Directed by Gillian Darling and narrated by Haida Manga artist Michael Nicoll Yahgulanaas, Meddle challenges viewers to reframe not only their perception of what defines art, but the entire context in which each piece resides.
The documentary short film showcases Yahgulanaas’ work Coppers from the Hood, which he explains combines values from two different cultures: the piece is made from car hoods, to symbolize the contemporary value we place on automobiles, and decorated with copper shields, as an indicator of wealth for the Haida. We are shown alternating perspectives between Yahgulanaas during the creative process and Coppers from the Hood as a finished piece, and Yahgulanaas ruminates on the before, during and after of creating his work.
Yahgulanaas describes the Museum of Anthropology originally reaching out to him as asking that he stage an “intervention,” to which he highlights the disparity between what Indigenous people and their land have provided to the museum with the lack of representation inside the building. He says his response was to “meddle” with the museum, hence the title of the film. Yahgulanaas was called in for an “intervention” because Indigenous art seems almost mutually exclusive to what is traditionally shown in a museum. He “meddles” with the idea of what we expect to see in a museum and who gets that acclaim.
In physically attaching the car hoods to the museum where they can be seen, Yahgulanaas directly ties Indigenous culture to the Western definition of “art” that typically shuts them out. An entire community that was unofficially barred from participating in this social event will now (at least temporarily) have to be literally pried apart from the institution that rejected it.
Even on display, Yahgulanaas’ work cannot be viewed solely on its own: it is not only the car hoods but the building it displays in, the land it rests on and the people who contemplate it. He emphasizes that his work is about the living connections between all things in every aspect, including the viewer’s reflection that can be seen in the copper, thus making them a part of the artwork. The observer is a part of the (neighbor)hood and just one facet of the exhibition as a whole.
While watching Meddle cannot compare to viewing Coppers from the Hood in person, it brings Yahgulanaas’ artwork and message to those who may not be able to access it otherwise. The short film keeps things engaging by traveling through a variety of environments, and Yahgulanaas makes his philosophy easy to understand: observers need to do their own “meddling” to truly understand and appreciate the art they see before them. His specific work spotlighting Haida culture is just one way of challenging what gets to be called “art,” and the film naturally closes with a call for viewers to “meddle.”
What type of university professors would find this title valuable?
Professors who cover Indigenous culture and/or art history would benefit from Meddle.
What can this educational documentary be used as a resource for?
Meddle can be used as a starting point to jump into Yahgulanaas’ other work, as well as researching other Haida artists.