In recent years, the complex and often overlooked history of slavery in Canada has been brought to the forefront, challenging long-held narratives and reshaping our understanding of Canadian art and culture. Charmaine Nelson, a professor of art history at NSCAD University in Halifax and founding director of the Institute for the Study of Canadian Slavery, has been at the forefront of this scholarly effort.
Nelson’s research into the representations of Black people in historical Canadian art has led her to a profound realization: to truly understand these images, one must first understand the context of slavery in Canada. This revelation has significantly influenced her approach to art history and has deepened her analysis of how Black individuals were depicted in Canadian art from the late 18th to early 19th centuries.
In a recent lecture titled “Fugitive Slave Advertisements and/as Portraiture in late-18th- and early 19th-century Canada,” delivered at the Confederation Centre of the Arts, Nelson explored the often-overlooked presence of slavery in Canada and its impact on the visual culture of the time. The lecture was part of her ongoing effort to highlight the importance of recognizing Canada’s role in the transatlantic slave trade and its influence on Canadian society and art.
“I realized that I couldn’t do my analysis any justice, I couldn’t do the artwork any justice without understanding the context of transatlantic slavery, because so many of the people that had been represented were enslaved,” Nelson explained in an interview with Mainstreet P.E.I. host Matt Rainnie. “So I said to myself, if you don’t understand slavery, you don’t understand how these images are working. You don’t understand who they were and how they even came to be in a high-art portrait or as a figure of study in a watercolour. You don’t understand that unless you understand slavery.”
One of the most striking aspects of Nelson’s research is her examination of fugitive slave advertisements, which she considers a form of portraiture. These ads, found in Canadian newspapers from the period, were placed by slave owners attempting to sell or recapture runaway slaves. While tragic, these advertisements provide a unique and often intimate glimpse into the lives of enslaved individuals.
Nelson described these ads as “tragic and fascinating at the same time.” They often included detailed descriptions of the runaway slaves, highlighting not only their physical characteristics—such as height, skin colour, and other features—but also their talents and intelligence. For example, one ad from Quebec described a slave as a skilled violin player, while another noted a slave’s ability to speak multiple languages.
These descriptions reveal a surprising recognition of the intelligence and sophistication of the enslaved Africans, who were often perceived by their European owners as both valuable property and formidable adversaries. “The Europeans really look at the intelligence and sophistication of the Africans that they’re enslaving,” Nelson noted. “So here’s the thing. We’re dealing with incredibly sophisticated, incredibly intelligent people who also know how to watch and observe the habits of the slave owners, which is how they’re able to escape them.”
Nelson’s work is a powerful reminder that Canada’s history of slavery is far more complex than the familiar narrative of the Underground Railroad, which often portrays Canada as a refuge for escaped slaves. While Canada did serve as a destination for many fleeing slavery in the United States, it also has its own documented history of slavery, a history that is essential to understanding the full scope of the nation’s past.
“It really is a practice of historical hypocrisy, if you will, because the archives are not bereft of this information. Why? Because enslaved people were considered property and people document their property,” Nelson said, emphasizing the importance of acknowledging this darker chapter in Canadian history.
By uncovering and analyzing these historical records, Nelson hopes to broaden the public’s understanding of slavery in Canada and its impact on Canadian society. Her research also serves as a call to action for scholars, educators, and the general public to engage with this history more deeply and critically.
Nelson’s lecture and others like it can be accessed online at www.fieldtrip.art, offering an opportunity for a wider audience to learn about and reflect on this crucial aspect of Canadian history.
In shedding light on the often-overlooked history of slavery in Canada, Charmaine Nelson is not only enriching our understanding of the past but also challenging us to reconsider the narratives that have shaped our national identity. Through her work, she demonstrates that a fuller understanding of history—including its darkest chapters—is essential to truly understanding the art, culture, and society that have emerged from it.
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