After a tiring evening of gallery openings and late night reading, I dragged myself (and a sick daughter) to Grandin LRT Station for the official unveiling of the updated and finally symmetrical murals at the platform. It was good to visit briefly with Aaron Paquette in person again (and humbling and flattering to be introduced to Silvie Nadeau as “a very good man”). The warmth on the platform was remarkable in the few minutes before the official program began and that warm feeling continued throughout.
But I’m not going to detail extensively the activities or the murals just now. I’m sure others in the crowd will do so on television, radio and internet in a number of languages quite soon. What I do want to point out is a single and I think powerful symmetry I noticed toward the North end of the murals, a symmetry of celebration and endurance. One of Nadeau’s new panels shows in the mid-ground a modern-day rounddance. On the opposite wall, in one of two cave-like petroglyphic panels in Paquette’s mural, there is an ancient and timeless rounddance. I see this small symmetry of detail as an acknowledgement and claim of endurance and hope, stretching from the most ancient times of Pehonan, through tragedies and triumphs to today, on the eve of the Truth and Reconciliation Commission’s welcome to Edmonton. Those two circles of unknown dancers are met together across time in this meeting place of travellers just up the hill from the ancient meeting place of Pehonan. They dance together in the past and the present. We on the platform, on the trains, sitting beside strangers, striking up conversations, smiling as we share our journeys — we are dancing into the future together.