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Canadian Currency from the 16th Century to 1867

Example of a wampum shell bead excavated in Southern Ontario

The evolution of early Canadian currency offers a unique perspective into the growth of Canada as it was evolving into a nation. From it’s pre-colonial origins, to the tokens ushered in by Confederation in 1867, currency saw many forms and many uses.

Early 16th Century- First Nations and Wampum

As Canada was being settled, coins from Europe were scarce and far between. Interactions with the First Nations led to strong trade systems through the bartering of goods such as furs, wampum, copper objects, tools, and beads.
Wampum was highly valued among the Aboriginals not only for the time and difficulty of creating wampum shell beads, but the ceremonial functions of both the beads and the wampum belt. Wampum most importantly conveys messages, mark peace treaties, and record historical events using marks of friendship and respect. To early European traders, beads were essential to the fur trade since they were small and high value. Europeans used the beads to trade for pelts to cover the high demand for fashionable furs in Europe. Read more

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. Read more

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. Read more

+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. Read more

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. Read more

Looking Forward: Virtual Reality at the Museum

Trained as both an archaeologist and computer animator, Michael has spent his professional career immersed in the creative, technical and business roles of animation and visual effects (VFX) film and broadcast production. Returning to his archaeology roots twenty years later, Michael’s research focuses on the use of Virtual Archaeology (VA) to better inform archaeological and heritage research, dissemination, and mobilization. His interest is in VA epistemology, paradata and the experiential application of technology for archaeological knowledge construction.

Exterior of the Longhouse

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New Norval Morrisseau Donation to MOA

2016.012.004
Shaman Motifs by Norval Morrisseau

By: Christie Dreise

This past month, MOA was provided the opportunity to acquire a new artwork collection which includes two artworks by renowned artist Norval Morrisseau: Discipline and Shaman Motifs Mohawk Clan (1975).

Discipline, a colourful serigraph, depicts two larger than life faces in profile nose to nose, almost touching each other in an intense confrontation. Shaman Motifs Mohawk Clan (1975), an original acrylic painting, reveals a unique figure from the waist up filling the entire canvas. He is an intense, bright, and engaging presence. Read more

A Journey in Conservation: Basketry

Many objects in a museum collection require conservation treatment to extend their longevity and First Nations basketry is no exception. Treating baskets requires multiple steps, but the general philosophy is simple: reduce the effects of damage by using a controlled, documented, and reversible way.

MOA Conservation Intern Josh cleaning a basket from the ethnographic collection.
MOA Conservation Intern Josh cleaning a basket from the ethnographic collection.

The first step of conversation is documentation. Once this is complete, it is time to treat the basket. Conservators consider a lot during the treatment of an object including; fragility, materials, and the object’s continuing health. The first round of cleaning is usually ‘dry’ cleaning. This includes brushing surface dust and debris from the object, as well as using cosmetic sponges to remove adhered dirt or accretions from the surface. Dry cleaning is an effective way to gently remove most of the dirt and dust from an object without being aggressive or invasive (because causing extra damage to the object only means more work later). In my experience with the basketry collection at the MOA, most require dry cleaning only. Read more

Museum Curators Secrets

We asked our Curator Nicole Aszalos to comment on this Guardian Article and share her Museum Curators secrets.

Image of Nicole holding an artifact from the collection
Nicole and a Birdstone

The Secrets of the Museum Curators from The Guardian is a well written article, with some of England’s top flight curators sharing thoughts on their careers. Although the article is not an in-depth discussion of the curatorial field, it does provide some effective and honest career insights for the aspiring curator. In the short article the curator’s also try to solve some misconceptions commonly associated with the profession.

Often when I say I am a curator, responses run along the lines of ‘Oh that’s interesting.. What is that?” Now when we compound that on the fact that I am a curator at an archaeology museum, it can make for some interesting conversations due to the uniqueness of the position. The most common misconception about a curator’s role, is that the majority of your time is spent doing exhibit design and selecting objects to make a gallery look pretty. Realistically, that is maybe 25 percent of the job. Curators are the keepers of the museum’s collection.  This means we research, catalogue, preserve, conserve, and house museum objects for current and future generations. We maintain the gallery AND collection space and coordinate interns and volunteers. In actuality, it is a lot more behind the scenes than many people realise (editor’s note: imagine an iceberg. What the public gets to see in a museum, is only the tip, above the water). Read more

What’s in a Collection?

Help preserve our collection with the Adopt an Artifact program

The recent discovery of Beatrix Potter’s Kitty in Boots in the Victoria & Albert Museum’s Potter archive highlights the tremendous challenge museums can face in managing their collection and the information about them. With often thousands of objects and documents held in trust within museum collections the task of knowing not only what’s in the boxes but where in the museum it’s located, often falls to a select few people.

Museums hold their collections in trust for the public and that responsibility includes not only caring for the collection but making the information and knowledge about it accessible.  Having worked with, and for museums, for over 15 years, I’ve seen examples of extraordinary collections management processes as well as “We don’t know what we’ll do if (fill in name) retires.  They’re the only person who knows where everything is.” Read more