The Village at Black Creek, a living history museum in northern Toronto, is undergoing significant changes as part of a broader effort to address historical narratives. Located near the recently opened Pioneer Village subway station, the museum has dropped the term "pioneer" from its name, a decision made last year to promote reconciliation and engagement. This shift is part of a multi-year project initiated by the Toronto and Region Conservation Authority, which aims to "decolonize" the museum's presentation of Canadian history.

Upon entering the museum, visitors may notice the Sherwood Cabin, which has been transformed into a space dedicated to reconciliation. The cabin's interior features a bright pastel blue paint, contrasting sharply with the traditional aesthetic of the park. A sign inside explains that the space showcases a lifestyle Indigenous people were encouraged to adopt in the 1800s, emphasizing Christianity, agriculture, and European customs. The installation includes tree branches protruding from a table, where visitors can leave tags with their thoughts on "truth" and "reconciliation."

The museum also displays modern Inuit sculptures, which are intended to highlight the interconnectedness of all living beings. However, critics point out that it seems unusual to feature Inuit art in a region historically inhabited by different First Nations. The bright colors of these sculptures clash with the rustic wooden structures of the village.

Additionally, wire-art installations called "spirit figures," created by Rhonda Lucy, are scattered throughout the museum. These figures, made from metal wire and attached to turquoise poles, blend into the surroundings but may feel out of place in a historical context. On the day of a recent visit, a temporary exhibit featuring traditional Indigenous weavings by Métis artist Tracey-Mae Chambers was also on display. This installation aligns more closely with the museum's historical theme but carries a modern message about the impact of colonization.

While the inclusion of Indigenous stories is essential for a museum that reflects the region's history, some visitors feel that the current approach at the Village at Black Creek lacks depth and authenticity. The ongoing changes have been described as tokenistic, raising questions about the effectiveness of the museum's decolonization efforts. Critics argue that the museum's attempts to modernize its narrative may not adequately honor the complex histories of the Indigenous peoples connected to the land.