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Wenjack Argumentative Essay

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figure makes a run for it, the lyrics depict Wenjack as almost surprised that no one is “chasin'” after them (Gord). The dialogue is an effective way to bring the audience into a singular moment of Wenjack’s life and escape. Sean Carlton describes this scene as “a rare representation of student agency,” that goes against traditional portrayals of Indigenous people as victims (Carlton). In this way, Downie is depicting Wenjack as an individual with individual thoughts, and reasons for running away. With this in mind, Wenjack’s character moves away from stereotypes, because the audience is able to connect with his fear and the tension in the music and lyrics. Wenjack becomes a relatable figure.
Just like Downie, Lemire also tries to capture …show more content…

The Raven goes on to say that Wenjack should “haunt them. Haunt them. Haunt them” (Gord). The repetition works to highlight the severity of what the Canadian institutions have done to the children at the residential schools. Priests and nuns are identifiable in this section of the film, by the crosses and religious outfits they wear (Gord). With this in mind, the audience is directed to view these faceless figures as part of the church, and as whom to blame. The Canadian flag is also present in this song, it waves outside of the image of the Residential school, and this also shifts blame onto the government (Gord). This is significant because as Rymhs points out, that “guilt is ingrained in [these] children,” and that they were made to feel like “criminals” (Rymphs 112). In this way, Downie is combatting the misrepresentation of Indigenous people as criminals. Downie makes Wenjack seem like morally upright character, when Wenjack refuses to haunt these figures and instituations, and walks away (Gord). Wenjack then becomes a kind of symbol for both the Indigenous children at Residential schools, and of the wider …show more content…

Rymphs argues that it is “easy to understand general concepts of colonialism, it is much more difficult and time consuming to learn about the specific traditions, languages, histories, and political priorities of particular First Nations” (Rymphs 119). Downie and Lemire have not included any words in Wenjack’s native language of Ojibwe, nor have they included any of his cultural practices or anything that identities him as Ojibwe, rather than just Indigenous. Since, Wenjack’s heritage and culture was suppressed in the Residential schools, the freedom to express these aspects of his identify, are important in understanding Wenjack’s struggles in more detail. Perhaps this is why Knopf argues Indigenous people should take full control over their representation in the media (Knopf 107). Lemire and Downie were exposed to the Indigenous or Ojibwe culture in the same way that someone, who is part of this community is. They lack this knowledge, and are therefore unable to express this aspect of Wenjack’s identity in The Secret Path. The consequence of this is that Wenjack’s character does not represent individual traits; rather he is more of a stand in for Indigenous culture as a whole. The audience also does not learn about Wenjack’s character outside of the school. Carelton points out, that the danger of this is that Wenjack becomes a kind of martyr for the

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