30 October 2015

"LET FOOD BE THY MEDICINE AND MEDICINE BE THY FOOD" - AND OTHER MISCONCEPTIONS ABOUT MEDIEVAL CUISINE

HISTORIC KITCHEN

BY: LEAH MONCADA

Selected Recipes:
Hypocras
Blancmange
Mushrooms Olivier

(Incidentally, all of these recipes moonlight as ‘00s metal, synthpop, or folkrock bands. Hey, music makes the best medicine.)

Fest of the Peacock, Lille 5th c. The star of this show is obviously the cat-creature, though I also appreciate the lurking poison-tester with a unicorn horn. Source.

Continuing on my European journey, I decided to visit Medieval France. Amongst the fantastic tights, (wait, is that supposed to be a cat?) peacock dishes, and great architecture, I learned a few things about the Medieval world from their cuisine, and learned to question a few things I thought I knew.

This week on Historic Kitchen I use:
Wheaton, B. (1983). Savouring the past: The French kitchen and table from 1300 to 1789. London: Chatto & Windus.

There was a delightful selection of recipes to choose from for today's post, such as “Turkey stuffed with raspberries and herbs,” “Milk made into bacon,” or “Iced cheese”. Examining the ingredients, I was always struck by how complex each dish must be in the construction of flavours. (Which, after a summer of Roman dishes that were all some combination of four flavours - honey, pepper, fish oil, and wine vinegar -was positively salivating!)

The Duc de Berry, feasting like only the French know how. Source.

When you think of Medieval food, what do you imagine? Burley men ripping into hunks of meat with their bare hands, haphazardly tossing the bones onto the floor? Tasteless porridge and plain bread? HAH! If you still need convincing after our "sallat" last week (and truly, salad is too bland of a word for that rollercoaster of taste), let me enlighten you on Medieval dining, which was actually quite sophisticated, flavourful, and rather thoughtful.


Hypocras, Ipocras
"Viandier", in Jérôme Pichon and Georges Vicaire, eds., Le Viandier di Guillame Tirel, dit Taillevent, 1st edition, pg 98

Pour faire une pinte d’ypocras, il fault troys treseaux synanome fine et pares, ung treseau du mesche ou deux qui veult, demy treseau de girofle et graine, de sucre fin six ounces; et mettés en pouldre, et la fault toute mettre en ung couleur avec le vin, et le pot dessoubz, et le passés tant qu’il soit coulé, et tant plus est passé et mieulx vault, mais que il ne soit esventé.


Hypocras. (Where else do you need so many cinnamon sticks?) Photo: Leah Moncada.
3 cups dry red wine
2 ounces fresh ginger, sliced and peeled
1 tbsp whole cloves
2 ounces stick cinnamon
1 tbsp cardamom
3 ½ cups sugar

In a stainless steel pot, heat all ingredients together, while stirring to dissolve the sugar. Do not let it come to a boil. Cook for about 15 minutes. Strain through a fine sieve to remove all the spices. Let cool. Serve chilled or at room temperature.

As Wheaton says, “this is a heavy, pungent, sweet drink, and the modern diner may wish to add a second bottle of wine.” I concur! Serve it heavily diluted in water, or else use twice as much wine for the modern taste. Make sure to use dry wine, and it doesn’t have to be good wine. Do *not* use powdered cinnamon, but whole spices where ever possible, as it clouds the wine. (The Viandier does call for powdered spices.)

This example comes from the 14th c. Sugar would have been exceedingly different in Medieval Europe, and certainly produced a very different taste. Considered a spice and a luxury product, sugar was sourced in Sicily or Spain. Honey was used as the sweetener for the masses.

Likely descending from the Graeco-Roman tradition of Spiced Wine, Hypocras lasted for many centuries, many of the ingredients remained familiar. However, depending on the region, time period, or socio-economic class, the spiced wine can include slightly different additives. Variations included spices such as "grains of paradise" or additional liquors such as brandy.

Women drinking, Watriquet de Couvin 14th century Source.

It was sometimes used as a medicinal ingredient to promote digestion. Upon reading that tidbit, I wan't surprised. I have been hard-pressed to find a food item that wasn’t ever thought medicinal in the Middle Ages by someone or other. (Once again, please reference last post's "sallat"!) Their knowledge of medicinal herbal qualities is truly to be admired at some times, but also questioned at others. (I will note that after testing, users amongst my peers noticed a distinct hindering of digestion.)

The quote "let food be thy medicine and medicine be thy food" has been attributed to Hippocrates and widely referenced when discussing Medieval food and medicine. BUT, not without some heated debate. When analyzing primary sources from the Middle Ages, have we oversimplified the relationship between Medieval medicine and food? Hippocrates has been one of the most quoted sources influencing our interpretation of food and medicine in the Middle Ages, but should we be so quick to assume that the Middle Ages conflated food and medicine, or if this was simply a hyperbolic turn of phrase?

Well. There's a research topic if anyone is looking for one.


Blancmange of capon for a sick person, Blanc mengier d’ung chappn pour ung malade
From the Sion manuscript of the Viandier, Paul Aebischer, “Un manuscrit valaisian du ‘Viandier’ attribué à Taillevent,” p. 95

Cuisiez en yaue; broiez amandez grant foison, du broion du chappon; deffaitez de vostre boillon, passez parmy l’estamine, faitez boullir tant qu’il soit liant; pour taillier, versez en une escuelle ; fillez demie douzene d’amandez pellez, et les asséez sur la moitié du bout de vostre escuelle; en l’autre moitié, de pepins de pomme de grenade et du succre.

Blancmange from the Sion manuscript of the Viandier. Photo: Leah Moncada.
2 ½ lbs breast meat of capon
2 quarts good chicken stock
1 cup finely ground almonds
1 tsp ginger
½ tsp cardamom
6 blanched almonds, slivered
pomegranate seeds
sugar

Poach the capon breasts in the chicken stock until they are cooked (20 minutes). Once cooled, cut up into small pieces and grind in a food processor. Beat in the ground almonds and spices. Slowly add some of the broth to make the mixture “agreeably moist but still rather stiff”. Scoop into a bowl, add almonds to one half and pomegranates to the other. Sprinkle sugar over the second half.

While optional to the recipe, these particular spices were found on a shopping list for blancmange in the Ménagier de Paris, a 14th c guidebook for wifely behaviour written in the guise of a fictional man instructing his younger wife. I had been under the misconception that spices were frequently used to cover the taste of meat that was past its prime. That is, until I stumbled upon vehement medievalists who devote much ink to arguing against this "Moldy Meat Myth". The publication of one chemist in the mid-twentieth century has upheld the surprisingly stubborn belief that rotten meat was regularly consumed during the Middle Ages, when in fact meat was salted, cured, smoked, and treated. Bad meat is bad meat, and they knew just as well as we do it would have made them sick.

Such food preservation techniques would have drastically altered the taste of meats. However, fresh meat was as common as preserved. (Chickens for the peasants, while the nobility could afford the more expensive meats.) In the winter, meals were restricted to preserved meats. However, cooks frequently used recipes such as soups to 'restore' the meats by infusing them with liquids again. It is important to remember that food preservation methods played a key role in the medieval diet.

Blancmange is one of the recipes from the earliest manuscript of the Viandier. Its method of preparation, while simple, has fluctuated slightly over the ages to reflect the changing trends in common foods. A quick history of blancmange, and its use of sugar and almonds, reveals more about the history of France than one might assume.

Due to its bland nature and soft texture, blancmange was probably very easy to consume on a queasy stomach. (Note that this is very different from being medicinal.)

Blancmange was also frequently used as a "liaison," or binding agent in French cuisine. I decided to try it out myself, and selected an absolutely divine mushroom recipe:


Mushrooms Olivier Champignons à l’Olivier
François La Varenne, Le Cvisinier françois (1654), p. 121

Estans bien nettoyez, coupez les par quartiers, et les lavez dans plusieurs eaux l’un apres l’autre pour en osterla terre; Estanns bien nets, mettez-les entre deux plats avec un oignon et du sel, puis sur le rechaut, afin qu’ils jetterez leur eau. Estans pressez entre deux asiettes, prenez du beurre bien frais, avec persil et siboule, et les fricassez; apres celas mettez-les mitonner, et lors qu’ils seront bien cuits, vous y pouvez mettre de la cresme, ou du blancmager, et servez.

Mushrooms Olivier. Photo: Leah Moncada.
4 cups mushrooms, washed and quartered
1 small onion
½ tsp salt
¼ cup cream or blancmange (optional)
3 tbsp butter
2 tbsp chopped parsley
2 tbsp thinly sliced scallions

In a heavy skillet, slowly heat the mushrooms, onion, salt and 1 tbsp butter. Stir frequently, and cook until the mushroom juice collects along the bottom. Drain it off into a small container for later use in another recipe (broth or sauce). Add the remaining butter, the parsley, and scallions. Cook until the mushrooms and scallions have just begun to change colour. Add the blancmange and stir until evenly melted over the mushrooms.

As I mentioned above, this recipe is a WINNER. It would be interesting to see how it tastes with mushrooms that would have been common to Medieval France.

I hope you enjoyed this session of Historic Kitchen!


29 October 2015

IF YOU HAUNT IT, THEY WILL COME


THROWBACK THURSDAY

BY: JOCELYN KENT

As anyone working with the public in a historic house will tell you, it is always a good idea to have a juicy ghost story up your sleeve. Hint that your site is haunted by an established figure in the historical record and, BAM, instant intrigue!

While it may come as no surprise that ghosts and heritage go so well together, they do so because both are based on modern attempts to understand the past. Since our knowledge of the past is necessarily partial, there is room for other interpretations, including the existence of ghosts.

The popularity of supernatural claims irks some cultural institutions though, especially when these claims come into conflict with historical evidence. On the other hand, others freely participate in “ghost tourism” by hosting macabre walking tours and ghoulish live performances.

Getting in touch with haunted heritage. Source.

If being a ‘ghost tourist’ appeals to you, join MUSSA in free haunted walking tour of Old Toronto on Saturday, October 31 at 2pm! Click here for more information.

For this edition of Throwback Thursday, we look back at the haunted heritage of three of Toronto's museums.

1. ROYAL ONTARIO MUSEUM

The ROM's east-facing facade built in 1933. Source

As Canada’s largest public largest museum, it seems only fitting that two different ghosts should haunt the ROM. One is credited to be the spectre of its first director of archaeology, Charles Currelly, who in his day brought in substantial collections to the museum. Although he retired in 1946, some say he never left with his ghost continuing to wander the first floor East Asian collections. The other ghost is that of a little girl aptly named Celeste who is said to sit and watch the shows in the now closed McLaughin Planetarium.

2. FORT YORK NATIONAL HISTORIC SITE

Delaying the American advance on Fort York. Source.

Having witnessed to so much death at the Battle of York in 1813 alone, it’s not out of the question to imagine young militiamen haunting the fort. In addition, one the site’s more popular sightings, is that of a woman who strolls about the centre blockhouse and officer’s quarters.

3. COLBORNE LODGE

A spooky view of one of Toronto's most significant historic homes. Source.

The home of John and Jemina Howard, the original owners of High Park, is said to be haunted by the ghost of Jemina, who passed away in 1877 after a long battle with breast cancer and mental illness. In a documented case in 1969, a police officer was patrolling the park when he saw a woman through the building's second story window. After investigating, no one was found in the house. The second floor - where Jemina was literally locked up in her bedroom in the years preceding her death - is still reported to give people the creeps.

Ever experience something eerie at a museum where you worked? 


Sources Consulted:

http://www.torontoghosts.org/
http://www.insidetoronto.com/news-story/4176168-history-of-hauntings-at-colborne-lodge-resurface-as-halloween-nears/
Boyle, T. (2013). Haunted Ontario: Ghostly Inns, Hotels, and Other Eerie Places. Toronto: Dundurn.
Hanks, M. (2015). Haunted Heritage: The Cultural Politics of Ghost Tourism, Populism, and the Past. Walnut Creek: Left Coast Press

28 October 2015

ROCKS, MUSIC, AND TEA: WHAT'S HAPPENING WEDNESDAY

WHAT'S HAPPENING WEDNESDAY 

BY: KATE SEALLY

Happy Halloween! (a little early I know...) There are tons of fun museum related Halloween events happening this weekend, including a FNL ROM that promises to be a blast, so be sure to get out and dust off your dancing shoes!

1. ‘Minding our Minds’ Conference

Happening tomorrow! Hosted by Vic U, this annual conference on mental health in universities brings together students, staff, and faculty to discuss current issues on campus. The conference is free for students. Be sure to register in advance by clicking here.

One of the buildings on the historic Victoria University at the University of Toronto campus. Source.

2. Halloween iTea at the iSchool

Happening tonight - Wednesday, October 28, 2015 - from 4:30 to 6:00 in BL 728! With candy and a best-costume contest this is one iTea you cannot skip. Be sure to dress up if you want to enter the contest, but not to worry, you will be admitted whether you have a costume or not!

3. Music in the Arab World: A Book of Songs

This is a special talk and musical demonstration by historian and musician George Sawa hosted by the Aga Khan Museum. Tickets are only 8$ for students and if, like me, you’ve never been to the Aga Khan, what better way to experience it for the first time! The event takes place on November 4 from 6:30 to 7:30 pm and tickets and more information are available here.

The exterior of the architecturally stunning Aga Khan Museum. Source.

4. ROM Daytime

This is an ongoing event at the Royal Ontario Museum that will take place about twice a month on Thursday mornings at 11:00, and is included with museum admission! Lectures are followed by a short reception with coffee and treats, and exclusive guided access to some of the ROM’s newest exhibits.

The Thursday October 29 session is entitled “Around the World with Rocks” and features a behind the scenes look at the newly acquired rock and mineral collection from Bangkok, Thailand. Check out the website for more information, and for details on future sessions.

27 October 2015

HOME ECONOMICS: 150 YEARS OF CANADIAN HOOKED RUGS

EXHIBITION REVIEWS

BY: STEPHANIE READ

Welcome to another scintillating installment of Exhibition Reviews! As the leaves fall and the chill of winter approaches, I have decided to review a lovely exhibit currently on show at the Textile Museum of Canada, “Home Economics: 150 Years of Canadian Hooked Rugs”. What better encapsulates the fall-time than a good old fashioned rug-hook in front of the warm glow of Netflix with a cup of pumpkin chai tea at your elbow? Nothing, that is what.

If rug hooking isn’t really your thing, these following tidbits should be enough to sway you on the subject:

-Your grandmother most likely hooked rugs. You don’t want to disappoint Grandma, do you?

-People who hook rugs refer to themselves as ‘hookers’. ‘Nough said.

-Oh, and this:


Nancy Edell, Peter and Nancy as the two-headed Dog (1993), 66 x 93 cm, Various yarns and burlap, Dalhousie Art Gallery permanent collection, gift of the artist, 1999. Photo: Steve Farmer. Textile Museum of Canada, 2015.

Journey into the wild, wacky and creative world of the Canadian hooked rug tradition. Learn about the “Gagetown hookers”, a prolific rug-hooking power-couple who crafted as a form of therapy after the loss of their farm in the mid-20th century. Take an up-close look at the exquisite colours, design and craftsmanship of early 20th century hookers in Quebec and the polished technique of the Grenfell Mission artists in Newfoundland and Labrador. The fabric puffs are a textile equivalent of the Colville-ian pointillism so close to Canadians’ hearts.

Be transported by iconic Canadian landscapes through the eyes of everyday people across seasons and time…

hooked rug, Canada, c1926 (T03.14.1), Textile Museum of Canada, 2015

 …and take a break from the rat-race to enjoy a floor-to-ceiling salon-style collection of playful, quirky and deeply personal rugs depicting a range of subjects from pets, lobsters, a demonic pygmy goat and a very, very startled horse.

You will leave the exhibition with a new-found sense of awe and respect for this craft, especially if you try a hand at ‘hooking’ yourself at the demo table in the Fibrespace activity area! If you are a crafter or rug- hooker, this is an excellent opportunity to learn more about the history of the craft in Canada and to see some inspiring artwork!

The perfect rug for your... bathroom. (Joanna Close, The Kitchen (2014), Hand-dyed wool rag and burlap, 78 x 78 cm, Collection of the artist. Photo: Steve Farmer. Textile Museum of Canada, 2015)

"Home Economics" is on display until February 8, 2016. Be sure to check out my favourite piece, a lovely sheep with puffy wool! (St Lawrence Valley, Quebec, 1936-1940)

Do you have any personal memories of crafters, artisans or rug 'hookers'? Let me know in the comments below!

26 October 2015

SPECIAL: THE MUSEUM STUDIES COLLOQUIA SERIES

MUSEUM MONDAYS

BY: MAYA DONKERS

As the Faculty of Information welcomed us bright-eyed students to the start of a new school year, the MMST program also made great efforts in welcoming a handful of museum studies pioneers hailing from a variety of fields, places, and expertise. The Museum Studies Colloquia Series, which has taken form as a series of public talks, has brought these speakers to our Bissell Building.

If you were inundated with assignments and missed attending, here is a recap of these engaging and informative events:


1. Arun Wolf, freelance writer, translator and independent filmmaker
"Between Memory and Museum: A Dialogue with Folk and Tribal Artists"


Arun Wolf joined us as part of a collective of writers, designers, filmmakers, and artists, working with Tara Books. Founded in 1994, Tara Books is an independent publisher of picture books for adults and children based in Chennai, South India. Operating outside of the commercial pressures commonly faced by publishing houses, Tara Books works with a range of indigenous and folk communities in India to provide a platform for those who do not usually have a voice. Working collaboratively with a variety of artists and artistic practices, Tara Books works to collectively build an alternative culture of ‘the book’.

Tara Books operates under a handmade printing process, which is uniquely important to their publishing process. As Arun described, “The physical object of the book is important… The actual material object… It is important to have the sense of touch, feel, and smell, in such a digital age”.

Take a look at the handmade process developed by Tara Books: 


Now watch and listen to a reading of a completed Tara Books publication: 


As Arun discussed literature, art, and film, he also surveyed a project that was run in correspondence with The Museum of Mankind in Bhopal. The cultural aim of the project was to bring together different artists cultures to create a pan-Indian identity. One example was the art of tattooing. The base of the arts in India, tattooing is also a ritualistic and healing tradition. In this case, the museum was an important intervention to give the root of this art form recognition that it doesn’t have. The museum provided the artists a new meaning to art forms that is traditionally practiced by being able to put the designs on canvas, rather than the body.

Here is a takeaway quote from one of the Gond tribal artists: “Museums store cultural heritage as a mouse stores dropped grains”. Beautiful, isn’t it?

2. Laura Katzman, Professor of Art History at James Madison University
"Mining the Archive: Photography, Modernity, and the Status of Puerto Rico in the 1940s"


Dr. Laura Katzman joined us from James Madison University where she is currently a Professor of Art History. Dr. Katzman’s lecture examined a critical yet neglected post-World War II photographic project set up by the Office of Information for Puerto Rico (OIPR) within the U.S.-appointed governor’s office. Run by progressive New Dealers from the continental United States, the OIPR documented the island’s monumental shift from an agricultural to an industrial economy and the establishment of its semi-autonomous status as a commonwealth (Estado Libre Asociado). Dr. Katzman analyzed the OIPR archive in the context of the complex U.S.-Puerto Rico relationship and the Caribbean island’s still-contested political status as an unincorporated territory that “belongs to but is not a part of” the United States.

Louise Rosskam, Making dolls in the Manual Industries Division of the Puerto Rico Industrial Development Company. Near Isla Verde, Puerto Rico, May 1947. Gelatin silver print. Center for Puerto Rican Studies at Hunter College, City University of New York. Source: Laura Katzman.

Dr. Katzman discussed the status of Puerto Rico as a ‘Free Associated State’, which she describes as meaning, “midway between statehood and independence”. The OIPR archive Dr. Katzman works with contains 10,000 photographs and is one of the most extensive and important documentations of mid 20th century Puerto Rican life. Leading documentary photographers of the time – and essential to Dr. Katzman’s research – were Edwin and Louise Rosskam who used photography as instruments to instigate social change. The Rosskam’s left Puerto Rico in 1953, and never had they produced so much meaningful work in what the saw as a 'Golden Age'.

3. Randi Korn, Founding Director of RK&A, Inc.
"The Value of Intentionality for Museums" 


“Good design is about good communication, I take that concept with me every single day.” 

- Randi Korn


RK&A, Inc., is a company that works with cultural organizations to plan their work to achieve impact, evaluate programs, and conduct research. Randi Korn’s publication, “The Case for Holistic Intentionality,” underscores her commitment to helping staff in museums work collaboratively to pursue intentional practice to achieve impact. She strives to help museums demonstrate their value in people’s lives and communities. 

"Cycle of Intentional Practice".  Source: Randi Korn.


Hailing from Washington D.C. Randi Korn joined us to present “The Cycle of Intentional Practice”, which she developed to help museums become more intentional. The workshop follows a system of planning, aligning, evaluating, and reflecting, so that museums can clarify the impact they would like to achieve and realign all practices and resources to achieve that impact, to ensure they are operating holistically within a cycle of intentionality. Randi emphasizes that having a practice of hearing and listening is what creates holistic intentionality – you have to bring people together.

Discussing museums south of the border, Randi truly believes American museums do too much and have gotten way too big. Taking into account that museums are unable to live beyond their means, she states that she does not think museums can be for everybody, “What you’re the best at is what/who your museum should be for.”

Randi’s presentation left us (future) museum professionals to ponder: What about your work in museums is most important to you?

4. Henry Kim, Director and CEO of the Aga Khan Museum
"The Aga Khan Museum, connecting cultures through the arts: A year in review"


“My hope is that the Museum will also be a centre of education and learning, and that it will act as a catalyst for mutual understanding and tolerance.” – His Highness the Aga Khan


It is not often that students are given the chance to learn about a museum, directly from the Director. This past week Henry Kim joined us from the Aga Khan Museum to discuss programming, outreach strategies and community engagement practices in the museum’s first year. The talk also reflected on the museum’s relation with its communities in Toronto and beyond. 

Exterior view of Aga Khan Museum. Source.

The museum and its areas were imparted by His Highness the Aga Khan who developed the museum so that it would offer unique insights and new perspectives into Islamic civilizations and the cultural threads that weave through history binding us all together. “The Aga Khan Museum has been founded on a lot of big ideas on how museums can engage with social change… These ideas have been challenged with changing perceptions to make people realize that Islamic art is part of the equation of world cultural history, ” said Director Kim. 

The Aga Khan Museum & Gardens and the Ismaili Centre. Source.

The three primary interest of the museum are social development, economic development, and cultural development, as they work to “connect cultures through art”. Although the Aga Khan collection is small, with only 956 objects to date, the museum brings in exhibitions from other institutions as well as hosts 75 performances a year in their large auditorium to educate visitors. Currently operating on a budget of 16 million per year, Director Kim emphasizes that within the first year of operations the museum saw unanticipated success in their volunteer program, membership program, education program, ‘Free Wednesdays’, private hires, and events. 

Inside the Aga Khan Museum. Source.

Director Kim left us with an important message: in order to to create social change the Aga Khan needs to see more visitors come through the door. There you have it, fellow museum studies cohorts. Let's do our part in raising the number of visitors as the Aga Khan Museum goes into its second year.

I look forward to seeing you all at the last Museum Studies Colloquia of THIS semester…

John Summers, Curator of the Halton Regional Museum & Alysa Procida, Curator & Lauren Williams, Collections Manager at the Museum of Inuit Art
"Contemporary Curatorial Practices" (panel)


When: Thursday, November 19th from 4-6pm in BL 728.
* All events are FREE and open to the public

Sources

Aga Khan Museum. (n.d.). Retrieved from https://www.agakhanmuseum.org/about.

RK&A, Inc. (2015). Retrieved from http://www.randikorn.com/about/.

Tara Books. (n.d.). Retrieved from http://www.tarabooks.com/.