responded to the demands of taking an entire curriculum online and what the reactions of parents and students have been.
Lori Binder began the conversation by saying: “We’re phenomenally grateful to all of our staff for being able to pivot so quickly in the middle of March in caring for all of our students.
“No one could ever have imagined that within 48 hours we’d have to figure out an infrastructure to care for all of our students and our learning.
“It’s been going incredibly well. We have been able to solicit feedback along the way in the last eight and a half weeks. Feedback has been immensely helpful to help create “our Gray Away infrastructure.
“We had some things in place in the school before the pandemic hit that allowed us to pivot more successfully – especially in the upper elementary to the high school.
“I think it was caring for our littlest kids – nobody in this world would have fathomed children learning virtually at three, four, or five years of age, but I think the biggest drivers for us were insuring that our students in their isolation had very strong connections with their teachers and with their peers on a daily basis through having a timetable and live classes, also a solid structure.”
How the curriculum was developed
Rob Dalgliesh added: “Although our time line was very short, great care went into the creation of ‘Gray Away’ – our virtual academy. It wasn’t rushed. We spent a lot of extra time in the wee hours of the morning creating the pieces that went into it.
“We started with standard curriculum creation by looking at the principal foundations of what we would then carry forward. We looked at the research that is in the area of online learning.
“We looked at pillars – things that we could build on. We wanted to make sure that our kids felt that they were being cared for and safe, but to do that we wanted things to be somewhat familiar – that connection with their teachers, that connection with their peers.
“We also wanted to include a spiritual element. Being a Jewish school we wanted that to be there, so we have our ‘Kabbalat Shabbat’, we have things for holiday programming. Even during the Pesach break we had educators dedicate time to bring forward programming connected to the holiday.
“Another pillar was physical health. It’s easy for a kid not to get up and get going, so we wanted to make sure that there’s an expectation that we wanted them to continue with their phys ed programming.
(Another pillar was) “Mental health – we wanted to help kids with that; showing kids that there’s more to learning than reading a text book. We looked at calming exercises, at the integration of a variety of techniques that our teachers are great at using that help kids with their mental wellbeing.
“For instance, we had wonderful suggestions for creating art at home, also project based learning.”
Zoom for JK-Grade 2; Google Meets for students in Grade 3 & up
At that point I asked “whether the lessons for the kids are individually tailored or are they done in group Zoom sessions, for instance?”
Lori Binder answered: “We’re using the Zoom platform from junior kindergarten through to Grade 2 and we are using the Google classroom platform – which uses Google Meets, in Grades 3 through 12. There are live classes that occur every day – mornings and afternoons.
“We have also built in one-on-one time in our elementary so that teachers have a chance to connect with kids and do some assessment. In our high school there’s a little bit of one-on-time on a daily basis.
“We’ve also set aside blocks on day 3 for all teachers to have an open meeting.”
School still starts at 9 a.m.
I asked: “Can you give an idea how much time a typical student would be online – either individually or within a group setting?”
Lori Binder: “I’ll paint you a picture of elementary: At 9 a.m. every student comes on to Zoom – JK through elementary. The whole school is welcome, but it’s mostly elementary. There are live announcements and the anthems (both O Canada and Hatikvah), and then they head straight to their live classes. They start with a live class with their general classroom teacher, then they continue on either to a live specialist class, which could be French, guidance, music…and then they’ll continue on live.
“I wanted to clarify that in an hour for instance in the high school, it’s not just live teaching.” (Later Lori explained that there is also time set aside for students to study on their own during the school day – just as if they were in the actual physical school.)
Rob Dalgliesh added: “One of the pillars (upon which the virtual school was built) was having a balanced day so that there is online collaboration, for example, small group work.
“At the high school level, there is a teacher giving a lesson, then there is Q and A time afterward – just like in a bricks and mortar school.
“Sometimes the collaboration with other students is just over the phone – like we are right now, having a conversation. It’s not necessarily in front of a screen.
“There are off line working sessions with students doing homework with paper and pen. There are research and innovation projects – personal passion projects that a student wants to research and carry on by him or herself.”
Lori Binder: “I would say it’s about 41/2-5 hours a day (spent in the virtual classroom), but again – it’s not sitting and staring at a screen.
“We’ve got some incredible things going. For instance, a couple of nights ago, the Grade 9 science teacher invited all the students at 9:30 (p.m.) to hop on to a live meeting to look at Venus. It was a particular night that Venus could be visible in the sky.
“Our younger kids would be spending less time (in the virtual classroom) – more around three hours a day, divided up into smaller chunks.”
Close monitoring of each student’s performance
I asked: “Are you able to monitor individual students to see how much time each student is actually spending online?” (I asked that question because I was skeptical that all students are responding with equal eagerness to adapt to the “virtual classroom”).
Lori Binder: “One of the most amazing ingredients to this has been the very close connection between the teachers, the students, and the families. Every three days there are phone calls home.
“If a child has not arrived in the classroom and we have not heard from the parents, then we’re following up. We have very high engagement. I would say that almost every kid is learning.
“Where there’s a differential is in the junior kindergarten – kindergarten, where it’s a little more challenging to be regimented. But, because of the technology (we’re using) all our classes are recorded (and remain on our password protected website for five days), so that if a child did miss a class the parent could go on at any time (and play that lesson for the child).”
Andrea Ritter explained that the younger children spend about 20 minutes at a time online, then they go off to do something on their own, such as art , music, or gym. The teacher is available live, but the student can go and do their work on the dining room table for instance. All the students may be doing their math work, but the teacher is on their screen if they need help.
I asked whether there is a full slate of classes, including Judaic studies, for all students?
Lori Binder answered: “Every single program is running, including English as an Additional Language, our special education department, our guidance department.”
I wondered whether the curriculum being followed thus far in the virtual classroom is keeping apace with what would have occurred in the actual physical classroom?
Lori Binder: “It’s hard to compare going completely virtual. I would say that we are confident we will have achieved the proper outcomes of the curriculum by year end.”
Rob Dalgliesh added: “We’re carefully mapping what’s being done, what’s completed and what’s not. We will be able to determine what a student hasn’t completed before the next year begins.
Rigorous timetable being followed
Lori Binder: “We made a decision to exceed the provincial requirements. We decided to have a rigorous timetable that was also balanced so that, for instance, the lunch hour is a little bit longer than what students would have had in the actual school because we thought the students would need a ‘quiet hour’ getting off the screen time.
“There’s a break of half an hour in the morning and afternoon for the elementary kids so that they can get up and stretch.
“The schedule ends around 3:15 instead of 3:40. Instead of starting at 10 to 9 we’re starting at 9 o’clock.”
I said: “What I’m getting from this is that the kids are adjusting to a situation that would be as comparable as possible to the actual classroom situation.”
Lori Binder: “Yes, we really felt that our kids needed routine, that in their isolation they needed to be connected to the school, to the school community, and to their classmates.”
She went on to explain how the timing of having to switch to the virtual classroom was quickly interrupted by the Pesach break: “In a normal Peasach break we would be off and relaxing, but we knew that our kids would not have the luxury of a Pesach break where they could go out of town so on the non-Yom Tov days we put together a program (with about 20 volunteer staff) where we went on Zoom and we had everything from a pet parade, story time for the young kids, we had an author (Jon Waldman) read from his Jets book, we had teachers eat lunch with the kids – because we just couldn’t go from 13 days of virtual school to a Pesach that was quiet.
“It was during the Pesach break that our leadership team formulated the next phase of Gray Academy, which was Gray Away 2.0, where we finessed our timetable and we finessed our learning hub, especially with the younger kids, so that we found a way to bring the families into a good structure.
“What about other schools that might not be in as good a situation as Gray Academy?” I wondered.
“Are kids in other schools going to have to repeat the year entirely because they might not have had access to the kinds of technology that Gray Academy kids have?” I noted that in Quebec, for instance, “they’re abandoning the school year for kids who live in Montreal.”
Lori Binder explained that “there is an answer from the province actually.” She asked Rob Dalgliesh to expand upon what the province has asked schools to do.
Rob Dalgliesh picked up: “The province does not want children to be held back based on what’s happening now.” There is a possibility that there may be summer schooling for students who have fallen behind, he noted.
Lori Binder also noted that the province has asked that in report cards at year’s end, for students in Grades 9-12, it will have to be cited whether a student requires recovery learning in the fall or whether they do not require recovery learning. That will help guide students who are moving between schools.
Plans being laid for eventual reopening of the school
“Are you making any plans at all for a possible return to the classroom with social distancing in place?” I asked, or “is that too far ahead to think about yet?”
Lori Binder: “We were just in a town hall meeting with Dr. (Brent) Roussin (Manitoba’s Chief Public Health Officer) yesterday, along with about another thousand administrators from across the province and they just released a draft guideline called ‘limited facility school use’. It’s incredibly limited; it doesn’t involve plans for the fall. It deals with a child needing to meet with a guidance counsellor one on one, for example, or with a therapist.
“We are anticipating planning for a number of scenarios and, therefore, we’re planning with about five or six different things in mind, such as: ‘Are we going to have fewer students in spaces?’ We’ve been looking at what social distancing might look like in a classroom, whether we’re going to have to look at mixed days.
“We are very, very involved with our Canadian accredited independent schools. We meet with the Department of Education weekly. We’re also very connected to the Manitoba Federation of Independent Schools. (I happen to be vice-chair of that right now.) We’re all working together.”
Post script: Following my conversation with the three administrators from Gray Academy on May 15, the Province of Manitoba announced new guidelines for schools. We received the following note from Andrea Ritter on Friday, May 22:
“As you know, the provincial directives have changed since we spoke. Throughout the entire process of building and delivering Gray Away, we’ve had to be on our toes for ongoing changes!
“Right now we’re exploring possibilities of what we might be able to do in terms of allowing limited groups students into our building (and our outdoor spaces) for occasional group activities, one-one-one guidance, exams, etc. There will be no in-class learning; the Province has re-iterated that in-school classes are still suspended for all Manitoba schools. Gray Away remote learning will continue for the remainder of the year, but it could be wonderful to be able to give students the opportunity to visit their teachers and friends, with strict adherence to physical distancing, etc.
“Even with new directives from the Government of Manitoba, we will only open our doors to students when we are fully confident that we can meet all provincial expectations for protecting the health and safety of our school community – staff, students and families. While we do not have all the answers today regarding what will over the next month or so, we will definitely keep our families informed every step of the way.
Andrea also sent links to three videos that provide good illustrations of how Gray Academy has been adapting to the current situation:
Thank You Teachers –
https://www.youtube.com/watch?v=vnNg-dPmTdg
Gray Academy Grad 2020 Tribute –
https://www.youtube.com/watch?v=cTH9dET_Ig4
Song Festival Greatest Hits Vol. 1 – https://www.youtube.com/watch?v=ikx858JUxhU&t=1080s
Local News
Hundreds rally against opening of Nakba exhibit at Human Rights Museum
By NOAH STRAUSS Around 300 people gathered outside the Canadian Museum for Human Rights on Friday during the grand opening of the museum’s newest exhibit, “Palestine Uprooted: Nakba Past and Present.” (Ed. note: The CBC report on the protest said there were “100” people at the rally. I know there were more than 100, but I’m not sure there were 300 either.) The exhibit, which had a limited number of tickets available for opening night, sold out. The Canadian Palestinian Association of Manitoba had originally planned a rally in support of the exhibit’s opening, but it was cancelled just days before the event.
The Nakba, which means “catastrophe” in Arabic, refers to the displacement of an estimated 750,000 Palestinians during the 1947–1949 war surrounding the establishment of the State of Israel. The exhibit has drawn criticism from members of Winnipeg’s Jewish community and others who argue that it does not acknowledge the displacement and persecution of Jewish communities in many Arab and Muslim-majority countries following Israel’s independence and the 1948 Arab-Israeli War. Historians estimate that between 850,000 and 950,000 Jews left or were expelled from Arab and Muslim-majority countries during the decades surrounding Israel’s establishment. In countries including Iraq, Egypt, and Yemen, many had their property confiscated, while others left because of persecution or increasing hostility.
Supporters of the Jewish community came from all faiths and backgrounds. The Jewish Post spoke with Lisa Lewis, a longtime supporter of the Jewish community.
“I think there is a crisis of antisemitism happening right now,” Lewis said.
She was one of many non-Jewish community members who attended the rally. Lewis said she has been an active ally since the 2000s, helping Argentine immigrants come to Canada. Following the October 7 attacks on Israel, she said she has become a more vocal supporter of the Jewish community. During the rally, she wore a Magen David necklace.
Lewis also criticized the museum’s approach to the exhibit.
“The Jewish community organizations that represent the majority of the Jewish community weren’t consulted on something like this,” she said.
Cindy Clubb, another ally of the Jewish community who attended the rally, also voiced her concerns.
“I grew up with prominent businesspeople and members of the academic and medical communities. I don’t know what we would do without our Jewish cooperation. So I’m up here to support them, and I think all of Winnipeg should be out here,” Clubb said.
One protester, who identified herself as Michelle, said, “We are against the Nakba exhibit. It’s all lies.”
Gustavo Zentner, Vice President of CIJA Manitoba and Saskatchewan, said, “We are calling on Minister Miller to hold the museum leadership accountable. The Minister of Canadian Heritage needs to ensure that national institutions are not weaponized against Canadians to serve a one-sided political agenda. These concerns were expressed not only by the Jewish community, but by many concerned Canadians. At its core, this is a Canadian issue.”
Zentner did not participate in the community rally. He went on to say, “We are proud of the many community members, allies, and organizers who gathered at the museum before Shabbat began to demonstrate their concerns.”
The museum defended its decision to present the exhibit. CEO Isha Khan said that “human rights matter precisely when they are inconvenient.” She added that the museum “belongs in the collective memory of Canadians.”
The exhibit is scheduled to remain on display until November 2028.
Local News
Interviews with the curator of the Nakba exhibit and the CEO of the Human Rights Museum
By BERNIE BELLAN On June 26, I was invited to attend the Canadian Museum for Human Right to see the Nakba exhibit prior to its being opened to the public. While I was there I was given the opportunity to interview the curator for the exhibit, Isabelle Masson, along with CMHR CEO Isha Khan. What follows are the transcripts of those interviews (edited only to remove pause words like “uh” and phrases that were repeated). The first interview was with Isabelle Masson:
Jewish Post: Several representatives of Winnipeg Jewish community organization say that they weren’t fairly consulted on this exhibit. How do you respond to that?
Masson: We came to this project with an awareness that Palestinian voices are often marginalized, even silenced, and an awareness that Islamophobia and anti-Palestinian racism have an impact on whose voice is heard and whose suffering is recognized. And so we intentionally chose to centre Palestinian voices with this exhibition.
JP: But to the point that many Jewish representatives of organizations and people within the community at large feel that the Jewish community should have been consulted on an issue that had such a direct impact on the Jewish community – did you not feel an obligation to consult with the Jewish community?
Masson: I think the best person to talk further about this issue is our CEO, Isha.
JP: In terms of the exhibit itself, I must say it really stresses the suffering that Palestinians have endured. But, in looking at other refugee situations around the world, the Palestinian situation seems to me to be unique in that there has never been an effort to resettle Palestinians within the countries to which they were forced to flee.
Do you not think that separates their situation (from other refugee situations) and, in some ways, it has made their situation worse than it could have been?
Masson: Well, the exhibit not only centres that experience of forced displacement and disposition as a longstanding experience across five generation that you know is tied to human rights violations that are ongoing today, but it also I want to point out, you know, foregrounds beauty, foregrounds resilience, foregrounds the maintenance of identity and belonging across time and across that experience. So there’s also these elements about this exhibition because it was also about humanizing Palestinians – about people with families with stories, with creativity – and coming back to some of the videos what interviewees say, right, we hope that Palestinians can be seen as fully human and hope that they can see Palestinians as having human rights and this this story today in this gallery is is a story about human rights.
JP: If I can focus on one particular aspect of the exhibit that I read this morning when I was sent the preview, it referred to what happened between the years 2000 and 2005 as a Palestinian uprising. But the Israeli term would be the Intifada which for them meant large-scale attacks – terrorist bombings by some Palestinians. Did you not think it necessary to include that in a larger context?
Masson: Well, we use uprising because it’s the most more accessible term in the exhibition and we, you know, we’re focusing really here on an artwork by artists – Palestinian American artist Reggie Cook and with an artwork that was trying to translate the experience of of occupation into what is created. So that’s the context in which we talk about that.
JP: But to ignore what happened during the uprising seems to me to leave out a major part of the context.
Masson: I don’t think that we are ignoring that. This exhibit is not about the full story of what has happened in Palestine, in Israel. It’s not, you know, the scope of this small exhibition. This small exhibition has a scope and the scope was really to create an opportunity and a place for Canadians to be able to encounter Palestinian Canadians and hear their voices.
JP: Given the current mood in the Middle East and the ongoing tensions between Israel and various other actors, the concern among many in the Jewish community that this is going to lead to a heightening of antisemitism and an exhibit like this seems that it’s not going to do much to improve relations between Jews and Palestinians when it focuses on only one side of the story. How do you respond to that?
Masson: Well, this is only one exhibit of of many, of many stories that we have.
Following is my interview with Isha Khan. Khan began by explaining that she is “the CEO at the Canadian Museum for Human Rights and I’ve been here as CEO of the museum since August of 2020. So almost six years.”
JP: So let’s get right down to discussing (the exhibit). I spoke to the curator. I asked a lot of questions about the exhibit itself. I’m more interested in asking (you) about the general context and the atmosphere in the community. The accusation has been made repeatedly by various leaders of Jewish organizations that you have not been willing to consult on this exhibit. How do you respond to that?
Khan: I think the word consult can mean many things. We have a community engagement practice. So for us that means that depending on the scope of the exhibit and this exhibit is about Palestinian Canadians and their experiences, the impacts of the human rights impacts, of forced displacement, which means we engage with that community as we share their stories. Many folks in the Jewish community will say we haven’t consulted with them and yet we have met with leaders of Jewish organizations from across Canada, main uh, major federations, foundations, local Jewish organization representatives many times to talk about this exhibit, to explain what its scope is, what it’s about, what it’s intended to do, and most importantly, what it isn’t. And unfortunately there continues to be misconceptions about what it is. So we hope people will come and see it.
JP: I think the fear in the community – and I think it’s well founded is that this will foment an increase in antisemitism. Can you understand that concern?
Khan: Absolutely. I personally and any member of our team who’s talked to folks about this has said that we unequivocally share the concern about antisemitism in Canada today. That is part of our mandate. And we will continue to do that work and we can also share these stories of Palestinian Canadians – you know, telling the story of one community’s human rights violation in no way should negate or minimize the experience of another community. That’s what this museum was designed to do….designed to build understanding of shared humanity and that’s what we believe we’re doing responsibly.
JP: Just before I began this interview, I was taken (down to the fourth floor; the Nakba exhibit is on the fifth floor) to see the gallery of other human rights violations. I’m not sure what it’s called. (It’s where there is a ) recitation of various human rights violations, including what happened in 1947 and 1948 (in Palestine). They offer passing reference to the displacement of both Jewish and Palestinian refugees. Would you consider ever having an exhibit about the displacement of Jewish refugees from Arab lands in 1948 and subsequent years?
Khan: We would absolutely consider it and in fact have shared with leaders of the Jewish organizations months ago that yes, these are important stories that need to be told (and) invited them to work constructively with us on developing that content. Unfortunately we didn’t really receive much response.
JP: How long is this exhibit supposed to be on for?
Khan: So this exhibit right now we’re saying is a minimum of two years. That’s because it is an exhibit in a standing gallery and so it also depends on our updating of our other galleries and, you know, exhibits take a bit of time. This one is four years in the making and so we’ve just committed that it’ll be a minimum of two years and we’ll see where things go.
JP: There are a lot of other refugee situations in the world – (for instance) South Sudan, and just this morning I was saying to Isabelle that I received an email about the situation for people from Burundi in the Democratic Republic of the Congo.
I didn’t realize that was a problem. I know that the Congo has had ongoing problems with displacement of populations. It it seems to me it’s not an unlimited number of stories like this you could tell, but there are a lot of others. How do you decide which ones take priority?
Khan: We’re often asked the question of how we decide, and it comes back to how this museum is designed. Each gallery is intended to tell a different story. It has an objective. So this exhibit, Palestine Uprooted, is in our Rights Today gallery. It’s to talk about global human rights issues. And we know that people want to better understand human rights of Palestinians. There’s no question. It’s being talked about, debated, discussed all over the world. And so we’re being responsive there to that need. And we know that Palestinian experiences were under represented in our galleries and have heard that for years. To your point though that there are other stories – the design of this museum is that you ought to be able to feel something, understand something about the forced displacement of one community and apply it to another. So now this story stands along the forced displacement of the Rwanda people, indigenous peoples, Ukrainian people, the Igbo people. You’ve named a number of others that we do need to develop content on over time, but it’s done depending on what gallery it is, what we are trying to invoke…because we’ll never be the encyclopedia of all human rights atrocities in the world. That’s actually why we’re called the Canadian Museum for Human Rights rather than the Canadian Museum of Human Rights.
We’re here to to develop an understanding through the stories that will impact people.
JP: Okay. I want to ask a politically loaded question.
Khan: Okay.
JP: The Jewish population of Canada is at best 450,000. In that range, Jews don’t have the political impact that they used to. At most, there are 12 to 16 ridings where the Jewish vote can make a difference. The Muslim population has grown substantially. It has a much larger political impact. Did that factor in to this exhibit being mounted in any way?
Khan: Absolutely not.
JP: So, I’ll ask the question that I asked the curator of the exhibit. Where did the impetus for this come from? Did it come from Palestinian Canadians?
Khan: This exhibit came from a recognition, our decision. I hold responsibility ultimately for the decisions made by my team. It was made based on the recognition that Palestinian experiences were under represented in this museum. We absolutely heard from the Palestinian community organizations in Canada and had heard for many years that their stories were underrepresented. Ultimately, the decision was ours. And as we look at this gallery and updating our content, this is ‘rights today’ – global human rights. We know that the world is talking about Palestinian human rights and the stories of Palestinian Canadians naturally belong in our collective memory alongside many other stories that are told here.
JP: There was one particular aspect on one of the panels when I was sent a preview this morning and it referred to the Palestinian uprising from 2000 to 2005 which led to a lot of Israeli deaths that we generally refer to as the Intifada. There’s no mention of Israeli deaths on that panel. Would you agree that might have been an oversight?
Khan: I mean I know that there the factual point is absolutely accurate. The decisions on the curation of the exhibit are not ones that I make, but certainly if that is a concern that we will look at.
Local News
Nakba exhbit at CMHR now open – here’s what it looks like
By BERNIE BELLAN (Posted June 26)The following press release was sent to me early Friday morning June 26 (Photos supplied by Annie Kierans, CMHR) Nothing that follows has been edited. I leave it to you to form your own opinion:
Winnipeg, MB — June 26, 2026 — The Canadian Museum for Human Rights (CMHR) will open a new exhibit tomorrow that explores human rights violations related to the ongoing forced displacement of Palestinian Canadians.
Palestine Uprooted: Nakba Past and Present will be on display in the Rights Today gallery on Level 5 until 2028. Featuring personal stories told through artifacts and video testimonies, the exhibit presents Palestinian Canadians reflecting on their ongoing struggle for human rights. The small exhibit reveals enduring patterns of loss and resilience, helping visitors understand more about this contemporary human rights story.
Palestinian Canadian stories are now included alongside many other stories of forced displacement and human rights violations featured in the Museum’s galleries. Each of these stories contribute to our visitors understanding of human rights and help the Museum fulfill its mandate to foster reflection and dialogue.
Exhibition highlights
Personal stories and artifacts: Experience firsthand accounts from Palestinian Canadians sharing their journeys of displacement and memory through a series of five artifacts. Cases display artifacts like property deeds, house keys, and a traditional Palestinian embroidered dress, accompanied by short videos that deepen understanding of the impacts of displacement.
Powerful artworks: In her painting Bound Together in Gaza, Malak Mattar, a Gazan artist, captures the struggles and resilience of her generation shaped by conflict. Her work pays homage to Guernica, Picasso’s powerful masterpiece depicting civilian suffering during war.
Curfews and Closures, by Rajie Cook, bears witness to life under military occupation during the 2000–2005 Palestinian uprising, when curfews and closures were expanded and further limited basic rights and freedoms.
Cultural heritage: Discover traditional Palestinian embroidery called tatreez. Tatreez motifs and colours are tied to place, family history and regional identity. Patterns are associated with particular towns, villages or areas of Palestine. In this way, tatreez is a form of storytelling: a way of preserving memory, sustaining identity and expressing resilience across displacement and exile.
Poetry and reflection: Engage with Mahmoud Darwish’s evocative verses, inspiring personal reflection on exile, voice, and responsibility. Visitors can take a card containing Darwish’s poem and add a personal note, fostering ongoing dialogue beyond the exhibit.
Contemporary context: Witness striking images of current events in Gaza and the West Bank, connecting past displacement to ongoing struggles.
Quotes:
“No force can silence the truth we carry. Growing up in Canada, my children lived the Nakba through our stories. And now we watch it happen again, live, on our phones. When I see the images coming out of Gaza, I am not watching the news. I am watching my history repeat itself.” -Fouad Sahyoun, a Palestinian Canadian featured in the exhibit
“We developed this exhibit with a clear awareness that Palestinian Canadian voices have too often been marginalized, silenced or spoken over — and that anti-Palestinian racism affects whose stories are heard and whose suffering is recognized. That is why we intentionally centred Palestinian Canadian voices throughout the exhibit.” -Isabelle Masson, Curator of Palestine Uprooted
“Human rights matter precisely when they are inconvenient, when the question of who deserves the dignity of having their rights recognized is genuinely contested. These are the moments where having a national museum for human rights is most important.
There are people who believe this exhibit should not exist in its current form. There are people who believe it should have existed sooner. There are people who will visit this exhibit and feel that it does not say enough, and others who will feel it says too much.
We have listened to every one of these voices. We have reflected. And we have renewed our resolve to continue the difficult, sometimes contested, and often controversial work of building understanding about human rights. We are a museum grounded in Canada’s human rights framework, whose mandate requires us to bear witness to the full complexity of the human story. We are proud to open this exhibit because the story it tells will help achieve that mandate, and because this story belongs in the collective memory of Canadians.”
- – Isha Khan, CEO
