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What’s On- Maple Harvest Festival

This hafted stone axe head would have been used to chop, split, or shape wood. This object, along with many other Indigenous woodworking tools will be on display in the Permanent Gallery during the Maple Harvest festival

As Canada commemorates its 150th anniversary with hundreds of events scheduled throughout the country this year, here at MOA we are taking advantage of the opportunity to highlight the life-ways and practices of the First People who were living here for millennia before “Canada” even existed. Many First Nations traditions and practices, such as maple harvesting, are still very much alive today and part of the traditions we consider to be quintessentially Canadian.

As part of growing up or living in southern Ontario, most of us enjoy, or have enjoyed at some point in our lives, the opportunity to walk or even ride on a horse drawn-sleigh through a snowy woodlot in late winter, observing the spiles and buckets (or today, the acres of tubes!) hanging from trees, collecting maple sap.  An isolated cabin, wood smoke billowing from the chimney and smelling of sweet, caramelised syrup is the highlight of our tour (short for the pancakes!), where sap is boiled in metal kettles or large, flat pans, reducing the liquid after many, many hours to the sweet, sticky, sugary treat that we all know and love.

First Nations of the eastern Woodlands would collect and even boil tree sap in birch bark baskets such as this

These traditions that we associate with the Sugar Bush can be traced to First Nations origins, in which families would leave their homes and villages in late winter to set up small camps in the deciduous forest to collect maple (and/or birch, box-elder and white walnut) sap. Trees were scored, sap was collected and reduced. Before metals were introduced to the region from European settlers and traders, sap collection and processing used perishable containers such as wood and bark. Raw sap, rich in nutrients after the lean winter months, was also enjoyed as a tonic and a flavour enhancing base for soups, stews, and porridge. Processed syrup and sugar would preserve the taste of spring long into the year, used to sweeten culinary dishes and drinks and serving as a source of trade and commerce if collected in large enough quantities.

At our Maple Harvest Festival on March 11-12th, we will be honoured to have local First Nations Elders Dan and Mary-Lou Smoke on site to awaken the forest and conduct a sweet water blessing, thanking the trees for their nourishing gift. Anishinaabe Elder Larry McLeod will also be joining us from North Bay to teach us about the importance of birch bark, including its use as a basket to collect and even boil sap. We will also have sagamite, a traditional corn soup/stew made from fresh sap for tasting in the longhouse and an exhibition of archaeological objects relating to First Nations maple harvesting in our museum gallery.

We welcome our visitors to join us in this celebration of spring that has been honoured since time immemorial, the awakening of the forest (in the Forest City!) and the first harvest of the year. This is a festive time, marking an end to hunger and darkness as we welcome the return of light, life, and nourishment from the land around us. We hope to inspire in our visitors a wonder for the unique environment of this region in which maple trees flourish, an awareness of the wisdom and ingenuity of First Nations cultural practices and an appreciation for the rich heritage of Ontario which lies beneath our feet.

 

Online Collections: A Digital Experience

Technology is an integral part of our society. We spend countless hours checking our emails, browsing social media, and looking up ratings of places before we even visit them. We have the opportunity to connect with places across the world we may otherwise never have the opportunity to visit. The widespread accessibility of the internet allows museums the opportunity to present their collections online, making them more accessible and present within a wider community. With the quick advances in technology, it can be hard to stay up to date in the museum world. Online collections are one way of staying relevant with today’s technologically savvy generation.

A woven hat too damaged for display. Despite what you see, the brim of the hat is warped, with pieces of the interior breaking off with slight movement. The top of the hat is collapsed with its structure being held together by tissue placed inside.

The very first question about an online collection that most museums consider is weather we should create one at all, and if so, how much information should we include? One of the benefits of making the collection available online is that we can share parts of the collection that otherwise cannot be put on display, such as fragile or light sensitive objects. This allows the viewer to experience an object they cannot otherwise experience in person, while preserving the objects at the same time.

So how are online collections made? Online collections begin with the museum’s digital record of an object. New digital records are created everyday, and for some museums this may take years to change all object records into a digital form. For example MOA holds over 2 million objects and only a small fraction have a complete digital record. We also monitor what goes online especially when it comes to culturally sensitive or ceremonial materials since they are protected and not displayed unless special permissions are given. All objects are approached with care and consideration before being placed into public view. Information such as appraisals, donor information, and archaeological site information are also not shared online.

A tintype image, very sensitive to light.

The accessibility of online collections is limited only to the people who have a computer and internet making it easy for people all across the world to access the collections with a simple click. This invites research potential and allows viewers who are interested in a museum to experience the collections if they can not experience it physically. Like museum exhibitions, online collections are not static. They change and evolve with new research and objects.

Not all museums have online collections and the ones that do are hosted on the museum website. With the interest in cultural objects growing, sites that search objects from multiple museums such as the Google Art Project and Artefact Canada give you the opportunity to curate your own collection of favourite items and to learn about objects from all over the globe.

Here is a link to MOA’s Online Collection

Negotiating Authenticity: Engaging with 3D Models and 3D Prints of Archaeological Things

By: Beth Compton

Twitter: @Beth_Compton

Web Hub: http://www.ourpresentpast.org/

If you’ve ever been really excited to go to a museum exhibition only to discover later that part or all of the display was made up of replicas – you’ll know that, for some reason, people tend to feel differently about the “real thing” than they do about the “copy” or the “fake.”  People have fascinating relationships with things and their copies. Sometimes we don’t know or understand where our own impressions of authenticity come from, or why we feel better about certain modes of representation and replication than we do about others. While some might really enjoy looking at a 3D model of an artifact on a screen – zooming in to take a closer look, flipping it around to see its different sides – others might prefer seeing the original artifact in a glass case in a museum. Still others might prefer to hold a 3D printed replica, able to run their fingers over the surface of the object and heft it in their hand. A lot of this is pretty subjective.

Replicas of an ulu artifact (Ikaahuk Archaeology Project). From left to right: white 3D print, colour 3D print, handmade replica (by Tim Rast), and the original artifact excavated from Banks Island, NWT. Photograph by Beth Compton.

There is no doubt that new 3D technologies are impressive in their ability to mimic the originals – but are these replicas and representations really useful beyond the “wow” factor? How do experiences with originals and copies compare with one another? Does making a copy (either digital or physical) change our view of the original artifact in any way? Ultimately, can we generate more meaningful experiences with digital and physical facsimiles?

In partnership with the Ikaahuk Archaeology Project, Sustainable Archaeology, and the Museum of Ontario Archaeology, I explore the nature of archaeological objects and their digital copies in two localised contexts – one in the Inuvialuit Settlement Region of the Canadian Arctic (Banks Island, NWT) and the other in Southwestern Ontario. With the help of the wonderful folks at Sustainable Archaeology, I have been able to take two collections of artifacts (provided by the Ikaahuk Archaeology Project and Museum of Ontario Archaeology) and expand those collections to include digital photographs, 3D models, and 3D prints.

Beth Compton cleaning archaeological artifact prints coming out of the 3D printer at Sustainable Archaeology. Photograph by Nelson Multari.

 

These collections have provided inspiration for dialogues with a diverse array of archaeological constituents including local Inuvialu it and First Nations community members (elders, adults, and youth), museologists, curators, and archaeologists. Overall, I hope to shed some light on how experiences, perceptions, and values differ amongst individuals.

While the majority of participants thus far have certainly demonstrated a strong interest in emerging 3D technologies, there is also a high diversity of opinion, both between and within communities, about the specific roles archaeological replicas should play. It will be interesting to see down the line how these views will shape what we choose to replicate and how.

Collection of artifacts, replicas, photographs and 3D models prepped for an interview at the Prince of Wales Northern Heritage Centre, NWT. Photograph by Beth Compton.

Collection of artifacts, replicas, photographs and 3D models prepped for an interview at the Prince of Wales Northern Heritage Centre, NWT. Photograph by Beth Compton.

Note: if you’ve never seen or heard of 3d printing, this is a good introduction to the technology: http://3dprinting.com/what-is-3d-printing/.

+Positive Voice: Anne’s Story

Interview with Anne from the +Positive Voice Program at Nokee Kwe

My name is Anne and I am a woman who was lucky and proud to have been a part of the +Positive Voice program. Over the seven weeks I spent with the program’s director Summer and the women, I can truly say was a positive experience.

I have seen many programs for aboriginal woman, but this is a program where I have seen aboriginal woman stand in front of me and praise one another. This is why I wanted to be apart of the second session of +Positive Voice.

On the first day of the program we were asked why we wanted to be in +Positive Voice and my answer was “I heard from the women of the first group it was good, and I want to find my independence and not just be a mom anymore. I want to find me”.

Summer explained everything to us such as how the next seven weeks were to run and who our hopeful guests were to be. She was very coordinated, organized and excited about the second session and us. I can’t complain, I was pretty excited too.

We did a small exercise on the first day with a ball of rope, and we tossed it to whomever saying who we are and something about ourselves. When we were finished, Summer pointed out that we were all connected and that we share a bond. Mentally I laughed it off.

I never really stopped to think about having a true bond with other women until +Positive Voice. The first two weeks I found to be the most challenging for me personally. As it being the beginning of a relationship, especially between five women, my emotions got the best of me. And I am not an emotional person, but the bonding that was happening was intense and I didn’t realise it was taking place until the program was over.

We were introduced to different aspects of art, and artists and it opened my mind so much. I believe I live outside of the bubble, but the way that the artists express themselves is amazing. The colors, contemporary pieces, and stills are mind blowing. Everyone had a different opinion and were not held back from speaking their voice. I am that type of person and I felt like I finally found a piece of me.

We then dove into computers and Memes. I just sat there and looked at Summer with the oddest look ever and then turned to the computer with the same look. I raised my hand and asked the question that my face was giving the look too. and thankfully Summer and my classmates had a week to help me figure out what a Meme was and what I was suppose to do before the next assignment. If it wasn’t for the women I’d still be looking at the binder trying to figure out what a Meme is and how to use Canva. Once I was comfortable with creating Memes, Summer gave us cameras. Christmas came early.

 

Summer explained how they worked, and we had instructions in both our binders and the cases. For a starter, Summer sent us on a scavenger hunt to get use to the camera to see the different settings . I am also thankful for the other women, because we helped each other learn these technologies.

Photo titled Trunk taken by Anne. The story behind this image can be read in the new Warrior Womyn exhibit.

Now the fun part, taking photos of our own. I can honestly say my face lit up, and I know my soul did. But, with the photos we took, we needed to do a small piece about why we took that photo. Not a novel or anything, just a few words. I got stage fright. I couldn’t take a photo until our first snow fall. And on that beautiful Sunday morning I was up, out my door at 11, grabbed my Tim Hortons and hit the trails with my camera to start taking pictures. I was so happy and full of life, it’s hard to put into words. Walking around looking at nature and just seeing her as she is without noise. I found my peace. I found my stories. Actually they’re not stories, they are my feelings and perception.

+Positive Voice is just that. It doesn’t matter how you look at it, I have learned a lot about myself. I have been taught more then I thought I could learn. I formed a bond with more women in one place then I have in my 42 yrs. And I trust them. How many people can say that and mean it?

Summer has made a difference. Not only in myself. But my family. They see something different, they see the camera in my bag, they hear “I need another picture frame”, and they hear my voice more. Actually a lot of people do.

My dining room has turned into my own little art gallery. My twitter account is starting to grow and I’m more independent. With camera in tow I have my girls. I have me.

At the beginning I had said “I wanted to find me”. Want to know what happened?

I did find me…

  • I found the old me before I became a wife and mom. Misunderstood, judged, abused, mistreated and tossed aside
  • I found that I am a mom and I am proud of that and that will never change. My son is my every ounce and fiber. He is my everything and he knows it.
  • I found that the present me is loving of writing again and passionate about it. And photography is a new passion.

 

All together, Nokee Kwe has created an outstanding program. I am proud to have this chance to learn more as an adult and as a woman. Strength comes in numbers… And that’s proof from my sisters. Much Love

Message from the Director:

Welcome to a brand-new year at the Museum of Ontario Archaeology! I am honoured to start my first full year as the new Executive Director at MOA, and I am excited about what 2017 has in store for us. I follow in the footsteps of some incredible people who have had the honour of directing this unique facility, the last of whom – Joan Kanigan – left a strong foundation of policy development and infrastructure renewal that will allow us to begin the first stages of our merger with Sustainable Archaeology, the research and curation facility next door. The integration of SA will allow us to incorporate new and interactive technologies into our galleries and classroom, highlighting some of the innovative archaeological research being done at this state-of-the-art facility.

Longhouse interior view using the HTC Vive

Interactive technologies related to Augmented Reality (AR), Virtual Reality (VR), and 3-D imaging will be moving into the gallery over the coming year, beginning with our MOA VRchaeology exhibit opening on January 12th. MOA VRchaeology will transport visitors back 500 years with HTC Vive virtual reality goggles to experience a reconstructed Iroquoian-style longhouse developed by Western Anthropology PhD candidate, Michael Carter. To read more about Mike’s project, which he’s fully documented, check out his blog here, then come out to MOA for this unique experience in person!

Our first temporary exhibit of the year opens on January 26th in partnership with Nokee Kwe Native Learning Centre. The +Positive Voice Program entitled Warrior Womyn: Reclaiming our Identity is an inspiring exhibit promoting positive narratives and memes by urban Aboriginal women who are experiencing a transition to employment/education. This will be followed in April by a temporary exhibit developed in collaboration with Western First Nations Studies. And in August, watch for our take on the year’s sesquicentennial celebrations with an exhibit featuring the negotiated identities of Chief Joseph Brant and Pauline Johnson in the era of Canada’s new confederation.

Do you love maple as much as we do? That sweet – even nutritious! – treat that maple trees reward us with after a cold winter? Then make sure to mark your calendars for the weekend of March 11-12th when we’ll be re-establishing an old event here at the museum to celebrate the Maple Harvest! We’ll be focusing on traditional First Nations’ methods of harvesting and processing this natural resource, and we’ll be offering all sorts of engaging and interactive activities throughout the weekend. And of course, plans are already underway to host our 9th annual Harvest Festival and Pow Wow on September 16-17th in conjunction with London Doors Open. That event will be followed by International Archaeology Day on the 21st of October. Also, watch for us this year out in the community, as we broaden our outreach to provide a contact and gift-shop booth at local and regional events and festivities – stop by to say hi and ask us what is new!

Male dancers for the 2016 Harvest Festival Pow-Wow
2015 MOA Pow-Wow

We are also committing to updating our education and outreach programs in 2017. With a newly installed and generously donated Smart Board from Western Ivey Business School, students will have more opportunities for interactive engagement in the classroom. And retired school-teacher Linda Imrie has donated her time and skills to revamping our Edu-kits, catered to augmenting curriculum studies from grades 1-6 – so if you are not able to get your classroom to the Museum to experience our in-house educational programs, please inquire about the availability of these instructive and archaeologically-themed kits!

MOA has a dynamic and dedicated team of Board members, staff and volunteers who continue to work diligently to create a more immersive and engaging experience for visitors of all ages – and we are always looking for volunteers willing to share their time and talents, so if you are interested in joining our team please give us a call! Whether it’s a walk through the gallery to see what’s new, your attendance at a craft workshop or school group, or just a walk along our pathways and woodlot to appreciate and reflect upon the undisturbed archaeological village preserved beneath your feet, we look forward to seeing you in 2017!

-Dr. Rhonda Bathurst-