Whats inSight Spring 2020

Spring 2020

ORCAS OUR SHARED FUTURE THE IRON LIZARD A NEW DINOSAUR FOR BC THE FIRST GAZE NEW ACQUISITIONS FOR THE ART AND HISTORY COLLECTIONS

$3.95

SPRING 2020 FEATURE Orcas PUBLICATIONS Slow Rolls in the Fog FEATURE Rhapsody Reassembled FEATURE The Iron Lizard Modernizing a Museum FEATURE Laugh Together, Learn Together FEATURE The First Gaze All Creatures Great and Small PROFILE A Dream Attained GOING DIGITAL Learning About Dinosaurs Spring Into Summer Fragile Things From the Harbour Floor VOLUNTEER PROFILE Giving Back to Her Community Planting Happiness What’s On Calendar Springtime Reads PROFILE Helijet

EDITOR IN CHIEF

Erika Stenson 4

MANAGING EDITOR

Jennifer Vanderzee

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GRAPHIC DESIGN

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Nathan Oickle

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EDITOR

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PHOTOGRAPHERS

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Annie Mayse

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CONTRIBUTORS

Victoria Arbour Lucy Bell Leah Best Amina Chergui Liz Crocker Paul Ferguson Melanie Grisak Gavin Hanke Holli Hodgson Jess Housty Ken Marr Chris O’Connor Julie Ovenell Alina Ruiz Jana Stefan Erika Stenson Alexandra Weaver India Rael Young What’s inSight is an electronic magazine released four times annually, in March, June, September and December, by the Royal BC Museum.

In the interest of keeping our administrative costs low—and our carbon footprint small—this print version is also provided to members in digital format at rbcm.ca/magazine.

The Royal BC Museum is located on the traditional territories of the Lekwungen (Songhees and Xwsepsum Nations).

We extend our appreciation for the opportunity to live and learn on this territory.

COVER IMAGE Small Craft Warning Christian Geissler, acrylic on canvas. From Spirits of the Coast: Orcas in Science, Art and History, coming May 15 from the Royal BC Museum.

Shane Lighter Melanie Grisak

To switch your What’s inSight subscription preference from print to digital format, please email membership@royalbcmuseum.bc.ca or call 250-387-3287.

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Dear friends, In the 1830s, Charles Lyell wrote the immensely significant book Principles of Geology. It was one of the few books that Charles Darwin carried on his famous voyage on the HMS Beagle, the voyage that led him to write On the Origin of Species. The book was fundamental, and to a large extent still is, in describing and defining the importance of geology to the study of the Earth. In Lyell’s time, the geologist’s tools were very much a hammer and a microscope. Now there are more sophisticated ways of investigating the origins, the evolution and, increasingly, the future of the planet. The isotopic imprints in rocks and minerals, for example, help us uncover clues about the conditions in ancient oceans and their influence on climate.

A trilobite from the UNESCO World Heritage site at Burgess Shale. Part of the museum’s unseen collection that will be represented.

The Royal BC Museum’s geology collection is not large and is to a large extent dormant, numbering several thousand samples collected from across British Columbia. There is a strong collection of meteorites and a comprehensive collection of minerals and samples from sea beds. We have rare metals, copper and gold in our collections. And of course our fossil collections are huge and include unique examples from the world-famous Burgess Shale. Most visitors to these collections are scientific professionals with research interests, such as visiting scientists, research students and collections management specialists. Volunteers greatly assist us in our work. Our strength is bringing together and investigating collections across numerous disciplines, rather like pulling together a complicated jigsaw puzzle.

As we plan for a modernized museum, we are looking to augment our geological collections and grow our expertise in this area of knowledge. A stronger collection will enable us to work once again across the full breadth of our Earth science collections, and to ask questions that would have astonished even Charles Lyell. Your help in building up these collections for the future is vital. There still remains so much for us to understand about the past, and indeed the present, of British Columbia.

Yours,

Professor Jack Lohman, CBE Chief Executive Officer, Royal BC Museum

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116 artifacts from the museum’s collection 180 bones in Rhapsody (J32)’s articulated skeleton 325 bones in the skeleton of Rhapsody’s baby 2 (surviving) baby orcas born to Southern Resident pods during exhibition production 7 50-foot (15 m) tractor trailers to move it all when it travels

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35+ staff from every department contributing 36 months of planning 31 custom showcases 6 First Nations consulted 3 years of research

10 model makers 6 youth programs 14 scholars 6 conservators

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PUBLICATIONS

Slow Rolls in the Fog An excerpt from Spirits of the Coast: Orcas in Science, Art and History By ‘Cúagilákv Jess Housty

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nce when I was a little girl I was in a skiff with my father. The vessel reminded me of a piece of driftwood: curved, light, and somehow a little impermanent.

As we puttered slowly down the channel, a pod of orcas appeared. It was as though they’d manifested out of the dense fog, and although they overtook us quickly, their pace seemed to slow to match their curiosity. They surfaced and dove too quickly to count them all; it was orcas all the way down. They performed lazy rolls, the calves clumsy as they practised their spyhopping. Occasionally an adult would breach, with the elegance of a salmon and the enormous power of rolling thunder.

Their clicks and cries made the skiff shake, and their vocalizations vibrated up into my bones. The hull of the boat was the most fragile of liminal spaces dividing me from the whales, and the closeness made me feel a sense of deep safety—like the ocean was a womb and they were the pulse of my mother, beating all around me.

They paced us for awhile, the females and their calves closest to the boat and the rest of the pod radiating outward. The dorsal fins that cut the surface were dark against the backdrop of the ocean, and darker against the fog. And there we were, my father and I, cupped in the curve of our little skiff with the barrier between ocean and sky dissolving all around us.

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Gradually, the pod carried on ahead of us.

And the last we saw was a magnificent bull whose massive head plowed straight toward our boat, turning into a slow dive so close to us that the top of his dorsal fin was within arm’s reach just before he disappeared beneath the hull.

I thought I would feel bereft in that moment; instead, I felt full. And to this day, nearly three decades later, that moment is what slips into my mind when I think of the definition of prayer.

Pre-order at rbcm.ca/books or see the back cover for how to get and early copy.

NE W BOOK

FROM ROYAL BC MUSE PUBLISHIN UM G

FEATURE

Rhapsody Reassembled She’ll Be Back

By Dr. Gavin Hanke

early November. Frank Hadfield and his crew (Brandon Kozdas, Eddie Dahm and Lori Joliffe) then began the process of rearticulating Rhapsody’s bones. Since Rhapsody is a research specimen, she had to be assembled without any damage to her bones. Frank’s crew commonly works with fossils that have similar restrictions, so they created a metal armature to support and hold the bones without any bolts or screws.

The armature is a work of art in itself, and since it resembles a certain post-apocalyptic robot, it became known as the Orcinator.

After a brief lull in activity over the yuletide season, we prepared for Rhapsody’s return.

As you can imagine, Rhapsody’s articulated skeleton wouldn’t fit in the original shipping crates. Dinosaur Valley Studios had to make new crates, which will also travel with the exhibition. A reconstructed Rhapsody was ready for one last showing to school groups in Drumheller in mid-January before the trip back to the Royal BC Museum.

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don’t know if it takes a village to raise a child, but it does take a team of amazing people to pack up an orca skeleton, ship it to another province, reassemble it and send it back for exhibition. In October 2019 conservation intern Katie McEvoy and exhibit arts specialists Cindy Van Volsem and Megan Anderson packed up and shipped the skeleton of Rhapsody (J32), an adult female Southern Resident orca in the

Royal BC Museum’s research collection, to southern Alberta. Even the packing crates were custom-made by museum staff: Josh Pierrot and Devin Hobbins from our exhibit fabrication team. The entire project was orcanized (sorry) under the watchful eyes of Dave Stewart and Michael Barnes.

Rhapsody was shipped to Dinosaur Valley Studios in Drumheller, Alberta, in

Have you kept note of the number of people directly involved in this project? I count at least 12, including me. No bones about it, this was an amazing team effort, and I am fortunate that I get to work with so many talented people.

Look for Rhapsody (and her calf) in the laboratory section of Orcas: Our Shared Future, opening May 15, 2020.

The sand-coloured armature vanishes next to Rhapsody’s fully articulated skeleton.

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FEATURE

The Iron Lizard A New Dinosaur for British Columbia

By Dr. Victoria Arbour, Curator of Palaeontology

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lmost 50 years ago, a geologist named Kenny Larsen was looking for minerals along the BC Rail line that follows the Sustut River in northern British Columbia. He picked up some old bones, including a mysterious pointed claw.

In 2019 those bones were identified as British Columbia’s first unique dinosaur species, Ferrisaurus sustutensis. The name, which means “Iron Lizard from the Sustut River,” references its discovery along the abandoned railway line.

In 2005, Kenny donated a shoebox containing those old bones to the Earth Sciences Department at Dalhousie University, where I was an undergraduate student. I jumped at the chance to work on some real dinosaur fossils for my

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undergraduate thesis and quickly realized that these were some of the only dinosaur bones that had ever been found in British Columbia—many of the incredible fossils we now know about from the Tumbler Ridge area had yet to be discovered! At that stage of my career, I was able to figure out that the bones belonged to some kind of small, two-legged, plant-eating dinosaur, perhaps something a bit like the domeheaded pachycephalosaurs or the fleetfooted plant-eaters called parksosaurids.

But I couldn’t nail down a precise identification with the few bones I had to work with. Without a scientific species name to use for this little dinosaur, I took to calling it ”Buster.” I also realized that Buster should make its way home to British Columbia, and arranged to have the fossils transferred to the Royal BC Museum, where they became part of the museum’s palaeontology collection.

Many years later, after finishing graduate school at the University of Alberta, I headed to Toronto to begin a postdoctoral fellowship with Dr. David Evans at the Royal Ontario Museum. I had always wanted to find a way to get to the Sustut River and look for more of Buster’s skeleton. With David’s support I was able to secure funding from the National Geographic Society to lead an expedition to northern British Columbia in the summer of 2017. We didn’t find more of Buster’s skeleton, but we think we got pretty close to the spot where it was originally collected. We found part of an extinct turtle and more than 100 fossil plants. We were also able to collect data that showed that Buster lived about 67–68 million years ago.

Around the same time as I was planning the Sustut River expedition, David and I started to take a fresh look at Buster’s old bones.

Could we figure out what specific kind of dinosaur was represented by these bits and pieces of skeleton? Using our combined knowledge and experience, we realized that Buster wasn’t a pachycephalosaur or parksosaurid like I had originally thought—it

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was a leptoceratopsid. Leptoceratopsids are close cousins of horned dinosaurs like Triceratops. They had parrot-like beaks and knobs on their cheeks, but they didn’t have the nose or brow horns of their bigger cousins, and the frill at the back of the skull was much smaller.

Over the past few years I’ve travelled to many different museums to study leptoceratopsid skeletons, in order to figure out exactly what species of leptoceratopsid Buster might be. I visited the collections of the Canadian Museum of Nature in Ottawa, the Children’s Museum of Indianapolis in Indiana and the Museum of the Rockies in Montana, taking photographs, making sketches and notes about what I saw, and measuring everything I could with my trusty digital calipers. As I looked at more specimens, it became apparent that Buster didn’t match any of the species of leptoceratopsids that we already knew about—the proportions of the arm and toe bones were distinct. David and I could make the case that Buster was a new species and should be given a unique name.

British Columbia may not have as many dinosaur bones as our neighbour Alberta does, but we now have our very own unique species of dinosaur! And the

1. Dr. Arbour examines the bones of Ferrisaurus in the palaeontology collections at the Royal BC Museum. Photo courtesy of Brandy Yanchyk.

2. Ferrisaurus was a leptoceratopsid dinosaur, a sheep-sized, parrot-beaked relative of dinosaurs like Triceratops. Image courtesy of Raven Amos.

DINO TRAILS The Royal BC Museum’s palaeontology research program is featured in the newly released second season of the documentary series Dino Trails! Filmmaker Brandy Yanchyk travelled to significant fossil sites in western Canada, including the McAbee Fossil Beds and Six Peaks Dinosaur Tracksite in BC. Watch the entire series at tinyurl. com/ztzfmmj or catch them on the inflight entertainment system on your next WestJet flight!

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Help Find Buster’s Friends 1

search for BC dinosaurs doesn’t end with Ferrisaurus—in fact, this is just the beginning. Last summer I travelled to Spatsizi Plateau Wilderness Provincial Park, an area that has rocks of the same age and type as those along the Sustut River, where Ferrisaurus was found. After a few days spent hiking around without finding anything too exciting, we found a spot that had several dinosaur bones in large boulders! The Royal BC Museum will return to the park this summer, hopefully coming home with even more fossils of the ancient inhabitants of northern British Columbia.

Exciting discoveries like Buster’s bones can be made by anyone enjoying the great outdoors of our amazing province.

In BC, fossils found on public land are considered Crown property, and rare or unusual specimens should make their way to places like the Royal BC Museum where they can be cared for, studied and shared with the public. If you find an interesting fossil, contact the Heritage Branch’s Fossil

Management Office, the Royal BC Museum, or your local museum or university for more information.

See more photos, videos and 3D models of Ferrisaurus at rbcm.ca/ferrisaurus.

External funding for this research was provided by the Natural Sciences and Engineering Research Council, the National Geographic Society, L’Óreal-UNESCO for Women in Science, the Dinosaur Research Institute and BC Parks.

Field research sites are located on the traditional territories of the Gitxsan and Tahltan peoples, whose historical relationships with the land continue to this day.

1. Dr. Arbour led a team of palaeontologists to the Sustut River during the summer of 2017 to search for more fossils. Left to right: Thomas Cullen, David Evans, Jade Simpson and Dr. Arbour.

2. Toe bones, including the claw, from the foot of Ferrisaurus.

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e need your help to make palaeontology field work possible.

The work to find fossils, release them from their rocky tombs and examine them is time consuming and requires meticulous attention to detail.

The Royal BC Museum hopes to return to Spatsizi Plateau Wilderness Provincial Park this summer to search for more dinosaurs (like Buster) and discover even more about the ancient inhabitants of northern British Columbia. By donating to this work, you can help Dr. Arbour find more BC dinosaurs.

“And the search for British Columbian dinosaurs doesn’t end with Ferrisaurus—in fact, this is just the beginning.”

– Dr. Victoria Arbour

Did you know that only about 50 per cent of the Royal BC Museum’s budget comes from the Province? The rest is raised through admissions, memberships and donations.

Please consider donating to new BC discoveries today at rbcm.ca/donate.

Modernizing a Museum Supporting a Change in Practice

By Sdaahl K’awaas Lucy Bell, Head of Indigenous Collections and Repatriation, with Erika Stenson, Head of Marketing, Communications and Business Development

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s we continue to work with the Government of British Columbia on a business case for modernizing the museum infrastructure, we are also considering what it means to modernize the way we work.

Museums around the world are being urged to include diverse voices on history and reevaluate whose stories are told, and many are looking to the Royal BC Museum as a leader on how to approach this fundamental change.

One of the ways we are making change is in expanded community engagement processes.

We are (slowly) taking steps toward ensuring that community engagement is core to our practice. This past September the museum held two two-day sessions with Indigenous people from across British Columbia. They came to the museum to learn about the Indigenous collections and programs and to give advice on modernization. Our guests offered immensely important advice and feedback on their existing experience with the museum and what could be transformed.

including the truth of the negative impacts of colonization. Inclusion of all Indigenous people, elimination of the homogenization of the distinct cultures and languages, and highlighting the strengths and resilience of Indigenous people were also indicated as important. Recommendations call for changes at the systems level and include the requirement for significant investment to realize the goals, requirements and recommendations articulated in this report.

1. Corey Bulpitt, Ernie Swanson and Chief Reg Young of the Haida Nation dance at a ceremony in Thunderbird Park to take down an aging pole and lay it to rest.

2. Artists and Royal BC Museum staff discuss the future of an Indigenous Artists’ Studio.

We, the museum staff, were so honoured to have our Indigenous guests take the time to visit us and give their advice. We look forward to strengthening our relationships, following through on the modernization advice we heard and continuing to build relationships with Indigenous people across British Columbia.”

Read the report at rbcm.ca/ IndigenousModernizationReport 1

The recommendations from those sessions are now publicly available in a report on the Royal BC Museum website. Below is an excerpt from the introduction.

“Participants agreed that staff of the Indigenous Collections and Repatriation department are doing a great job; however, more needs to be done to address the needs and priorities of the Indigenous communities who are working hard to address Nation building and the resurgence of their cultures and languages. Echoed consistently was the need for the museum to work with Indigenous people to accurately portray the history of Indigenous people through an Indigenous lens,

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FEATURE

Laugh Together, Learn Together Museums as Spaces for Well-Being

By Alexandra Weaver, Visitor Experience Manager, and Chris O’Connor, Learning Program Developer

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n a world that seems increasingly fragmented and isolated, where people crave authentic and meaningful interactions with each other but find it more and more challenging to create them, museums have a crucial role to play. Museums are thinking and feeling spaces, generally trusted spaces, and they provide opportunities for genuine collective experience. In the Learning department, as we are crafting ideas for programs, we are very mindful of the responsibility we have to create environments for people to come together and learn. We are exploring new ways of bringing well-being into our programming and connecting people with each other.

something larger than their typical visit to the museum. Abdul and Shawn are expert storytellers and hilarious comedians, and their performance is equal parts earnest and absurd.

Our spring program has two exciting new opportunities designed with mindfulness and well-being at the centre.

SENSORY-FRIENDLY PLAY The Royal BC Museum is proud to announce that we have partnered with the Canucks Autism Network and IMAX Victoria to offer a sensory-friendly experience for guests with neurodevelopment differences.

LAUGHTER IS THE BEST MEDICINE There is radical healing within just the simple act of coming together with a shared purpose, and laughter is a direct line to this kind of well-being.

This past October we invited Abdul Aziz and Shawn O’Hara to perform their Fake Ghost Tours within our Becoming BC gallery. Over four nights, and to sold-out crowds totalling nearly 500 people, Abdul and Shawn took audiences around all the nooks and crannies of the gallery and invited them to imagine a different story of British Columbia, through real objects and less-than-real stories. Audiences were captivated and knew they were part of 12

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The groups laughed together and talked to each other (friends and strangers alike) about what stories they liked best. There was tangible joy shared, and a common response as people were leaving was “That made me feel good.” Sometimes museums and healing can be as simple and meaningful as that.

You can join Abdul and Shawn again for Fake Ghost Tours: Gold Diggers, April 1, 3, 4 and 5.

In March 2018, the National Autism Spectrum Disorder Surveillance System released the most up-to-date Canadian prevalence rate: 1 in 66 Canadian children and youth (ages 5–17) are diagnosed with Autism Spectrum Disorder (ASD), making ASD one of the most common developmental differences. With all the lights, sounds and crowds, museums can be an overwhelming place for people with sensory sensitivities.

The museum’s sensory-friendly program will aim to bring families together to learn

through play in an environment that supports the unique needs of people with ASD. Museum staff and volunteers will receive customer service training by Canucks Autism Network training facilitators to help them understand what to expect, how to react and what community resources are available to help our visitors.

The sensory-friendly event will be held outside the museum’s regular general admission hours. Changes will be made to the museum’s exhibit spaces, with the intention of helping make the museum more accessible and enjoyable for those with sensory issues. What will some of these changes look like?

• Lighting will be turned down in our brighter galleries, while in our darker galleries it will be raised.

• The hand dryers will be turned off, and paper towels will be available in all bathrooms.

• Sound will be turned down in the Becoming BC galleries • The Learning Centre will be open as a sensory space with quiet activities and sensory-friendly toys.

• A storybook, made in partnership with Canucks Autism Network, will be available on our website to help our guests prepare for their visit.

• Simple signage assisting with wayfinding will be posted.

IMAX Victoria will host two sensoryfriendly screenings of a 45-minute documentary in conjunction with the early-morning museum opening. Realizing that attending an IMAX experience movie can be prohibitive for those with neurodevelopmental differences, IMAX Victoria will keep some lights on, volume will be lowered, doors will be left open, and movement and discussion during the film will not be restricted in any way.

Our primary goal in offering this program is to create a welcoming, supportive and fun environment for families to play and explore together. We plan to make

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sensory-friendly museum openings a regular event in the future.

If you’re looking for a way to make connections, laugh or just feel better, consider joining us at the Royal BC Museum for one of our specially designed programs.

We’re looking forward to meeting you.

Sensory-friendly play presented in partnership with

1. Noise cancelling headphones can aid auditory sensitivities.

FAKE GHOST TOURS 2: GOLD DIGGERS April 1, 3, 4 and 5 6:00, 7:30 and 9:00 PM $20 per person Recommended for audiences 12+ SENSORY-FRIENDLY MUSEUM OPENING April 26 Museum visit 8:00–10:00 AM IMAX show 9:00 AM and 10:00 AM Registration required For more information on these and other events visit rbcm.ca/programguide

2.Shawn O’Hara and Abdul Aziz, Ghost Bros., on the move.

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FEATURE

The First Gaze New Acquisitions for the Arts and History Collections

By Dr. India Rael Young, Curator of Art and Images

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his fall, the Royal BC Museum and Archives acquired a selection of new artworks by two significant British Columbia artists, Emily Carr (1871–1945) and Sophia Theresa Pemberton (1869–1959), also known by her married names of Beanlands and Deane Drummond. Thanks to ongoing relationships with local and international arts communities, curator emerita Dr. Kathryn Bridge was able to ensure that these artworks will become a part of British Columbia’s enduring art history.

While Carr is better known today, Sophie Pemberton was considered Victoria’s “first artist” in her day. Their parallel trajectories as artists brought range and

depth to Victoria’s art scene in the first half of the twentieth century. Both women were born in Victoria to parents who emigrated from England and Ireland and who maintained strong ties to the mother country. In the 1890s, both embarked on arts training programs abroad. Pemberton went to London, then Paris, to study in the academic style; Carr travelled first to San Francisco, then London, then the arts colony at St. Ives, England. Pemberton exhibited extensively in London and Paris and became an associate member of the Royal Canadian Academy in 1906. Her academic portraiture and BC landscapes executed in a French Realist style appealed to the European sensibilities of Victoria’s

colonial gentry. Carr, who travelled to France a decade after Pemberton, became enamoured of the next generation of French painting, Post-Impressionism, which she too transcribed onto the landscapes of British Columbia.

Both women returned to the province early in the new century to invigorate Victoria’s arts community. These artists’ interpretations of the “other”—a term used in cultural theory that describes how exclusion can enforce power structures— inform the museum’s newest acquisitions.

Pemberton continued to travel extensively and rendered her observations of faraway lands in a popular decorative arts style.

Meanwhile, Carr immersed herself in regional travel to present the peoples and places of British Columbia.

Along with a selection of portraiture sketches, the new Pemberton acquisitions include some of her personal belongings that have remained within the Pemberton family until now. These personal objects illustrate colonial interests in a decorative arts style known as chinoiserie. As a general style, chinoiserie is characterized

by European interpretations of Asian aesthetics. The style was particularly popular in European decorative arts of the eighteenth and nineteenth centuries.

Pemberton created a variety of such

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1. Victorian-style writing desk with hand-painted ornamentation by Sophie Pemberton, undated.

Wood, lacquer, paints.

2. Sophie Pemberton in her Victoria studio, 1904.

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decorative works, including fans, trays and boxes commissioned by her Victoria and English clientele. The new acquisitions may represent work created for sale or for her own personal use.

Pemberton travelled to India, Thailand and Sri Lanka in 1921, and these two objects merge signature exoticizing black lacquer and gold ornamentation with renditions of Indian birds and Thai figures.

occasion she would create rough studies of First Nations subjects (BC Archives PDP00585; PDP00595), but her painterly interests seldom allowed for the precision Pemberton mastered.

These pieces from her personal collection epitomize the combination of artistic genres. A desk couples Victorian style— plain lines and slender legs—with the black lacquer, gold ornamentation and floral imagery that Europeans closely associated with Chinese design. The florals on this piece, and on the ink stand, maintain a Victorian sensibility, with soft, recognizably European flowers and regal gold filigree, while the tray and the desk shelf embrace the exoticism of the style.

Conversely, Carr’s watercolour, Chinese Boy, presents a sober and literal portrait unique to the artist’s oeuvre. The young boy, dressed in a collarless jacket with black piping at the neck and sleeves, wears his hair in a distinctive queue and looks upon the viewer as closely as Carr must have been observing him. Best known for her moody forestscapes and highly stylized interpretations of Indigenous village scenes, Carr rarely committed to the exactitude required for portraiture. On

Carr rendered this carefully observed portrait during her time in Vancouver, between 1906 and 1910. During this period she created her only other known representations of Chinese settler life, which are all housed in the Emily Carr Art Collection at the BC Archives. A sketch of a Chinese subject (BC Archives PDP05525) exhibits the same raw impressions of her other portraiture. Carr also satirized colonial life in her Aunt Fay cartoons, which included caricatures of Chinese life in Victoria (BC Archives PDP06168; PDP09020).

These additions to the art collection critically expand provincial art histories. Chinese Boy provides an intimate portrayal of Chinese-Canadians and will expand the popular understanding of both Carr’s capacities as an artist and her interests in the subject matter. The sketches in this acquisition situate Sophie Pemberton’s foundational training as a Canadian studying in Europe. Her personal effects offer insight into the life of the artist and to the transnational aesthetic exchanges between Asia, Victoria and Europe.

Only three other public collections—the Art Gallery of Greater Victoria, the Vancouver Art Gallery and the Art Gallery of Hamilton—hold the works of Carr’s contemporary, Sophie Pemberton. With the strength of the Pemberton Family fonds already residing in the archives, the museum hopes to build upon its current holdings of Pemberton works. Kathryn Bridge is currently researching Pemberton and her family. She and the museum welcome information from the larger community about Pemberton’s artworks, decorative pieces and archival records.

Emily Carr, Chinese Boy, 1906–1910, watercolour on paper.

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All Creatures Great and Small Wildlife Photographer of the Year Brings the World to You

By Melanie Grisak, Web Specialist

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ong before I started working at the museum, the Wildlife Photographer of the Year exhibition brought me back to the Royal BC Museum again and again. I’m a photographer, so the annual exhibition has always been an exceptional draw for me— but you don’t need to be a photographer to appreciate great photography! Each image in the exhibition has been selected through a rigorous judging process by experts at London’s prestigious Natural History Museum. The result is a display of spectacular and captivating images.

The exhibition has categories for every subject under the sun, from large mammals to birds, sea life, reptiles, bugs and even microscopic bacteria—all aspects of wildlife are on display. For a photographer, it’s the perfect reminder that there is no single right way to take a photograph. For a nature enthusiast, it’s a stunning view of the world we live in.

I especially appreciate the inclusion of the geographical location, and the camera

model and settings, alongside the written story from the photographer. Occasionally you’ll see something surprising—a stunning photograph that was taken in a backyard, or on an inexpensive point-andshoot camera. I find these photographs the most inspiring. They mean that a love of photography and the ability to take a photograph that captures the moment are not exclusive to those with the means to buy expensive equipment and travel to remote places. People of all skill levels (including children and teens) and from all walks of life, all over the globe, have an opportunity to submit their photographs and to be judged equally with professionals. The final exhibition is a breathtaking combination of creative talent, artistic vision, technical skill and unique points of view.

This year one photograph in particular has really caught my eye. Canopy Hang Out by Carlos Perex Naval of Spain was taken with a Nikon D700, a less-expensive “beginner”

SLR, and is in the 11- to 14-year- old age category. It has a beautiful composition and mood, showing again that great photography is not exclusively about the gear or professional training.

The exhibition also helps to highlight about global concerns and threats to wildlife, and to present them in an engaging way.

Over the years I’ve seen photographs that demonstrate the realities of deforestation, climate change and animal cruelty. Though they’re sometimes difficult to look at, these images allow us to gain a fuller understanding of the world we live in, and they inspire us to seek change.

Bottom line: whatever your experience with photography, this is a spectacular exhibition.

There’s something here for everyone!

Museum guests Laura Jenkins and Trevor Hinton enjoy last year’s Wildlife Photographer of the Year exhibition.

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PROFILE

A Dream Attained Dylan Thomas, Victoria’s Newest Indigenous Artist in Residence

By Julie Ovenell, Communications Specialist

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ylan Thomas fondly remembers playing a crude form of Pictionary with his dad when he was just three years old: “I’d draw something until he guessed what it was. I think it’s fair to say that art has been a part of my entire life.”

It’s a long way from dining-table doodles to gallery-worthy graphics, and the path wasn’t always clear to the 34-year-old Coast Salish artist also known as Qwul’thilum. But in late 2019, what had once seemed an “unattainable dream” became very real: the City of Victoria named Thomas its newest Indigenous Artist in Residence.

A member of the Lyackson First Nation, he grew up in Victoria. At 13, he left childhood friends behind to attend Shoreline School’s Indigenous art program. Always a keen illustrator, Thomas had planned to attend Emily Carr University to become a graphic designer. “But I didn’t put enough work into my portfolio, so I decided to wait a year and make a better effort.”

Fate intervened when Thomas’s father connected him with Kwakwaka’wakw artist Rande Cook. He began making jewellery under Cook’s tutelage, and by 2006 he was apprenticed full-time to the senior artist who, he says, “completely changed my mind-frame.”

“I thought art was all big visions, but Rande said, ‘No, it’s about the details.’ He taught me about weight, balance, flow—all those general aesthetic principals. If your design fundamentals are strong, you can work in 18

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any medium—I’ve done sandblasting and carving and relief-cut metal!—and still be true to the lineage of the tradition. Rande was patient with me. I wouldn’t be an artist today without him.”

It was also Cook who introduced Thomas to the Royal BC Museum database, which he now uses regularly to research Coast Salish artifacts and seek inspiration for his acclaimed artwork.

“It’s the bread and butter of my learning process. I look at old artifacts every day. I want to use it to make public art that honours the culture and people of the Lekwungen. I want to tap into the deep history here: what motifs and legends are from this area? This is the stuff I love.

“It’s been hard sometimes, but I’m glad I stuck with it and kept studying and producing. The last couple of years, I’ve really started to believe. And I’m really looking forward to helping develop the relationship between local First Nations and the city over the next two years as part of the reconciliation effort.”

Dylan Thomas created the iconic logo for Orcas: Our Shared Future, the exciting new feature exhibition opening May 15, 2020, at the Royal BC Museum. Learn more at rbcm.ca/orcas. His work also graces the cover of the recently published Indigenous Repatriation Handbook.

Dylan Thomas is the City of Victoria’s newest Indigenous Artist in Residence.

SEE MORE OF DYLAN’S WORK @salish_artist_dylan_thomas /dylandthomasartist

Spring 2020 royalbcmuseum.bc.ca 19

GOING DIGITAL

Learning About Dinosaurs Read. Watch. Meet.

By Liz Crocker, Learning Program Developer

from Dr. Arbour’s palaeontology field work, including three-dimensional images of dinosaur bones! Learn more about Dr. Arbour and her career in the “meet” section. Finally, if you’re an educator, the “teach” section offers some concrete links between school curricula and British Columbia’s mountain dinosaur, Ferrisaurus sustutensis.

Whatever your interest in British Columbia— dinosaurs, plants, animals, people, past or present— the Learning Portal is a wealth of online riches about this beautiful province we call home.

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ou don’t have to be a student or a teacher to use the Learning Portal, but you do have to be a learner. Luckily, we’re all learners!

If you’re curious about British Columbia (and who isn’t?), a quick dip into Learning Portal themes gives you an idea of the breadth of topics covered on this dynamic website.

Start at the top of the homepage, and you’ll see pathways to explore British Columbia through subject, a timeline to explore British Columbia through time, a map to explore British Columbia through place, and playlists where you can create and share your own stories about British Columbia. To take a more direct and deeper dive into the Learning Portal, let’s look at one of our newest pathways, BC’s Mountain Dinosaur. It’s all about the discovery of Buster, a small leptoceratopsid from northern British Columbia. (You can also read a bit about Buster on page 8 of this magazine.)

Once you’ve navigated to the pathway, click on “read” for Reading Rocks: A Snapshot of a Cretaceous Forest and other short articles 20

What’s inSight

by our resident palaeontologist, Dr. Victoria Arbour. In the “watch” and “listen” sections, find a video made minutes after a dinosaur fossil discovery and audio recordings of Dr. Arbour answering some common dinosaur questions. In “look,” examine photographs

Follow your curiosity now to rbcm.ca/ferrisaurus.

Victoria Arbour, David Evans, and Jade Simon interpret the geology near where Buster the dinosaur was found at Birdflat Creek.

ORCA SUMMER CAMPS Make a splash at a camp like no other!

Explore the world of orcas with fascinating collections, playful activities and exciting field trips, inspired by our feature exhibition, Orcas: Our Shared Future.

Camps for ages 4 through 14 available this July and August.

Register today at rbcm.ca/camps

Spring Into Summer Upcoming Programs for Learners of All Ages

By Amina Chergui, Learning Program Facilitator

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n the Learning department, we like to keep things fresh. We’re constantly tinkering and exploring new program topics and formats with an eye on new ideas.

Spring is the season of renewal and new beginnings; what better time to launch new Learning programs?

This March, Kwakwaka’wakw educator Leslie McGarry will lead her first-ever three-part Museum Crash Course. Offered on March 14, 21 and 28, this “Cultural Connections”–themed program is perfect for those interested in deepening their understanding of the diversity of Indigenous cultures in British Columbia. The program includes behind-the-scenes visits to the Indigenous collections in the museum.

will be a one-of-a-kind experience. Guests will set up camp right in the galleries and enjoy after-hours adventures throughout the nooks and crannies of the museum. For those looking to visit while the sun is still up, Adult Day Camps will provide unique avenues into the feature exhibition. With two themes—We’re All in This Together

and Sciences of the Sea—there are plenty of opportunities for deepening your experience of Orcas: Our Shared Future.

Check out our Spring/Summer Program Guide for more upcoming offerings at rbcm.ca/programguide.

Guests get messy during Adult Day Camp.

Taking a more playful tone, and back by popular demand, amateur ghost hunters Abdul Aziz and Shawn O’Hara are returning in April for a series of after-hours comedic tours in the Becoming BC gallery. Fake Ghost Tours 2: Gold Diggers will offer a satirical lens on gold rush–era history in a side-splitting performance like no other.

We have a jam-packed summer schedule planned, too! Inspired by the upcoming feature exhibition Orcas: Our Shared Future, Orca Camp will venture into the deep ocean. This new week-long summer camp explores the fascinating science of orcas and our own complex relationship with them. We will have options for children aged 7 to 14, with half-day Mini-Orca Camps available for the littlest scientists, aged 4 to 6.

Looking for more adult-oriented summer fun? Night at the Museum: Adults Only Spring 2020 royalbcmuseum.bc.ca 21

Fragile Things Digitizing the Ernest Crocker Fonds

By Alina Ruiz, Archivist

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he BC Archives is full of hidden treasures.

Many of them sit quietly on our shelves, just waiting to be rediscovered and enjoyed by the patrons of the archives and the people of British Columbia. Sometimes they’re waiting for the right person: the intrepid researcher who will fully appreciate and share them. Sometimes they’re just waiting on technology.

One such treasure is the Ernest Crocker fonds, an impressive collection of nearly 11,000 glass-plate negatives and countless photographic films, prints and albums.

This fonds has been in the custody of the archives since the 1940s, but access has been severely limited—until now.

Ernest William Albert Crocker (1877–1968) emigrated from England in 1902. Though his background was in manufacturing and accounting, his true passion was photography. In 1908 he moved to Victoria and established the Trio Photograph and Supply Company on the corner of Yates and Government streets. The name stuck, and soon he was known by locals as Mr. Trio.

When British Columbia mobilized for World War I, Crocker began working as an independent photographer for the local military camps. He was initially hired to take portraits of groups and individual soldiers, but he hung around the camps long after the formal pictures were taken. His semi-exclusive access to life in the camps resulted in a series of candid shots that are immensely valuable for understanding what life was like in wartime British Columbia.

In the early days of photography, photographs were captured on glass. The glass was coated in a light-sensitive emulsion made of silver halides. When these particles are exposed to light through a camera lens, a chemical reaction on the surface of the glass darkens the emulsion to create an image. Crocker used gelatin dry plates (as opposed to the wetcollodion process) for his photographs. These could be bought pre-coated and pre-cut in different sizes.

A dry plate had to be transported in a lightblocking plate holder. Once it was slotted into the camera, the photographer slid the covers

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away and exposed it to light as a picture was taken. The plate was put back in its holder, to be processed later in a darkroom.

more than 3,000 images for public viewing as part of the project, which was funded by the BC Archives Trust.

To mark the centenary of the end of World War I, the BC Archives embarked on a project to digitize and describe the military-related glass-plate negatives in the Ernest Crocker fonds. We digitized, described and uploaded

Digitizing a collection of this magnitude requires many steps and considerations. First, the glass-plate negatives are assessed for conservation concerns and to confirm that the subject matter represented in the photograph is relevant to the project (in this case, World War I).

After carefully taking the glass plates out of their containers and envelopes, we place them emulsion-side down on two specially made plastic supports on top of a flatbed scanner.

The plates are scanned and saved as TIFF files—the most stable format for long-term preservation. Next, some digital processing is done to the scans, such as flipping and rotating the image to its proper orientation, cropping edges and white balancing, if needed. At this point in the process, the photographs are still negatives—the areas that should be dark are light, and vice versa. We invert them to positives using photo-editing software, then compress the files to JPGs and upload them online with descriptions.

Some of the glass plates were more challenging to digitize than others. While most negatives in the fonds are manageable, there are a number of oversized glass plates that did not fit on traditional flatbed scanners. These negatives had to be photographed with an overhead camera. When using this method, negatives are placed on a light table in a dark

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room so that the image can be captured.

Broken glass plates must also be captured this way, as the pieces cannot be balanced on the scanner supports. But the extra effort is worth it, as it allows us to share the photograph before conservation work begins.

Glass-plate photography was once the cutting edge of technology, and now digitization is bringing it to a whole new audience. Digitizing the collection has facilitated discovery of the photographs, and it also reduces handling of these at-risk items. Glass-plate negatives are prone to unique forms of deterioration, such as silver mirroring (oxidation) and emulsion flaking due to exposure to air, light and changes in temperature—not to mention plain old breaks and cracks.

Thanks to digitization projects like this, previously unseen photographic treasures— many showing understudied subjects, like the Canadian Siberian Expeditionary Force and the Chinese Labour Corps—are now getting the recognition they deserve.

You can view the digitized images at rbcm.ca/ernest-crocker-fonds.

1. Glass-plate negative: Soldiers and police stand guard outside Lenz & Leiser Wholesale Dry Goods after the Lusitania Riot, 1915.

2. Alina Ruiz photographs large glass-plate negatives over a light table in a dark room.

3. Glass-plate negative: Canadian Siberian Expeditionary Force soldiers wait to board SS Protesilaus, 1918.

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Spring 2020 royalbcmuseum.bc.ca 23

From the Harbour Floor The Esquimalt Harbour Remediation Project

By Paul Ferguson, Collections Manager, History, and Tom Bown, Research Associate, Archaeology

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n a bone-chilling, damp December day in 2019, Royal BC Museum staff were asked to identify artifacts dredged from the deep during the Esquimalt Harbour remediation project. Reaching into each tote, our staff—archaeology curator Grant Keddie, research associate Tom Bown and modern history collections manager Paul Ferguson—recognized, among the trove of artifacts brought from the harbour floor to the surface, extraordinary finds representing over 170 years of naval and industrial pursuit.

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Since 2016 the Royal BC Museum has been the official repository of the retrieved historical items, organizing and preserving them, in partnership with the Canadian Department of National Defence (DND).

Although the human history of Esquimalt Harbour includes thousands of years of Lekwungen occupation, it is the post-1846 record that brought us together, this day on the harbour shoreline.

DND contracted local archaeological firms, who were stationed on the project barge

as the dredge operated. Bucket upon bucket of spoil, brought to the surface, was scrutinized by project staff, revealing thousands of historical era artifacts. The discoveries show that Esquimalt was not an isolated station.

The record speaks of global commerce in the increasingly complex world of the nineteenth century. The artifacts articulate both the Royal Navy’s military capacity in its support of the British Empire and Canada’s increasing independence through times of conflict.

On our cold day’s visit, our team quickly recognized that the dredge had entered some of the oldest historical areas of the harbour. Things readily thrown or accidentally fallen overboard, such as soda and brewery bottles, were found, both glass and pottery (some dating as early as the 1850s–60s), from California, New York, England, West Africa, Australia, Ireland, Hawaii and Panama, along with the earliest examples of BC bottles. Many of these local companies (ca. 1859–1880), such as Alexander Phillips, Thomas Shotbolt, Paul Bocian, Greenwood and Morley, were not previously represented in our collections.

Among the astonishing finds were bones immediately identified by Grant Keddie as belonging to a tropical sea turtle. In a later discussion with Dr. Lorne Hammond, the museum’s modern history curator, we learned that sea turtles were often penned aboard ships, with nicknames written in chalk on their shells. They were kept alive for months until prepared for consumption.

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1. Bones from a tropical sea turtle likely butchered for soup.

3. Curator Grant Keddie holding a Canadian Pacific Railway water jug.

2. Kirk & Co. Ltd. ginger beer bottle from Victoria, 1908–1914.

4. Centre section of a Royal Navy mess plate, nineteenth century.

This collaborative project gives the museum an important opportunity to collect, preserve and interpret a collection significant to British Columbia’s history and our connections with the world.

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Spring 2020 royalbcmuseum.bc.ca 25

VOLUNTEER PROFILE

Giving Back to Her Community A Legacy Built on Hope and Principles

By Holli Hodgson, Volunteer Manager

apple”! After the war, in 1947, her family relocated to Winnipeg. Kathy did not return to British Columbia for almost 50 years.

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very year, volunteers at the Royal BC Museum contribute over 46,000 hours of their time! Their work touches every single part of the museum. Volunteers support school programs, assist visitors in our customer service operations and coat-check area, act as hosts and ambassadors, and support work in the collections and research areas.

Our volunteers are a diverse and talented group of people who enjoy sharing their knowledge and experience with others, building partnerships and being part of one of the most exciting and rewarding volunteer programs in the province. I want to share the amazing story of one of our most dedicated.

Kathy was born in the Tashme internment camp, just outside Hope, BC, after her family was relocated from Vancouver at the beginning of World War II. Kathy likes to tell people that she was “born beyond Hope”!

Although she has very little memory of her time in the family’s shack, her mother often described how there was no room for a crib, and an apple box was used in its place. Alas, that made Kathy the “bad 26

What’s inSight

A museum has recently been constructed in Tashme to remember this period in British Columbia’s history. Kathy’s family has made several donations to the Tashme Museum, including symbolic koi flags that flew over their shack.

Kathy began volunteering with the Royal Museum Shop 24 years ago and, as a Learning team volunteer, supporting the Leonardo Da Vinci exhibition. Since then she has worked in every exhibition presented by the museum. Kathy is part of the Learning team that presents programming for Helmcken House, Wonder Sundays, Night Shift, Happy Hour and many, many, many more! She also steps up any time the Philanthropy and Marketing departments need a hand. Kathy is an active member of the community, volunteering at Craigdarroch Castle and the University of Victoria Retirees Association, too.

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As a member of the Urasenke Tankokai Victoria Association, Kathy practises the four principles on which the Japanese tea ceremony is built: Harmony, Respect, Purity and Tranquility. We think she embodies them all.

1. CEO Jack Lohman presents Kathy with her 20 Year Pin on April 27, 2017.

2. Kathy’s parents’ wedding picture, about 1927.

3. The family’s shack, with koi flags, built by Kathy’s father, who was a carpenter.

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Planting Happiness Inspirations from the Native Plant Garden

By Ken Marr, Curator of Botany

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t’s spring! Time to start planning for your garden, be it an acre of vegetables or a single flowerpot on the stoop. It’s also the time of year when we take a fresh look at the Royal BC Museum Native Plant Garden.

Spring and early summer are the best times to enjoy the blossoms of the Native Plant Garden. You may be surprised to learn that there are approximately 400 species of plants native to British Columbia growing in this little corner of Victoria, tucked away from the traffic and noise. The species range from very common to quite rare. Many are plants that you could grow in your own garden; some are medicinal or have other traditional uses.

An unpublished manuscript by former curator of botany Dr. T. Christopher Brayshaw, the author of many Royal BC Museum publications on plants, states that in 1968 he and another curator of botany,

Dr. Adam Szczawinski, promoted the idea of landscaping the grounds around the new museum buildings with native species.

Some plants were purchased from nurseries—though few native species were commercially available. Plants, cuttings and seeds were brought in from the southern Interior as well as local sites. The City of Victoria arranged propagation space on the grounds of Government House. In later years Dr. Brayshaw collected live plants from other parts of the province and sent them back by bus. Species from non-coastal habitats thrived for a few years, but unfortunately many eventually died, as they are not adapted to our wet, relatively warm winters.

The camas bed on the east side of Fannin tower was established in 1972, when hundreds of bulbs were salvaged from a highway project by Lesley Kennes, now the

museum’s birds and mammals collections manager. They still bloom there every summer.

The Native Plant Garden is maintained by a passionate group of volunteers who weed, prune, thin and transplant weekly during the warmer months.

If you’re looking for a little garden inspiration, why not come for a visit? You might even see something you’ve never seen before.

Royal BC Museum Native Plant Garden, early 1970s.

Learn more on our Learning Portal or pick up one of our many publications. rbcm.ca/nativeplants

Spring 2020 royalbcmuseum.bc.ca 27

What’s on MEMBERS ONLY Hello Exhibition!

Two themes to choose from! $15 per family First Peoples Gallery March 20 I 10:00–11:00 AM Orcas: Our Shared Future June 10 I 10:00–11:00 AM June 20 I 10:00–11:00 AM

FAMILY PROGRAMS Wonder Sunday Bring the whole family and join us every Sunday.

Included with admission or membership People on the Go March 1, 8, 15, 22, 29 I 1:00–3:00 PM Laugh Out Loud April 5, 12, 19, 26 I 1:00–3:00 PM Orcas May 3, 10, 17, 24, 31 I 1:00–3:00 PM

For a full listing of what’s happening at the Royal BC Museum, see rbcm.ca/programguide MUSEUM HOURS: 10:00 AM –5:00 PM daily

It’s Complicated: A Discussion Series This participatory discussion series tackles perspectives and definitions, upending assumptions to help us better understand ourselves and our communities.

Trans Visibility March 25 I 5:15–7:00 PM Plastics May 27 I 5:15–7:00 PM Fake Ghost Tours 2: Gold Diggers Join amateur ghost hunters/identical twin brothers Abdul and Shawn for a 100 per cent accurate history of the Royal BC Museum.

April 1, 3, 4 and 5 I 6:00, 7:30 and 9:00 PM $20 per person Pysanka Workshop Ukranian Easter eggs are intricately designed decorative eggs. Learn about the importance of this tradition, and create your very own Pysanka.

April 4 I 1:00–3:30 PM $20 per person One-Man Pride and Prejudice Charles Ross and Lisa Hebden tackle the greatest romantic comedy ever.

April 16, 17, 18 I 6:00 and 8:00 PM $20 per person

ALL AGES World Water Day A confluence of voice, sound, film and dance exploring water and it’s importance life on earth.

March 22 I 10:00 AM–4:00 PM $20 per person The Sikhs: Faith, History and People Heritage Explore the history, culture and religion of Sikhs in British Columbia during this day-long celebration.

April 5 I 11:00 AM–4:00 PM Free

LECTURES Distinguished Lecture Orcas: Our Shared Future Join CBC Quirks & Quarks host Bob McDonald and a panel of three experts, each attuned to understanding orcas in a different way.

Following the discussion, guests will join the panelists for a sneak preview of our newest feature exhibition Orcas: Our Shared Future.

May 14 I 7:00–10:00 PM $50 per person

ADULT PROGRAMS Spring Institute Join us to hear about the fascinating studies taking place across our organization. Drop in for one session or stay all day.

May 2 I 10:00 AM–4:00 PM Free Museum Happy Hour Join us the second Thursday of the month for themed events and activities for adults. Drinks and light fare are available for purchase. $10 per person | 19+ Music April 9 I 5:30–7:00 PM Becoming BC gallery Games Night May 14 I 5:30–7:00 PM Becoming BC gallery

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Information correct at time of printing. Subject to change. Please visit royalbcmuseum.bc.ca/calendar for most up-to-date information. Prices do not include applicable taxes.

Springtime Reads

Top Picks from the Greater Victoria Public Library

Along with longer days and warmer weather comes the pull to spend time outdoors and engage with the natural world as it awakens from its winter slumber. We have selected nine books to guide readers of all ages through their springtime exploration of the natural world, be it through gardening, activities or cooking. Borrow one of these titles, then head outside and get your hands dirty.

ADULT CANADIAN GARDENER’S GUIDE

By Lorraine Johnson Third edition, DK, 2019 A one-stop manual for beginners and more experienced gardeners, this book contains all the practical techniques, inspirational ideas and problem-solving advice you need to make and maintain a garden of any size.

THE FRUITFUL CITY: THE ENDURING POWER OF THE URBAN FOOD FOREST

By Helena Moncrieff ECW, 2018 Learn about the urban harvest renaissance that is putting rescued fruit to good use.

GREENFEAST: SPRING, SUMMER

By Nigel Slater HarperCollins, 2019 Enjoy more than 110 spring and summer recipes for those who seek inspiration for quick, plant-based suppers.

TEEN FAMILY WALKS AND HIKES ON VANCOUVER ISLAND: VOLUME 1, VICTORIA TO NANAIMO

By Theo Dombrowski Rocky Mountain, 2018 Filled with a variety of walks and hikes to guide your next adventure on the South Island.

GOING WILD: HELPING NATURE THRIVE IN CITIES

By Michelle Mulder Orca Book publishes, 2018 Find out what urban rewilding is and how it can make our lives—and our planet—safer and healthier.

PROTECTING POLLINATORS: HOW TO SAVE THE CREATURES THAT FEED OUR WORLD

By Jodi Helmer Island Press, 2019 This book shows gratitude to pollinators through inspiring stories of their population revival, lessons from failed attempts to boost their numbers, and practical tips to get involved in their health.

KIDS BADGER’S PERFECT GARDEN

By Marsha Diane Arnold Sleeping Bear, 2019 It’s springtime, and Badger is planting a garden with seeds he gathered all winter long. Will a rainstorm wash away his hard work?

HAWK MOTHER: THE STORY OF A REDTAILED HAWK WHO HATCHED CHICKENS

By Kara Hagedorn Web of Life, 2017 What happens when two baby chickens find themselves in a nest with a hawk?

Spoiler alert: the book has a happy ending.

SPRING AFTER SPRING: HOW RACHEL CARSON INSPIRED THE ENVIRONMENTAL MOVEMENT

By Stéphanie Roth Sisson Roaring Book, 2018 This book traces the journey of Rachel Carson, a scientist and writer who sets the stage for the modern environmental movement.

GET A LIBRARY CARD TODAY Residents of Greater Victoria can get a library card online for free and start reading, watching, listening and learning instantly. Sign up at gvpl.ca/get-a-library-card

Spring 2020 royalbcmuseum.bc.ca 29

PARTNERSHIP PROFILE

Our Volunteer Family W

e are proud to open our newest Pocket Gallery display, Our Volunteer Family, which celebrates our more than 600 volunteers at the museum and archives. This vibrant, dedicated and knowledgeable group is so important in the work we do and keeps the museum and archives ticking daily.

In 1886, when the museum was founded, there was one staff member and a small team of volunteers. Today there are volunteers across the organization in a number of key roles. You may not see them all, but on any given day there are up to 50 dedicated individuals contributing their time.

All ages are represented in our volunteer family from 4 to almost 90. Volunteer dedication begins with our corporate board of directors and supports the functions of each branch of the organization from administration, collections, engagement, front of house, learning, outreach and research, to retail and receiving.

We are also very thankful to our community partners.

“Like so many other arts and culture organizations around the province, the Royal BC Museum depends on its volunteers to create the best possible experience for the visiting public,” says Danny Sitnam, president and CEO of Helijet. “They unreservedly give their time and effort to make everything work in every area of the museum. But, what’s really remarkable is the pride they take in what they contribute. We’re delighted this Pocket Gallery was created to give them the recognition they deserve. As a longtime sponsor of the museum, we at Helijet are thrilled to support this special exhibit.”

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The Pocket Gallery is a small display space in Clifford Carl Hall, on the main floor of the Royal BC Museum. It is free to all visitors.

Proudly supported by

Wilson Tutube, one of the Royal BC Museum volunteers featured in the new Pocket Gallery.

Royal Museum Shop Your purchases support the Royal BC Museum Shop in person or online at rbcm.ca/shop Royal BC Museum members and IMAX season pass holders receive 10% off all purchases with membership card or online coupon code: member Shop hours 10:00 am – 5:00 pm daily 250-356-0505

Thank You! Fall Direct Mail Campaign Raises More Than $180,000!

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hank you to everyone who sent in a gift for the fall mail campaign.

It was the Royal BC Museum’s most successful mail campaign ever, raising more than $180,000! Every gift made this success possible and every gift matters.

PLEASE DONATE TODAY! Your gift will help us care for and share the collections you love. Thank you for your donation.

YES!

I would like to make a tax-deductible gift to the Royal BC Museum in the amount of $35

$50

Gift type

$100

One time

$500

$1,000

Other $

Monthly

Donations are critically important for the museum to further its work.

Government funds cover approximately 53 per cent of the museum’s costs; the balance is raised through admissions, sponsorships and donations.

This year’s fall campaign donations will help support the museum’s priority projects for 2020, including Orcas: Our Shared Future, which opens May 15, digitization of fragile video and audio tapes and photographs, and museum programs, including seniors, outreach projects and kids’ camps.

Your gift supports all of the Royal BC Museum’s endeavours, including education, research, conservation, caring for the collections and exhibits.

If you would like more information, please visit royalbcmuseum.ca or call us at 250-387-7222.

Address

Thank you again to everyone who made this such a successful campaign.

Email

Sincerely, Mischelle vanThiel, Vice President Advancement

YOUR INFORMATION

Name (as you would like to see it for donor recognition purposes) Membership number (if applicable) Province

City

Postal Code

Telephone I would like to learn more about leaving a gift in my will for the Royal BC Museum. Please contact me to confirm that my wishes can be honoured.

I have named the Royal BC Museum in my will.

PAYMENT DETAILS Credit card

Visa

MasterCard

American Express

Card number

Expiry date

/

Name on card Signature Cheque (please make payable to the Royal BC Museum) Please return to our box office along with your donation, or mail to: Royal BC Museum 675 Belleville Street Victoria BC V8W 9W2

Thank you for your support.

For more information Phone: 250-387-7222 Email: donate@royalbcmuseum.bc.ca rbcm.ca/support The personal information collected on this form is collected under the authority of Section 4 of the Museum Act (SBC 2003, c.12) and will only be used to maintain our donor list, issue tax receipts, publicly recognize your donation and provide you with information on current events/exhibitions. If you have any questions about your privacy, please contact the manager of Information and Privacy, 675 Belleville St., Victoria, BC, V8W 9W2; privacy@royalbcmuseum.bc.ca or 250-356-0698.

RBCM Corporation Business No. #88032 1807 RC0001

GET YOUR EARLY COPY Stop by the Royal BC Museum between April 10 and May 14 and pick up an early copy of Spirits of the Coast: Orcas in Science, Art and History, the richly illustrated companion volume to Orcas: Our Shared Future.

In-person only at the Royal Museum Shop or box office.