What's inSight Fall 2019

Fall 2019

DIVING DEEPER ANNOUNCING OUR 2020 ORCA EXHIBITION A FAMILY TRADITION THE LEGACY OF ELLEN KA’KASOLAS NEEL ART AND SCIENCE AT THE ROYAL BC MUSEUM THE WORK OF THOMAS CHRISTOPHER BRAYSHAW

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FALL 2019 FEATURE Diving Deeper FEATURE A Family Tradition The Great Jaguar Rises Haq and History FEATURE Learning From the Past Old Bats, New Tricks FEATURE Art and Science at the Royal BC Museum Hazards of the Job Returning Heritage to Homelands PROFILE Remembering Philip Ward All About Maya Save Intangible Culture PARTNERSHIP PROFILE Paladin Security STAFF PROFILE Gary Lacey STAFF PROFILE Moving On Museum as Classroom What’s On Calendar

E DITOR IN CHIEF Erika Stenson Head of Marketing, Sales & Business Development

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MANAGING EDITOR Jennifer Vanderzee Marketing & Sales Manager

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MAGAZINE COORDINATOR Cassie Holcomb Membership & Marketing Coordinator

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Erik Lambertson Corporate Communications Manager Nathan Oickle 2D Graphic Designer Annie Mayse Editor Shane Lighter Photographer

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Mel Grisak Photographer

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What’s inSight is an electronic magazine released four times annually, in March, June, September and December, by the Royal BC Museum.

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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 royalbcmuseum.bc.ca/magazine 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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Do you have any thoughts on our stories or articles? Please email us at membership@royalbcmuseum.bc.ca

COVER IMAGE Dr. Gavin Hanke, curator of vertebrate zoology, holding the skull of J32 (Rhapsody) from the Royal BC Museum collection. Photo

by Lillie Louise Major.

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Dear friends, The modernization of the Royal BC Museum is by far the largest project we have undertaken since the museum was built 50 years ago. It is driven by the desire—indeed the imperative—to display more of our significant collections and to do so in a way that will engage everyone. The collections and archives of the museum are still not well known. Only last year, two collections, the Vancouver Island (or “Douglas”) treaties and the Ida Halpern collection, were added to the national register of CCUNESCO’s Memory of the World, and even these stars are still not on any must-see list for those visiting Victoria. And then there are more than a thousand works by Emily Carr that remain in deep storage and only make sporadic appearances, mainly overseas. Less than one per cent of the collection is accessible.

For almost a decade, there has been discussion both inside and outside the museum about the form our modernization should take. The huge scale of any such undertaking and the popularity of the existing experience has discouraged the idea of renovating the museum. But the galleries are out of date. They urgently need updating to bring them in line with new research and new ways of seeing the world, and to make room for new voices. The intellectual assumptions that were good in 1967 are no longer helpful to us. The Our Living Languages: First People's Voices in BC exhibition provides a helpful example how of this can be achieved successfully.

As we prepare our plans for modernization, I am keen to hear from friends and members about the successes and failures of our current visitor experience. If we are to build a new paradigm for the province, we must first understand how and what to change. Nothing happens without first being imagined.

Yours,

The Royal BC Museum is actively exploring creating a research and collections centre to promote a safe and accessible space for the collections.

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

royalbcmuseum.bc.ca 3 Fall 2019

FEATURE

Diving Deeper Announcing Our 2020 Orcas Exhibition

By Leah Best, Head of Knowledge

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50, also known as Scarlet, was born into Jpod in December 2014. Hers was a difficult breech birth that resulted in distinctive scarring on her tail—tooth marks left by an orca that assisted at her birth. The story of J50’s birth is emblematic of the endangered state of the southern resident killer whales, an ancient clan consisting of three pods: J, L and K.

A year from now, the Royal BC Museum will open Orcas: Our Shared Future, an exhibition focused on these whales and their rapidly changing environment. Visitors will dip below the ocean surface to enter the world of J50, her extended family and orcas from around the world. The depth of collections and expertise at the Royal BC Museum enables a telling of Orcas from three

compelling perspectives: marine science (led by our curator of vertebrate zoology, Dr. Gavin Hanke), Indigenous teachings and values (led by the curator for Indigenous Collections, Dr. Martha Black) and the history of orcas in popular culture (led by curator of history Dr. Lorne Hammond).

Each standpoint leads to the same conclusion: “We are a part of nature, not apart from nature.”

For Michael Barnes, Head of Exhibitions, it’s the international collaboration behind this exhibition (a co-production with

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For Martha, Orcas is a revelatory approach to presenting a topic that feels familiar on the surface but quickly becomes unfamiliar once you dive deeper. “Big things, like orcas, look small and unconnected to us from far away. Close up, it’s a different view entirely.

The exhibition not only re-focuses the lens through which orcas are usually viewed, it reverses its direction so that we see ourselves as well. The lens shifts between scientific, Indigenous, pop culture and ecological perspectives. It’s a kaleidoscope view—enlightening, entertaining, sobering, frightening, motivating, hopeful—that shakes things up. And because orcas live in a world of sound, because Indigenous wisdom comes through the spoken word and because our industrial world is a noisy one, it’s also a sonic kaleidoscope. We hope the exhibition will act as lens and loudspeaker to enhance and transform visitors’ perceptions.”

MuseumsPartner, developers of the Maya exhibition) that makes it unique. “We have an award-winning Spanish designer and an Austrian touring partner, and the content development and exhibition building is happening right here at the Royal BC Museum. The variety of visitor experiences that this exhibition will provide is very exciting. There will be a broad range of interactive displays, immersive multimedia, and of course a spectacular collection of objects from the Royal BC Museum collection. This exhibition represents a paradigm shift in how we think about these iconic animals.”

Gavin recalls, “For my parents' generation, it was acceptable to kill orcas and sharks on sight, out of ignorance. My children now learn a totally new message: re-use, recycle, tread lightly, respect nature. Changing attitudes within my lifetime give me hope for the future, but environmental recovery will take generations of governments committing to a green mandate. If we fail, we will join orcas in the fossil record.”

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When it opens, Orcas: Our Shared Future will be the largest international exhibition to date of orca culture and science. Stay tuned for more stories on the making of this extraordinary exhibition.

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1. A rendering of the 2020 Orcas: Our Shared Future exhibition.

2. An orca skull, J32/Rhapsody from the collection.

royalbcmuseum.bc.ca 5 Fall 2019

FEATURE

A Family Tradition The Legacy of Ellen Ka’kasolas Neel (née Newman), 1916–1966

By Lou-ann Ika’wega Neel, Repatriation Specialist

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for this market. Sometimes they would sell these pieces to people travelling through Alert Bay; other times they would take them to Victoria and Vancouver to sell to gift and tourist shops.

a’kasolas: “People come from all directions to seek her advice.”

I think my grandmother’s potlatch name is very fitting, as people really did come from many places to seek her advice and her artwork.

From the age of 12, Ellen apprenticed with her grandfather Charlie James (Yakuglas) and learned the unique rules and styles of Kwakwaka’wakw design and carving. Included in these teachings are the histories of each Kwakwaka’wakw family, specifically the Origin Stories that connect each family with the home of their respective First Ancestors.

The stylized artistic forms of each Kwakwaka’wakw family are considered important gifts and treasures that each successive generation of artists is responsible for preserving, safeguarding 6

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and ultimately passing on to the next generation of artists in their family. Ellen learned this and practised the discipline of Kwakwaka’wakw design her entire life, while also teaching these skills and passing these rights on to her seven children.

Although potlatch ceremonies were illegal until 1951, creating artworks for visitors, collectors and tourists apparently wasn’t, so both my grandmother and greatgrandfather adapted their works to create innovative new gifting items specifically

During this era there was also a narrative that asserted that women don’t (or didn’t) carve. This was not true; in fact, during my travels to First Nations communities throughout coastal British Columbia, I personally met many artists who told me that their older sisters, aunties and grandmothers were also carvers. It made me wonder how many unattributed carved artworks in museum and private collections were actually carved by women. While the ”women don’t (or didn’t) carve” narrative continues to this day, I am glad to see that there are families who are helping to set the historical and contemporary record straight.

In my own family, there are now three generations of women who are learning about Kwakwaka’wakw artistic practices, including designing, painting, work in textiles and carving.

As part of our family research, it has been truly wonderful to discover examples of our grandmother’s work in the Indigenous collections at the Royal BC Museum. The collection includes two beautiful silkscreen frames that Grandmother used to create a range of textile works, from tote bags to silk scarves to everyday attire. Also included in the collection are several small carvings: a replica of a dance mask and a few miniature totem poles that were likely created when my grandmother lived and worked in Vancouver and the Lower Mainland.

While I was not able to learn directly from my grandmother (she passed away when I was three years old), I feel very fortunate to be able to visit her artwork on a regular basis as I continue to learn, practise and share what I am learning with the next generation of artists in our family.

Chief Tony Hunt, always used to say: “We come from an unbroken line of artistic and cultural tradition.”

1. A silkscreen by Ellen Ka'kasolas Neel.

2. Lou-ann Neel examining her grandmother's work.

3. A mask by Ellen Ka'kasolas Neel.

I hope that one day soon, the artists in our family will exhibit our works together to demonstrate what our dear friend, the late

These pieces are extremely important to me as a practising artist, as they show my family’s unique design style. This is significant because it serves as a key reference for each artist in our family—a reference point that each of us will use to innovate and create our own unique artistic style, while remaining connected to the broader Kwakwaka’wakw artistic traditions.

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royalbcmuseum.bc.ca 7 Fall 2019

The Great Jaguar Rises Sixth Annual Francis Kermode Group Gala

By Erika Stenson, Head of Marketing, Sales and Business Development

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n May 15, the Royal BC Museum hosted the sixth annual Francis Kermode Group

gala, a celebration of Maya: The Great Jaguar Rises. It was a special evening with guests travelling from Guatemala, Ottawa, Germany and beyond. Guests marvelled at the exquisite collections and breathtaking exhibition design. Truffles Catering sponsored the evening, and guests were impressed by both the beautiful presentation and the flavours presented.

The gala was also sponsored by Digital Direct Printing, Decorate Victoria, Paladin Security, IMAX Victoria and Destination Greater Victoria. Maya: The Great Jaguar Rises runs until December 31.

2 1. Prof. Antony Shelton, director of MOA, Prof. Jack Lohman, CEO of the Royal BC Museum, and Stefan Opalski, Royal BC Museum patron, at the Maya gala.

2. The Maya exhibition contrasts spectacular artifacts with contemporary design.

3. Hon. Janet Austin, Lieutenant Governor of BC, officially opening the Maya exhibition.

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Haq and History Punjabi Canadian Legacy Project Community Event

By Dr. Tzu-I Chung, Curator of History and Erik Lambertson, Corporate Communications Manager

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useums across the world are going through a paradigm shift–a shift that calls for a transition of power and authority, a transition (particularly in human history and experience) from exclusion to more holistic models of inclusion. In recent years the Royal BC Museum has anticipated this sea change by participating in and initiating history projects that are based on community engagement.

In this type of community-based heritage work, the museum works closely with previously marginalized groups to explore, preserve and share their self-identified heritage—a process wholly defined in communities’ terms. The museum’s hope is to facilitate the sharing of these communities’ diverse stories, perspectives and heritage, in their own voices, in our galleries and beyond.

One success story is the work of Dr. Tzu-I Chung, curator of history, and others across the Royal BC Museum, with the Punjabi Canadian community in BC. The South Asian Studies Institute at the University of the Fraser Valley has been the museum’s consistent and generous partner in this ambitious venture.

welcomed a range of community members and leaders, including the PCLP’s Mo Dhaliwal, and Ravi Kahlon, the province’s parliamentary secretary for sport and multiculturalism.

This exhibit marked a historic moment for the underrepresented Punjabi Canadian community in BC. Personal stories (and broader community stories) were reflected in five themes, identified by - communities across the province as significant to Punjabi Canadian history in BC: trans-Pacific journeys; families and homes; community celebrations and commemorations; sawmill experiences; and community activism for rights and justice.

When attendees saw their stories and images presented in the gallery, they were moved– and this in turn was moving to witness.

The Haq & History exhibit will later travel to the communities that helped shape this work.

Community participants viewing the Haq and History exhibit..

Working with partners in the Punjabi Canadian Legacy Project (PCLP) over the past five years, the museum has consulted widely across the province, gathered stories, inserted historical narratives into its permanent galleries and most recently, developed enough material to create a modest exhibition.

On May 4, 2019, members of the Punjabi Canadian community in BC gathered to view the cumulative result of their work on the PCLP: the bilingual (Punjabi and English) Pocket Gallery exhibit Haq & History: A Quest for Community Voices. The Royal BC Museum royalbcmuseum.bc.ca 9 Fall 2019

FEATURE

Learning From the Past Teachers’ Bureau Records at the BC Archives

By Frederike Verspoor, Archivist

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he BC Archives is a rich repository of records relating BC’s public education system, which dates back to 1852. Not only do these records provide historical information about policies, programs, curriculum, facilities, funding, schools, administration, staffing and teachers, but they also constitute an important record of social change and development in BC.

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The Teachers’ Bureau records (GR-0461) are a good example. This collection, which has recently been digitized, consists of responses to questionnaires (School District Information Forms) sent to rural teachers in 1923 and 1928.

The form asked about the nearest railway station or boat landing, its distance

from the school, what the boarding and lodging facilities were and their cost, the general living conditions of the district, the teacher’s salary, the number of school-aged children in the district, the number actually enrolled, average attendance; the chief industry of the district, the character and climatic conditions of the area, and the condition and upkeep of the school building

and grounds. It also invited general remarks and requested a snapshot of the school.

The forms provide information about the hundreds of rural schools scattered across the province in the 1920s, many in isolated communities, and the names of their teachers.

They also provide an insight into teachers’ living conditions, the challenges they faced, their social attitudes, the economic and social situation of the respective communities, school participation and community demographics at the time.

Interested in seeing more? Go to search-bcarchives.royalbcmuseum.bc.ca and search for “teachers bureau” (in quotes) and the name or location, for example, “teachers bureau” Alert Bay. Questions?

Contact us at 250-387-1952 or email access@royalbcmuseum.bc.ca.

Here are some excerpts: “Atlin is beautifully situated. Three fairly good general stores, dance hall, Moving pictures now and then. Three Hotels (2 closing in winter), winter sports, boating in summer. Many nice trips out of Atlin.”

C. Alma M. Macdonald, Atlin School Stikine, 1923 “There is no settled place for teacher to board. Have had much difficulty myself and altho’ I have fairly good accommodation since Feb 1 this may not be available next term and teacher will have difficulties.

Three is also trouble about transportation of teacher from Kelowna as the people think the teacher should hire jitney to Valley. The cost of this is from $15 to $25 according to the state of the roads.”

Myra W. Lang, Joe Rich School Central Okanagan, 1923

“For one who enjoys trees, hills and streams and a cheery social life this district is ideal.”

Agnes Smith, Joe Rich School Central Okanagan, 1928 “It would not be a wise policy to send an inexperienced teacher here, for the community does not have much cooperative spirit or harmony so it makes a teacher tread most carefully to keep on Friendly terms with all.”

Marion V. Sleightholm, Mud River School West of Prince George, 1928 “The climate is good, the conditions healthy; but means of enlightenment etc. are meagre.”

H. Leslie Brown, Fort George Public School Prince George, 1923 Fort George School, 1922.

Old Bats, New Tricks Surveying Diversity using eDNA

By Gavin Hanke, Curator of Vertebrate Zoology

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hite-nose syndrome fungus (Geomyces destructans) is sweeping across North America, causing catastrophic declines in bat populations. The disease appeared in Washington State in 2016, and researchers here in BC are scrambling to survey local bat diversity before the fungus crosses the international border.

Bats and Rabies With the recent news report of a rabies fatality in BC, we should all remember to use caution with handling any wild animal. Diseases can—and do—transfer from wildlife to humans. Rabies is among these diseases. If you find a bat behaving strangely, resist the urge to pick it up and save it. If you find a dead bat, do not touch it.

Call your local animal control or BC’s Ministry of Environment.

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white-nose syndrome is hardest on smaller bats. The little brown bat (Myotis lucifugus) is one of the 17 species of bat in the Royal BC Museum mammal collection, and it’s probably what you think of when you hear the word “bat.” It’s also expected to be hit hard by white-nose syndrome.

Little brown bat call sonogram 2

People are concerned for bat populations.

To study bats, you need to examine museum specimens or trap bats in the wild. Trapping bats is risky: wings could be broken. Animals succumb to stress.

Bat detectors came to the rescue years ago, allowing us to survey bat diversity without interference: the bat equivalent of birding by ear. Bat detectors convert bat echolocation into sounds we can hear. The pattern of chirps can be plotted visually to represent the sounds made by each species. Two species have been found in BC using bat detectors: the Mexican free-tailed bat (Tadarida brasiliensis) and the canyon bat (Parastrellus hesperus).

Today, bat researchers have another noninvasive way to evaluate species diversity: environmental DNA (eDNA). Every animal (including you) leaves tiny scraps of itself in the environment. Movies and television have made dandruff, blood and hair familiar as sources for DNA, but animals shed cells all the time. These cells are like business cards revealing an animal’s recent presence. But to identify species, you need a reference collection of DNA for all the target species that may be in an area. That’s where a museum comes to the rescue.

Instead of taking tissue or drawing blood samples from live bats, researchers can take disk-shaped punches of wing tissues from museum specimens. These samples are used to identify DNA sequences unique to each bat species to generate a DNA reference library.

Once the DNA library is established, bat biologists will collect and filter lots of guano from bat roosts to extract scraps

of eDNA. This eDNA will be duplicated (amplified) and then matched to genetic sequences from museum specimens to determine which species use each roost. Since animals continuously shed DNA, eDNA is a great way to detect rare species—or species which have become rare because of disease. The appearance of white-nose syndrome in BC is sadly inevitable, but at least eDNA will allow us to monitor diversity changes without harming the surviving bats. It may also provide a second line of evidence for the presence of Mexican free-tailed bat's and canyon bat's.

Bats always have held a paradoxical place in human culture—we love them, we fear them, we hate them. Bottom line, we need them. Without bats and their voracious appetites, we’d have more mosquitoes than we’d consider acceptable. Bats are a valued part of the suburban landscape. To

understand which bat species exist here today, we can rely on eDNA, sonograms and naturalist observations, but there is nothing better than a museum collection of specimens. Museum collections are timeless. Species common today may be extinct tomorrow.

1. Little brown bat (Myotis lucifugus) study skin.

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2. This sonogram visually represents little brown bat calls increasing in frequency when prey is detected. Angelika Nelson, curator of sound archives at Ohio State University.

3. A big brown bat specimen (Eptesicus fuscus) with a hole in its wing (highlighted in orange) where a DNA sample was taken.

royalbcmuseum.bc.ca 13 Fall 2019

FEATURE

Art and Science at the Royal BC Museum The Work of Thomas Christopher Brayshaw

By Dr. Erica Wheeler, Head of Collections Care and Conservation, and Heidi Guest, Botany Collections Manager

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useum collections are profound for many reasons. For taxonomists, whose job it is to describe, name and classify species, museum collections are profound because they permit careful observation and comparison of species that would never be found together in nature. In this series we shine a light on the art and science of scientific illustrators, whose magnificent work is based on their observation of natural history collections at the Royal BC Museum. These are some of our best-kept secrets!

THOMAS CHRISTOPHER BRAYSHAW

Curator of Botany, 1963–1996 Emeritus Curator of Botany, 1997–2014 Not long ago, scientific illustration was a required skill for taxonomists, and Thomas Christopher Brayshaw, known as Chris, was a master of the art. Born in Yorkshire in 1919, Chris grew up in Vernon, BC. His mother was a respected botanical artist and his father was a fly fisherman and artist. Chris earned a PhD in plant ecology at UBC in 1954, one of a group of colleagues who went on to pioneer a new understanding of BC’s plants and ecosystems.

Chris was adventurous. His Volkswagen Beetle travelled the length and breadth of the province, canoe strapped to the roof, as he added thousands of specimens to the herbarium collection. He tackled botanically challenging plant groups 14

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including willows and aquatic plants and wrote four beautifully illustrated books: Buttercups, Waterlilies, and Their Relatives in BC; Pondweeds, Bur-reeds and Their Relatives of BC: Aquatic Families of Monocotyledons; Catkin-Bearing Plants of British Columbia; and Trees and Shrubs of British Columbia.

Chris Brayshaw died in 2014 at the age of 95, having devoted 60 years of his life to botany in BC. In addition to his specimens, illustrations and books, his legacy includes the planning and establishment of the Native Plant Garden at the Royal BC Museum. Some of the plants he collected are growing there today.

NATIVE TREES TO WATCH FOR IN THE FALL

The turning of the leaves in fall to brilliant yellows and reds is a treat many of us savour. As the days get shorter, the leaves of most broadleaf trees and shrubs senesce (age) and eventually fall.

It is this process of senescence that leads to the spectacular colour changes we sometimes see. Keep your eyes out for these trees and shrubs in BC, many of which change colour in the fall!

Above: Chris Brayshaw at his microscope.

1. MOUNTAIN ALDER (Alnus incana subspecies tenuifolia [Nuttall] Breitung): This small tree is widespread in BC and ranges from the Mackenzie River valley in the Northwest Territories to California and New Mexico. Mountain alder can reach twelve metres in height, but it usually grows to between two and five metres. In the autumn it turns a warm golden yellow.

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2. QUAKING ASPEN (Populus tremuloides Michaux): This iconic tree of the BC Interior is named for the way its leaves move in the wind. Widespread in BC, these tall, graceful trees are found throughout North America, from lowlands to mountain forests. Quaking aspen, also called trembling aspen, turns brilliant yellow or sometimes orange in the fall and often dominates the autumn colour of interior forests.

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3. DWARF BIRCH (Betula glandulosa Michaux): Dwarf birch is a shrub that grows to three metres in height. Common east of the Coast Mountains in BC, it is found in all Canadian provinces and territories and as far north as the Arctic Archipelago and southern Greenland. In places where dwarf birch is abundant, large swaths of the landscape to turn a beautiful mosaic of yellows, oranges and deep crimson red in the fall.

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royalbcmuseum.bc.ca 15 Fall 2019

Hazards of the Job Caring for and Disposing of Dangerous Collection Material

By Lauren Buttle, Archival Conservator

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n the world of museums and archives, we’re used to looking at collection material for clues about what the past looked like. What objects were used for what purposes, and how were they made?

What role did these objects play in the societies that created them and what can that tell us about the people that came before us? These questions are at the heart of cultural heritage collections, but our strong focus on answering them occasionally distracts us from asking others. What hazards could these objects

pose to the people who interact with them? The answer to that question isn’t always one we want to hear, but there are ways of caring for hazardous materials while also limiting the harm they can cause.

Recently, while assessing some material that was brought in long before our current intake and assessment procedures were in place, we found a collection of bullets and a degrading can of pesticide on a shelf in archival storage. This 1

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material had entered the archives long ago through a court registry as evidence in historical court proceedings. Some of the bullets were live and the container of pesticide was pressurized and degrading. It was also known to contain DDT (dichlorodiphenyltrichloroethane), a substance now restricted in Canada.

This material could not continue to be stored as it had been. The bullets are ammunition, and as such, they are subject to regulations under Canada’s Firearms Act. Any institution in possession of such material is required to have a firearms licence. (Fortunately, the Royal BC Museum does possess one). In accordance with our licence and the act, the bullets that were deemed archivally significant were moved to a designated, secure location, accessible only to members of staff who possess a valid possession and acquisition license. The bullets that were not deemed significant to the collection were transferred to the Victoria Police Department for legal destruction.

a fire hazard.) It was initially placed in chemical storage on site, subject to WHMIS (Workplace Hazardous Materials Information System) regulations, while the archivists assessed its relevance to the collection. Ultimately, it was decided that this item was not required as part of the collection, so we disposed of it. In this case, the Capital Regional District landfill was able to dispose of the material safely, but for larger quantities or more harmful materials, third-party chemical disposal agencies may be hired to ensure safe and sustainable disposal.

Caring for historical objects is a rewarding occupation, but it can also be a risky one. Tailored storage conditions and care procedures are essential, not only for preservation of the collection but also for the health and safety of museum workers and visitors.

1. Bullets found in the collection.

2. Pressurized and degrading container of pesticide.

The canister of pesticide was visibly unstable and contained harmful, restricted substances, so it had to be removed from archival storage. (It could also have been

Royal Museum Shop Your purchases support the Royal BC Museum Shop in person or online at shop.royalbcmuseum.bc.ca 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

royalbcmuseum.bc.ca 17 Fall 2019

Returning Heritage to Homelands Indigenous Repatriation Handbook Launched

By Sdaal K'awads Lucy Bell, Head of Indigenous Collections and Repatriation

repatriating ancestral remains across national and international borders or working collaboratively with museums at the time. Back then, we didn’t even have the internet to do research! I am so pleased we could create a helpful tool for everyone beginning their repatriation journeys.

The handbook is already quite popular, with requests for copies coming from across the globe. These requests make it evident that global museums have a desire to repatriate and form respectful relationships with Indigenous peoples in BC.

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Nika, Lou-ann and I will hold a workshop at the BC Museums Association Conference in October to teach participants how to use the handbook and to generate input for additions.

Knowing that repatriation policies are changing and that the repatriation movement is growing, we designed this handbook as an online resource. Download your own digital copy of the handbook at rbcm.ca/repatriationbook.

The authors are already receiving great feedback and suggestions on what to add to the online version. We will add new case studies, new repatriation policies and other tips in the future.

The paperback handbook can be purchased at the Royal BC Museum gift shop, online at rbcm.ca/books or at your favourite bookstore.

1. The Indigenous Repatriation Handbook.

2. Photo index cards for the Audiovisual collection.

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n May, the Royal BC Museum published the Indigenous Repatriation Handbook. This is a much-needed resource for Indigenous communities and for museums beginning their journey of returning tangible and intangible heritage to their homelands.

What makes this handbook special is that it was written by three Indigenous women with a vast range of experience in the museum, government and art world's. I, Lucy Bell, worked with Nika Collison and Lou-ann Neel, who both brought their expertise, passion and humour to this resource.

When the Haida began our repatriation journey with global museums, we would have benefitted from a how-to guide. There were not many Indigenous communities 18

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PROFILE

Keeper of Magic Remembering Philip R. Ward, Conservator (1926–2019)

By Dr. Ann Howatt-Krahn, conservator, formerly of the BC Provincial Museum and the Canadian Conservation Institute

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urvivors—the authentic, irreplaceable fragments of our theories and stories of the world— draw us to museums. We marvel at their endurance and wonder if they will continue to entrance others centuries from now. Today’s task—the application of knowledge, skills, research and education to support preservation—is exactly what museum conservators are trained to do.

And it was here, at the former BC Provincial Museum, that the man known as the father of conservation in Canada, Mr. Philip R. Ward, planted the flag of his profession in 1966.

In the following decades, he cultivated a living legacy: the recognition of conservation as a professional discipline within Canada’s museum community and the expansion of its reputation internationally. Yet this unassuming, avuncular man made his groundbreaking accomplishments seem like simply the natural, common-sense thing to do.

Trained first as an artist, Phil worked in the Department of Oriental Antiquities at the British Museum under Drs. Harold Plenderleith and Anthony Werner, authors of the new, scientific field of conservation.

It was the progressive vision to establish a conservation division on par with curatorial ones that brought Phil to Victoria.

Immediately he immersed himself in the cultures of his new home, travelling to Indigenous sites, visiting and corresponding with community museums, and regularly contributing to related publications, all the while absorbing and synthesizing new impressions.

His approach to heritage preservation respected cultural values and recognized the practical realities of local environments.

Meanwhile his generous, thoughtful leadership attracted new colleagues and student interns to take up the increasing work, especially during the “golden days” of planning and installing permanent exhibitions—a period prompting publications and his signature margin-notes, described as “witty, sometimes caustic, but always full of wisdom.”

From the late 70s, during executive appointments at the Canadian Conservation Institute Ottawa, Phil introduced such innovations as the national Mobile Conservation Laboratory Service, online educational materials and emergency response planning, which shaped the culture of the institute and strengthened collaboration with the provinces.

Philip Ward, scholar and conservator, is to be cherished as the champion of “Work that makes that magic possible.”

Dr. Howatt-Krahn would like to acknowledge the contributions of Chris Russell and David Tremain, conservators.

Photograph by Carl Bigras, courtesy of the Canadian Conservation Institute, Ottawa, Government of Canada. Digital image restoration by senior scientific documentation technologist Mylène Choquette, Canadian Conservation Institute, Ottawa, Government of Canada.

Throughout his career, his source of inspiration remained those intimate conservation encounters with antiquity, described to me as a student at the University of Victoria, and shared with his family as “miraculous experiences when the ancient past almost literally speaks to us. ... Magic!”

royalbcmuseum.bc.ca 19 Fall 2019

All about Maya Learning Update

By Ashley Vandepol, Learning Program Facilitator

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n addition to its breathtaking design and the abundant artifacts displayed, Maya: The Great Jaguar Rises also offers a number of engaging interactives and animation stations that visitors can take part in during a visit to the Royal BC Museum.

Before even entering the exhibition itself, visitors are met with a recording of the sounds of the rainforest surrounding the ancient city of Tikal. The senses are further engaged within the exhibition through fragrant copal and incense balls, along with a number of touchable 3D-printed replicas of artifacts displayed. Visitors can test their Maya knowledge in a true-or-false activity, uncover the secret ingredient in a precious cacao recipe or discover their Maya-calendar birthday. Not only has the exhibition drawn an immense crowd of excited visitors, it’s brought us a large team of volunteers eager to offer their time and knowledge, particularly at our hands-on animation stations. Care to learn how to partially decode numbers on the beautifully detailed stelae throughout the exhibit? Or discover, through scent and touch, where chocolate comes from? How about learning more about the contemporary weaving practices of the Maya? Our volunteers are there to help!

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1-2. A visitor feels the details of a replica 3D-printed object.

3. Visitors work to uncover a secret cacao ingredient.

4. Children discovering true-or-false facts in the Maya exhibition.

5. Visitors dress the king in the Maya exhibition.

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royalbcmuseum.bc.ca 21 Fall 2019

Save Intangible Culture An Excerpt from Great Expectations, A New Book by Professor Jack Lohman CBE

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he world of museums is undergoing a transformation. Many forces, both new and familiar, are at work: the need for reconciliation and repatriation, the demands of climate change and sustainability, the tension between access and conservation.

Not one of these subjects is uncomplicated, and each presents certain unique questions that we must ask ourselves if we mean to move museums forward.

In Great Expectations: Reflections on Museums and Canada, Royal BC Museum CEO Professor Jack Lohman examines the currents that are driving change in museums, among them globalization, social responsibility, authenticity of experience and the constant evolution of technology.

Each, he finds, resonates with deeper themes within the canon of museology: questions of information and knowledge, of

diversity and plurality, of the accumulation and the paradigmatic incompleteness of collections. What emerges in these essays is an idea for a new sort of museum, one that is outward looking and global, and that makes space for chaos and surprise.

Read on for a short excerpt from Great Expectations.

There is worldwide interest in intangible culture. And language is just one of a range of cultural practices that we need to think about preserving. UNESCO’s 2003 Convention for the Safeguarding of the Intangible Cultural Heritage has been signed by 171 countries. Canada is not one of them, and we need to change that.

Intangible culture disappears: museums can’t easily collect it, and it does not survive as material evidence. . . . Successful communities

are built on the transmission of knowledge from one generation to the next. If knowledge disappears, communities disintegrate. This knowledge must be relevant, of course. It’s not that we want to ossify culture or relegate it to some kind of theatre of the past. But we need to nurture cultural knowledge and the community values it represents.

What intangible culture means is perhaps best represented by a short poem I admire very much. It’s by Mary Augusta Tappage of the Secwépemc Nation. She was born in the Cariboo region of BC in the late nineteenth century. In her poem “Tyee—Big Chief,” she experiences the cultural dislocation of losing her language. “When I got out of Mission School,” she writes, “I had to ask what the Indians were saying. / I couldn’t understand them.” Forced to learn English, she could no longer speak with her people. But her loss goes further. Through language, even her own country is taken from her: Tyee Lake was called after Big Chief—it means big chief But Tyee is not Shuswap It’s Chinook, I think But it’s not my language Pashish’kwa—that means lake in my language Shadad’kwa—that means river The perplexed tone of that short phrase—“It’s Chinook, I think”—and the sweet recall of the words of her own language—Pashish’kwa, Shadad’kwa—tell us all we need to know about identity and its loss. Who are we, if even the names of what we know are taken from us?

Great Expectations is available from rbcm.ca/books, the Royal Museum Shop and your local bookseller on September 5, 2019.

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STAFF PROFILE

Gary Lacey Chief Operating Officer

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ary joined the Royal BC Museum team on June 5 after moving across the country from Ontario to beautiful British Columbia. As the executive director of Capital Stewardship with the National Capital Commission, Gary led staff and managed multiple service providers and contractors while also working in partnership with numerous festivals, community groups and the Algonquin First Nation. In addition to managing more than 560 square kilometres of urban and wilderness parks, infrastructure and some of the most iconic heritage buildings in Canada, Gary was responsible for the official residences, including 24 Sussex Drive and Rideau Hall, the residences of the

prime minister and the governor general of Canada. He was also responsible for managing the Crown Collection, a collection of contemporary and antique art, sculptures, furnishings, books, rugs and other objects of outstanding historical significance or national importance.

As chief operations officer, Gary will provide leadership on the Museum Modernization project. He will also assume overall responsibility for the Property Management Office, Partnerships, IT and Digital, and Human Resources and Volunteer Services.

This is not Gary’s first stint in BC. Before his time with the National Capital Commission, he held positions across BC, including on Haida Gwaii and in the Okanagan. Gary studied administrative management at the British Columbia Institute of Technology with a focus on real estate management and has held numerous leadership positions on various boards.

“I am excited to be joining the Royal BC Museum at this pivotal time!”

Gary says. “I relish the thought of learning about the museum and archival collections and looking for opportunities to advance our mandate and deliver on our role as a museum for everyone in BC.”

PARTNERSHIP PROFILE

Paladin Security P

aladin Security is a Canadian-owned, full-service security company, headquartered in Vancouver, BC. Serving Victoria since 2005, Paladin’s bright vehicles and friendly officers have become a familiar sight, bringing peace of mind to locals and visitors to the city alike.

As partners of the Royal BC Museum, Paladin is at the forefront of our operations.

Every visitor who enters the museum will interact with a Paladin employee in some capacity. Whether giving directions, making

suggestions on a local hot spot for a bite to eat or addressing safety concerns, Paladin’s officers are exceptionally customer-service oriented. That’s the Paladin difference.

Look for Paladin’s yellow horse logo around town and you’ll find officers who consistently go above and beyond to make the community and the world a safer and friendlier place.

Paladin Victoria branch manager Jason Ball says, “Museum-goers look to Paladin for all of their needs, and they will always be met with a friendly, smiling face.

We are so proud of the difference that we

Allyssa de Bruijn and Kerstan Beintema, two onsite Paladin representatives.

have made at the local level within the museum, and it is great to see that spill over to the Victoria community as a whole.”

royalbcmuseum.bc.ca 23 Fall 2019

STAFF PROFILE

Moving On Graham Frick, Exhibit Builder

By Cassie Holcomb, Membership and Marketing Coordinator

WiS: What was the most interesting exhibition you worked on and why?

GF: One of the most memorable exhibitions was Titanic. It was quite a few years ago now, but it was an exhibit so many of us could relate to—most people living here on the island have been on a large ship.

I remember holding (in white gloves) a porthole, a perfume vial, a woman’s purse, and a piece of the hull from the ship. It was quite an experience!

WiS: What will you miss the most?

GF: I’m already missing the people so much.

We always joked around, worked hard, shared laughter and even tears. We truly were a big family in the basement. We shared so many stories and experiences together. I will miss walking into the museum and knowing that there was always someone fun to work with for the day and a unique project to sink my teeth into.

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fter 14 years with the Royal BC Museum, exhibit carpenter Graham Frick has decided to move on to new challenges and his own business. We sat down with Graham to reflect on his time at the museum.

What’s inSight: How long were you at the museum and why did you first take a job here?

Graham Frick: I worked at the Royal BC Museum for 14 years. Funny enough, I was 19 years old when I started working at the museum, and I didn’t even want to work there. It was my dad who encouraged me to apply and so I did. Little did I know how interesting a job it would turn out to be.

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WiS: What was the best part of working at the museum?

GF: The ideas and the people. Over the years we faced so many unique challenges, and when the team put their heads and skills together, there was nothing we couldn’t tackle. Second to that, I got to work around so many interesting pieces of history that most tradesmen would never have the chance to touch or even see!

WiS: What new challenges are you taking on?

GF: I just recently left the museum to focus one hundred per cent on my renovation company. It was an extremely hard choice to make, but I truly have a passion for renovation and design. Your house should always be as beautiful as it is functional! If you don’t have both elements, in my opinion, you don’t have great design. I started my company five years ago, and being able to work at it full time will be fantastic.

Graham Frick building a tiered plinth for the central display of the Families: Bonds and Belonging exhibition in the fabrication shop.

Museum as Classroom School Programs at the Royal BC Museum

By Chris O’Connor, Learning Program Developer

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SELF-GUIDED VISITS We provide all BC kindergarten to grade 12 classes with free entry to our core galleries, and we support their visits with inquiry guides that help them make meaningful connections in a grade-appropriate way.

During the months of April through June, we also offer facilitated Trailhead Station activities within the galleries.

GUIDED SCHOOL PROGRAMS We have a full range of Learning Lab options, with subject matter ranging from ethics and dialogue to the special role of cougars in BC’s natural history. These labs are shaped to the needs of the class and provide space for thoughtful hands-on engagement with objects and ideas found in the galleries. We also offer the EAGLE Program, along with other Learning Labs with an Indigenous focus.

SPECIAL PROJECTS We work with organizations and school districts across the region on special projects throughout the year. These include pop-up exhibitions, a sustainable-design challenge program, the partner school project and more.

PROFESSIONAL DEVELOPMENT FOR EDUCATORS Good educators never stop learning, so we provide professional development opportunities throughout the year. This February we will be holding our second annual Historical Thinking Winter Institute.

We hope to connect with you all over this coming year. Happy learning!

1. Trailhead Station for self-guided school visits.

2. Learning Lab as part of a guided school visit.

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he field of formal education is undergoing a period of serious reflection and reconsideration. With a schooling structure that at times seems more relevant to 1919 than 2019, educators, administrators and learners are pushing the boundaries of possibility in order to address the needs of the moment.

The growing consensus identifies a need to nurture learners, encouraging them to think critically, work collaboratively, solve problems creatively and have a firm sense of their own social and emotional wellbeing.

Here at the Royal BC Museum we create space for this kind of learning in many different ways.

royalbcmuseum.bc.ca 25 Fall 2019

What’s on FAMILY PROGRAMS Night at the Museum Family Sleepover This sleepover is inspired by the Maya exhibition.

October 19 I 6:30 pm–9:00 am $80 per person I 10% discount for members Wonder Sunday Bring your curiosity—and the whole family!

Every Sunday.

Included with admission or membership Fake Out October 13, 20, 27 I 1:00–3:00 pm Maya 2.0 November 3, 10, 17, 24 I 1:00–3:00 pm

YOUNG LEARNERS *NEW* Big Play Saturday-morning hands-on workshop series for early and young learners.

Little Animals November 2, 9, 16, 23, 30 9:00–9:45 am I Ages 3–5 10:00–11:00 am I Ages 6–8 $10 per session

KIDS’ CLUB Hello Exhibition!

Parents and care providers will have a chance to learn more about the galleries through a special guided tour while kids enjoy supervised themed play on site.

Maya Exhibition October 15 I 10:00–11:00 am Natural History gallery November 21 I 10:00–11:00 am

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

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For a full listing of what’s happening at the Royal BC Museum, view our program guide at rbcm.ca/program guide MUSEUM HOURS: 10:00 am – 5:00 pm daily Open late until 10:00 pm on Fridays and Saturdays until to October 12.

HELMCKEN HOUSE: 12:00–2:00 pm daily Included with admission or donation.

ADULT PROGRAMS 3rd Annual Making as Medicine: Indigenous Symposium This two-day workshop will consist of four hands-on learning sessions and a panel discussion.

November 2 and 3 I 9:00 am–4:30 pm $25 per person Museum Crash Course Part 1: Victorian Costume Design Dive deep into Victorian Fashion with an expert costume designer.

October 5, 12, 19 I 1:00–5:00 pm $250, per person It’s Complicated Participatory discussion series.

By donation Parallel Play childminding available Science and Belief September 25 I 5:15–7:00 pm Death November 20 I 5:15–7:00 pm

Fake Ghost Tours Join amateur ghost hunters Abdul Aziz and Shawn O'Hara for a 100% accurate history of the Royal BC Museum.

October 9, 10, 11, 12 6:00 pm, 7:30 pm and 9:00 pm $20 per person Museum Happy Hour Now every month!

Drinks and light fare available for purchase. $10 per person I 19+ Parallel Play childminding available Home Brewed September 12 I 5:30–7:00 pm Fake Out! October 10 I 5:30–7:00 pm On the Homefront November 14 I 5:30–7:00 pm

Parallel Play Childminding NEW For select adult-focused events this year, we will be providing childminding as a support for families. The activities will be related in an ageappropriate way to the theme of the adult event. $10 per child | Registration required Designed for kids 4–10

ALL AGES Fieldtrippers Join us for themed outdoor field trips.

By donation. Suggested: $5 per person.

Life on Marine Debris September 8 I 11:00am–12:30pm

Walking Victoria’s Great War November 9 I 11:00am–12:30pm

Lest We Forget: Remembrance Commemorations Join us for performance-based presentations by musicians, singers and storytellers.

November 11 I 12:00–3:00 pm Included with admission or membership

LECTURES

REFER A FRIEND

Do you love being a Royal BC Museum member?

Know a friend who would also love the museum experience? *Receive one free complimentary guest day pass when you refer a friend and they purchase a membership. *See website for details.

Distinguished Lecture An Isolated Stop on the Road to Power: La Corona, the Snake Kings and Altar 5 Dr. Marcello Canuto will discuss Altar 5, a nearly 1,500-year-old carved altar and significant monument.

November 19 I 7:00–9:00 pm $20 per person I Newcombe Conference Hall Live @ Lunch Monthly talks. By donation.

Speak for Wolf September 18 I 12:00–1:00 pm

Dinosaurs in BC October 2 I 12:00–1:00 pm

Remembrance

November 6 I 12:00–1:00 pm ONCE WELL BELOVED BOOK LAUNCH: Remembering a British Columbia Great War Sacrifice Join author Michael Sasges, a journalist and the former director of the Nicola Valley Museum, as he tells us of the men who died soldiering in the First World War. November 7 I 7:00–8:30 pm Free I Newcombe Conference Hall Book will be available for purchase.

REFER A FRIEND TODAY.RBCM.CA/JOIN

NIGHT AT THE MUSEUM Maya Family Sleepover

Come spend the night as we investigate archaeological mysteries, take part in hands-on activities and sleep among the art and belongings of a fascinating culture with a rich and powerful history. This fun-filled night will be your most memorable museum visit ever.

October 19 I 6:30 pm–9:00 am $80 per person I 10% discount for members Learn more at rbcm.ca/calendar