What boundary? What whale? Whose responsibility? - Governing Transboundary Waters: Canada, the United States, and Indigenous Communities - page 171

In particular Philo and Wilbert (2000), Sundberg (2011), and Collard (2012) each
discuss how humans' attempts to “order animals” have had mixed consequences.
Part of the messiness of Luna's story is the overlapping of worldviews co-existing
in such close proximity. Just as Luna existed in-between worlds, so do the
Mowachaht/Muchalaht, who are bound geographically by a dominant Western
culture. The multiple identities of Luna as an animal and a human, as a whale and
a chief, and as a victim and a victor, help challenge these binaries. “Animal
geographies have opened up space to examine the coexistence of humans and
animals in a way that acknowledges the 'otherness and difference' of animals” (Cloke
and Perkins, 2005). However, as Luna's story so poignantly reveals, these nuances
rarely make it into the daily practice of environmental management, not because
individuals within the system are narrow-minded, rather that the Western
epistemology reinforces a fundamental distinction between humans and
animals/nature as separate entities. Ultimately this dominant worldview plays out
in the managing systems and public discourses that influence decision-making.
Knowing Luna
The construction of Luna's identity is intricately tied to the production of
knowledge and belief systems created around his species. Orcas or “Killer Whales”
have captivated people's imaginations for thousands of years. Well-documented
accounts of encounters in the sea appear in ancient Greek mythology (Pliny the
Elder) and play centrally in Indigenous mythology throughout the world. In recent
history, public perception of orcas (in a Western context) has changed dramatically.
The growing aquarium industry brought orcas to public attention, primarily
through the icon and branding of “Shamu” (Munro, 2001; Murray, 2009).
Criticisms from animal rights activists, however, have somewhat tempered the
appetite for “entertainment in a pen” and “plucking” whales from the ocean. This
phenomenon has taken on national significance through films such as Blackfish ,
which exposes the dark side of the operations at Sea World. Although aquarium
shows are still popular, and bring public attention to the species, efforts are made
to reinforce that the whales in captivity are “rescued” whales rather than “captured”
whales (Murray, 2009).
For example, the whale-watching industry transforms entertainment in the pen
to entertainment in the wild. Through what Cindi Katz (1998) refers to as
“greenateering”, new forms of “environmentally friendly entertainment” have
developed throughout the world. Off the coast of British Columbia and Washing-
ton, this greenateering has provided tourists with the option to appreciate orcas in
their natural habitat. Tourists are able to view the whales through a number of
eco-outfitters ranging from rustic kayak tours to high-speed boat tours to luxury
dinner cruises. The activities are packaged as “eco-friendly” adventures in which
the tourists are promised a thrilling experience.
Not surprisingly, the prolific (and profitable) eco-tours are now under criticism
for “loving the animals to death”, as swarms of nature-loving tourist vessels crowd
the whales as they emerge to the surface for breath. The activities, perceived as