As an Aboriginal, Douglas is aware of appropriations of First Nations culture. The continual romanticizing of the mythical “Indian” is not acceptable, and in fact perpetuates misrepresentations. People of Aboriginal descent are not the imaginary “Pan-Indian” that is generally accepted as authentic. “What we see reflected in our own invented tidal pools is a need to reinvent and manipulate the past so that we may claim it as our own. Hybrid narratives of tradition and personal experience are the basis of reclamation, while art that encourages only difference is a form of ethnocentrism” (Patricia Deadman, Staking Land Claims, 1994). The space within inherent cultural knowledge, with its connection to community and land, is far from the concrete media-fed world that is a resource for monetary gain.