2SLGBTQIA+ Mural

Located in the Faculty of Education at the University of Manitoba, the purpose of this mural is to provide an educational overview of 2SLGBTQIA+ history in Canada and to foster ongoing collaboration and activism within the 2SLGBTQIA+ community. The mural is not a comprehensive 2SLGBTQIA+ history in Canada, due to space limitations. It does provide a starting point to dig deeper, create conversation, and unearth the stories within. Below you will find an image gallery with notes on the significant meanings behind the images depicted in the mural. 

inclusive-mural
painted hand cuffs and yellow knife
The handcuffs and yellow knife represent historical moments that trace the evolution of 2SLGBTQIA+ rights in Canada, from early legal persecutions to landmark legal victories. Cases like those of Everett Klippert and Willimae Moore sparked national conversations on decriminalization, while protests, court battles, and grassroots activism led to broader protections against discrimination. The timeline underscores both the systemic oppression faced by 2SLGBTQIA+ people and the persistent efforts to secure justice and equality.
painted we demand banner
The We Demand banner represents historical developments highlight the ongoing struggle for 2SLGBTQIA+ rights in Canada, from early police crackdowns and legal discrimination to activism-driven policy changes and government apologies. Despite significant progress—including legal protections, Pride marches, and formal recognition of past injustices—these events reveal the resilience of 2SLGBTQIA+ communities in the face of systemic oppression.
painted drum and axe
The illustration of the axe and drum represent the long history of legal persecution and violence against 2SLGBTQIA+ people in Canada, from the earliest recorded sodomy charges in New France to the criminalization and policing of same-sex relationships well into the 20th century. While laws evolved—from the death penalty to life imprisonment and later “gross indecency” charges—state-sanctioned crackdowns, such as the Toronto bathhouse raids, sparked resistance and helped galvanize the modern 2SLGBTQIA+ rights movement.
painted red ribbon
The illustration of the red ribbon represents events that highlight key moments in the history of 2SLGBTQIA+ health and medical recognition. The AIDS crisis, initially ignored by governments, led to significant community-led responses, particularly from lesbians who played a crucial role in care and advocacy.
painted green triangle intertwined with heart and hand in the middle
The triangle intertwined with a heart is the symbol of adoption, representing adoption and parenthood rights. Historically, these rights have disproportionately disenfranchised gay and lesbian parents, with lesbians facing even greater barriers. The first Dyke Marches in Canada took place in 1981, emerging as grassroots protests against discrimination and political inaction. These marches, organized by lesbian activists, highlighted the need for visibility, rights, and resistance against the growing influence of conservative and anti-2SLGBTQIA+ movements.
painted brick wall with md initials
Mary Duchense, a trans or Two-Spirit youth in the 1870s, was sentenced to five years of hard labour at Stony Mountain Penitentiary in Manitoba. Duchense's story is a poignant example of the harsh treatment faced by gender non-conforming individuals in early Canadian history. At the time, gender diversity was criminalized, and individuals like Duchense were subjected to brutal punishment for simply existing outside of societal norms. The specific circumstances of Duchense's imprisonment are not widely documented, but their story sheds light on the intersection of colonialism, criminal justice, and the marginalization of Indigenous gender identities.
painted face
Recognizing trans and drag performers in Canada is significant for both historical and cultural reasons. These individuals have often been at the forefront of challenging gender norms, advocating for visibility, and asserting their right to exist authentically. Throughout history, trans and drag performers have been subjected to legal and social discrimination, yet many have used their art and platform to confront these injustices, paving the way for greater acceptance and rights for gender-nonconforming individuals. In Canada, these performers have not only made substantial contributions to the 2SLGBTQIA+ community but also played a critical role in the broader cultural and political landscape, pushing boundaries, fostering community, and challenging the status quo.
painted artist face with rainbow hair
The image highlights the intersection of music, theatre, and activism within Canada’s queer community, showcasing the power of both individual artists and collective institutions in pushing for visibility, acceptance, and cultural transformation.
painted face of phil graham
Phil Graham, a 1960s scoop survivor, was instrumental in founding Gays for Equality in 1973 at the University of Manitoba in Winnipeg. It was originally a student organization (previously known as Campus Gay Club, though the exact date of its formation is unknown). The group becomes a driving force in 2SLGBTQIA+ advocacy throughout the 1970s. Gays for Equality is currently known as the Rainbow Resource Centre in Winnipeg.
painted face with rainbow hair
This image covers pivotal moments in Canada’s 2SLGBTQIA+ rights history, including key figures like Svend Robinson, Canada's first openly gay Member of Parliament, and Blake Desjarlais, the first openly Two-Spirit MP. Both individuals made significant contributions to 2SLGBTQIA+ rights in Canada, with Robinson playing a vital role in shaping federal policies and laws, and Desjarlais representing Indigenous and Two-Spirit voices in federal politics. The image also highlights key legislative reforms, including the decriminalization of homosexuality in 1969 and Pierre Trudeau’s pivotal role in advancing social issues like abortion, divorce, and homosexuality. It also acknowledges the work of early activists like Jim Egan, whose advocacy helped lay the foundation for the recognition of sexual orientation in human rights law.
painted four pointed star
Rainbow Resource Centre logo, Canada’s long-standing 2SLGBTQIA+ community centre in Winnipeg. (See description for Phil Graham, founding of Gays for Equality which later evolved into Rainbow Resource Centre.)
painted progress flag
The new Progress Pride flag combines elements from various flags to create a more inclusive representation. It incorporates stripes that symbolize people of colour, as well as trans, gender non-conforming, and intersex individuals.
painted flag
This image represents the widespread movement and insurgence of Two-Spirit and Indigiqueer people.
painted hands holding a shell
The hands holding the abalone shell symbolize smudging, with the swirling smoke in shades of purple, lilac, and white filling the mural space. The smoke weaves through the central panel (panel 3) and extends along the base of all the panels, creating a sense of unity throughout the artwork.
multi color painted maple leaf
Diversity 15
Central “maple leaf” / feather with surrounding colourful plumage

(centre middle of panel 3)

15_8920-72dpi This image mirrors the central motif of the Canadian flag, but instead of the traditional maple leaf, it features a feather—one of Patrick Hunter’s signature elements. Rather than the red and white color scheme of the original flag, this version uses a range of colors to symbolize the 2SLGBTQ+ community and the diverse identities within the queer community across the country. How does the use of a feather as the central motif, replacing the maple leaf of the Canadian flag, shift the focus from a national symbol to one that acknowledges Indigenous cultural significance, particularly within the context of 2S/Indigiqueer identity?

What can students learn from the juxtaposition of the maple leaf’s traditional symbolism with the feather’s representation of cultural continuity and inclusion, and how might this lead to deeper discussions on national identity, inclusion, and decolonization?

In what ways might the symbolism of the feather encourage students to think critically about the role of Indigenous peoples in the 2SLGBTQIA+ movement, and how might educators incorporate Indigenous perspectives into discussions about queer history, activism, and identity?
painted face of glen murray with rainbow hair
Glen Murray was a trailblazer for 2SLGBTQIA+ representation in politics. As the first openly gay mayor of a major city in Canada and North America, his election in 1998 marked a pivotal moment for 2SLGBTQIA+ visibility in politics. Beyond his mayoral role, he was a key advocate for including sexual orientation in the Manitoba Human Rights Code, co-founded Klinic, and played a central role in HIV activism. His work laid the foundation for further 2SLGBTQIA+ political engagement in Canada.
painting of woman with glasses and short rainbow color hair
Ma-Nee Chacaby, a Two-Spirit Elder born in the 1950s, is a significant figure in the LGBTQ+ Indigenous community. In her 2016 autobiography, A Two-Spirit Journey: The Autobiography of a Lesbian Ojibwa-Cree Elder, she reflects on her experiences as a Two-Spirit person and her journey navigating both her Indigenous and queer identities. Ma-Nee made history in the late 1980s by leading Thunder Bay’s first Pride event, marking a crucial step in the city's 2SLGBTQIA+ activism. Her leadership in organizing the event highlighted her role as a trailblazer for both the queer and Indigenous communities, advocating for visibility and recognition.
painting of michelle douglas face with rainbow hair
From the 1950s to the 1990s, 2SLGBTQIA+ individuals in Canada were systematically purged from the military, RCMP, and civil service, branded as security threats during the Cold War era. Government agencies investigated, interrogated, and fired workers who were suspected of being "homosexual" or "sexual deviants." This period of institutional discrimination is often referred to as the "Purge." The military Purge finally ended in 1992 following the activism of Michelle Douglas, featured in the mural, a lesbian military member who sued for wrongful dismissal. Decades of lobbying led to a federal apology and the settlement of a class action lawsuit providing compensation to those affected.
line painting of half circle depicting a tunnel
Over the years, Canada has seen significant shifts in its immigration policies concerning LGBTQIA+ individuals, reflecting both triumphs and struggles. From the lifting of the ban on homosexual immigration in 1978 to recognizing the need for asylum for those persecuted due to their sexual orientation or gender identity, these policy changes have provided a pathway for LGBTQIA+ refugees seeking protection. Advocacy efforts have also expanded to include recognizing and supporting LGBTQ+ individuals in the broader international community. Rainbow Railroad is a national organization that works to bring LGBTQIA+ refugees to Canada.
painting of indigenous man with long braided hair and feather in hair
John Tanner, a European-American who was raised among the Ojibwe (Chippewa) people in the 1800s, is known for his autobiography, which chronicles his experiences after being captured as a child and later adopted by the Ojibwe. A prominent figure in Tanner's narrative is Ozaawindib, also known as Yellow Head, an Indigenous leader who had a close relationship with Tanner. Some versions of these stories suggest that Ozaawindib might have had a queer or non-binary identity, illustrating how alternative gender roles were recognized within his community. This image also represents the story of Qánqon Kámek Klaúla, or the Sitting-in-the-Water-Grizzly story, which is significant within Cree cultural narratives from the 1700s and 1800s
painting of red dress
The image of the red dress symbolizes activism to raise awareness and advocate for MMIWG2S (Murdered and Missing Indigenous Women, Girls, and Two-Spirit people). It is a powerful part of a broader movement that draws attention to the alarming rates at which Indigenous women, girls, and Two-Spirit individuals face violence, abduction, and murder, often with inadequate response or accountability from authorities. The red dress serves as a poignant visual reminder of the lives lost and the urgent need for justice and support for Indigenous communities.
painting of a book with banned symbol over top
This image highlights significant milestones in the history of 2SLGBTQIA+ rights and activism in Canada, focusing on the protection of 2SLGBTQIA+ spaces, freedom of expression, and legal battles for equality. It includes pivotal moments in the development of 2SLGBTQIA+ publications, the legal recognition of same-sex families, and the rise of community spaces that fostered QPOC (Queer People of Colour) initiatives. These events reflect the broader cultural and legal shifts in Canada regarding 2SLGBTQIA+ acceptance and visibility.
painting of triangular non-binary flag
This image highlights the evolving recognition and legal protections for transgender, non-binary, and intersex individuals in Canada. It reflects important milestones in shifting societal and medical perspectives on gender identity, as well as the progressive expansion of legal rights and recognition, particularly regarding gender markers and gender expression.
2013 – Gender Identity Disorder was removed from the Diagnostic and Statistical Manual of Mental Disorders (DSM) and replaced by Gender Dysphoria. This change emphasized supporting individuals who experience gender dysphoria, rather than attempting to "correct" their gender identity, marking a shift toward a more inclusive and affirming approach to mental health.
painting of orange flowers growing in front of institutional building
Symbolizing the colonial suppression and erasure of Indigenous sexual and gender diversity, this image reflects the legacy of residential schools and their impact on Two-Spirit and Indigiqueer students. It acknowledges the impact on Indigenous communities while remaining sensitive to the historical role of Christianity in these experiences. The use of orange colour has come to symbolize both the recognition of the historical injustices of residential schools and the ongoing struggle for the healing and rights of Indigenous peoples, including the acknowledgment of their sexual and gender diversity. It serves as a reminder of the need for reconciliation and the protection of Indigenous culture and identity.
artist signature
The image is the signature of artist Patrick Hunter with the mural’s year of creation (2024).

Click on the "i" symbol at the bottom right corner of each image in the carousel above to learn about its symbolism and meaning. 

The mural is composed of numerous smaller images, each contributing to the overarching narrative. For a more in-depth experience, click here for detailed descriptions including historic markers and reflective questions provided to stimulate critical analysis and facilitate thoughtful discussions in educational settings.

Viewers can consult additional resources, including relevant library and media sources, to gain a broader understanding of the various events, people, and knowledge shaping their understanding. The mural also prompts viewers to consider what is missing, what may be problematic or helpful, and what they would add to the mural.

This project was funded by the Social Sciences and Humanities Research Council, the Canada Research Chairs program, and the Faculty of Education.

The steering committee comprises members from the Faculty of Education, the Canadian Museum for Human Rights, the Rainbow Resource Centre, and Two-Spirit Manitoba. The mural’s background was painted by Cash Akoza, while the images were created by Patrick Hunter. We extend our profound gratitude to the committee members for their exemplary leadership and unwavering commitment to the development and realization of the mural.
 

Faculty of Education Contact Us

Faculty of Educations
Education Building
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University of Manitoba (Fort Garry campus)
Winnipeg, MB R3T 2N2 Canadada

faculty.education@umanitoba.ca
204-474-9004
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