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Showing posts sorted by date for query vertical intersections. Sort by relevance Show all posts

3 April 2020

A FINAL FAREWELL: LETTER FROM THE EDITORS

Letter from the Editor | Jordan Fee & Alexandra Forand

Hello Musings readers! At the Faculty of Information, many changes have occurred over the past couple of weeks due to the precautions taken In response to CoVid-19, but one thing that has remained the same is the Musings! We always strive to provide you with great content throughout the school year, and we have not stopped! We, your outgoing editors-in-chief, wanted to take a moment and reflect on this past semester and acknowledge all the hard work of our team of incredibly talented contributing editors.



Without further ado let’s get started!

Ally: Jordan, has your 2020 been “roaring?”

Jordan: Well, it’s been exciting to say the least! Although the return of the 20s has not been quite as smooth as we might have expected, it is important to remember that this decade holds some incredible potential for all of us in the museum field! We’ve been lucky to feature incredible articles from some of our contributing editors that examine the relationship between the 1920s and our current age. From Natalie’s article about fashion in the 1920’s, to Carys’s exploration of Toronto during this iconic decade, we’ve seen an incredible burst of energy and talent from all of our editors on the Musings team. Even just this week, we published an article by Martin about the Canadian scientist Frederick Banting, who in 1923 won a Nobel Prize for the discovery of insulin. Talk about topical!

Photo courtesy of Natalie Heaton
Ally: And for every article that took us back in time, there was an article that looked to current events. A few of my favourites were Michelle’s latest article discussing what museums are doing in the face of the pandemic, Amelia’s article theorizing the queer museum, and Elizabeth’s alumni check in with Kristen McLaughlin where they discussed the evolving role of museums in Canada.



Jordan: Speaking of the evolving role of museums, I was incredibly excited that Defne continued her series on teaching climate change in the museum, as this is perhaps one of the most complicated issues of our time. Knowing that there is a generation of museum workers who are dedicated to exploring difficult topics such as this one makes me incredibly hopeful. While I am sad to be ending my time in the Museum Studies program, I cannot wait to join all of my new colleagues in the professional field!

Also, I would be remiss not to mention the fantastic articles that Madison has produced on the current state of the GLAM sector! Increased collaboration between galleries, libraries, archives and museums is one of the other ways in which our industry can improve, and I feel glad to know that others support this idea as well.

Ally: While we are seeing the evolution of the museum field, it is comforting to know the field is concentrating on improving themselves with the basics. For instance, Jessica showed us simple ways to enhance storage in museums and Jaime showed us how beneficial it can be to bring in visitors to the collection.

Jordan: Also, Samantha, enlightened us on how fundraising effects and is affected by every single person in the museum!

Ally: It certainly is strange knowing that we are so close to completing our time in the program. Even more so, it feels odd to be leaving the Musings team after two years of fun times and community building! I don’t think that either of us expected to be in the role of Editor-in-Chief when we began the program, but now I couldn’t imagine it any other way. Whether we were producing content, running story workshops with our Communications Officer Erika or having end-of-semester brunch celebrations, we took every opportunity to increase Musings’s presence in the Faculty of Information! While we are sad to be leaving our posts, we cannot wait to see what next year’s editors produce!



Jordan: While this semester signalled a lot of endings, we also had a lot of new beginnings. Melissa established a brand new column discussing GLAM and wellness, the Museum Professionals of Color (MPOC) was established and they held their first panel around the theme of “Museum Detox,” and many, many exhibition openings! I particularly enjoyed Elizabeth’s review of the Winnie the Pooh exhibition at the ROM, Mary’s review of Waiting for Snow at the Art Museum of University of Toronto, Dominica and Lindsay’s experience of the "Vertical Intersections Installation, Workshop & Pok¡ Launch," at Mackenzie House, and Erika’s narrative surrounding New Circadia (adventures in Mental Spelunking) at the Design and Architecture Gallery. 



ICYMI: on Thursday, March 12, MPOC hosted our first ever panel in collaboration with @mussauoft! The goal of our Museum Detox panel was to foster dialogue about removing social barriers in museum and implementing anti-racist praxis. It was an incredible privilege to listen to the perspectives of our three panelists, Wendy Ng, J’net Ayay Qwa Yak Sheelth, and @justjohnforreal. Thank you to everyone who helped us achieve this groundbreaking step in our journey, from our MPOC members, to staff, faculty, and all the beautiful people watching. Here’s to continuing to learn, grow, and change the world together. If you couldn’t be there, not to worry! You can watch the livestream video at the link in our bio ❤️ • • • • #museumstudies #museumhue #diversity #inclusion #museums #uoft #toronto #art #history #culture #intersectionality #museumsarenotneutral
A post shared by Museum Professionals of Colour (@mpoc.uoft) on

Ally: Speaking of exhibition openings, a number of us second years were involved in researching, curating, and installing our own exhibitions as a part of our final projects for MSL 4000. Check out Carly’s article about the Shelley Peterson Student Exhibition she and her team curated

Jordan: How could I forget! It was so rewarding to watch all of the second-year students produce their capstone projects for the program. I feel incredibly lucky to have worked alongside such dedicated and talented individuals, and I cannot wait to see which projects we begin to work on next! Although many of us will be leaving Toronto to return home, I know that we will work collectively to improve the state of museums in Canada. Perhaps we will all be lucky enough to return for the 100th year anniversary of the Museum Studies program, just like we celebrated the 50th in 2019!

Ally: Agreed! As for now we are content with bringing some interesting articles to our readers, whether it be Val teaching us about different digital tools to help museums create applicable and accessible narratives, or Emma brightening our day with stories of historical events, Musings will always be here to catch you up, no matter the circumstances!

With that, we better say our thank you's and goodbyes. We can honestly say being Editors-in-chief of Musings was one of the greatest experiences we had during our time at the Faculty of Information. We want to thank our wonderful team of contributing editors, Erika, our fabulous communications officer (and your incoming Co-Editor-in-Chief with Jaime Meier) , and you, the readers, none of this would be possible without you. 

20 January 2020

VERTICAL INTERSECTION: HISTORIC HOUSE SPROUTS ANEW


Program Review Dominica Tang and Lindsay Chisholm

Mackenzie House Museum is hosting the "Vertical Intersections Installation, Workshop & Pok¡ Launch" created by Diana Guzman of IDITA Design Services, every Sunday between January 19th and 26th as part of the DesignTO2020 festival. Guzman is a multidisciplinary industrial designer and architect that works with several mediums to create human centered designs. Her newest product, named Pok¡, is a paper-based, yet waterproof, sleeve that holds small plants that can be decorated with crayon and hung indoors or outdoors. They start out as a single sheet of paper and is transformed into a three-dimensional plant-holder with a few folds. Pok¡ is named endearingly after the pouch’s poke-ability and is an expression of Guzman’s passion for bringing people together through art and gardening.

Photograph courtesy of Dominica Tang and Lindsay Chisholm
At Mackenzie House Museum, the plants are hung on an upright rack creating a living exhibit that displays the personalities and creativity of individuals who share an interest in Guzman’s work; hence, a “vertical intersection.” The Vertical Intersection program serves as a quasi- communal garden that fits perfectly in the concrete jungle where green spaces are far and few between. It caters to anyone looking for a mini escape from the brutal wintriness of January and wishes to be in the presence of some greenery, creativity and great company.

While we sipped Moringa tea from Colombia and listened to El_Búho and Nicolă Cruz’s music, the ambiance of Mackenzie House museum shifted from being strictly a pedagogical atmosphere to a more relaxed space for open discussion. Each of us relinquished personal stories about our love for plants and our studies, which was followed by laughter. This eased us into a creative mindset where we felt connected and comfortable within the space. After an in-depth presentation on her creative process, Guzman demonstrated and patiently guided us through the assembly process at our own pace. This felt more like a conversation among friends than an educational tutorial. Finally, we decorated our Pok¡s with crayon and placed a small plant of our choice in each one. Here are our finished plant-abodes:

Photograph courtesy of Dominica Tang and Lindsay Chisholm


Toronto, during the long, barren winter months, can feel restrictive, isolating, and cold. This can make any Torontonian, especially those residing in our infamous shoe box-sized apartments, feel gloomy and disconnected. Newcomers, who may not have a local support system, can be further afflicted by the winter blues. Spaces of greenery can help relieve these feelings and serve as an oasis to escape the slush and greyness of the Torontonian winter. Guzman’s project creates green spaces to foster community building; it, as she puts it

“invite[s] locals into shared public space to grow plants, share stories, and create community. It nourishes opportunities for interaction and new friendships fighting loneliness and social isolation; grows awareness of local ecosystems and the importance of their protection and integration into urban landscapes, and educates the community to reclaim and create more green urban spaces.” 
Dominica Tang, Lindsay Chisholm and Diana Guzman. Photograph courtesy of deMirandaProducciones

Mackenzie House Museum's decision to host Vertical Intersections is something worth thinking about when considering the value and purpose of museum programming. Green spaces are not often associated with small historic houses. Furthermore, there is no obvious connection to the history of the museum, William Lyon Mackenzie, or to printing. Yet, it ties in with and enunciates the underlying values of Mackenzie House Museum, namely community building, diversity, and the well-being of their visitors. Museums in Toronto are striving to become loci of community building, but some museums activities such as self-explored and guided tours, though valuable in their own right, are not appropriate tools for such a goal.

A Pok¡ for Museum Studies Student Association (MUSSA) and one for Musings. Photograph courtesy of Dominica Tang and Lindsay Chisholm


Admission into the museum and attendance to the program is free, creating an inclusive and accessible environment. The space is inviting and allows for a wider range of visitors to attend, with a wider breadth of interests that not only pertain to history. There are few social spaces left, outside of our own homes, where we can gather and not expect to pay. Here, we can fully be in the moment and enjoy each other’s company without the looming guilt of spending money on leisurely and self-care activities.

Mackenzie House Museum, the structure and institution, and its community benefits from green-based programming. Participants bring a new liveliness and form connections to the space by taking care of the plants and colouring the Pok¡s with their own personal touch. This process helps visitors associate new memories and meaning with Mackenzie House Museum and can, potentially, change their perception of what a museum can be. A symbiotic relationship is formed resulting in the ongoing care of the heritage site.

Stay tuned for more museum programming adventures with Dominica and Lindsay, your program purveyors!
Photograph courtesy of Dominica Tang and Lindsay Chisholm

28 March 2017

TORONTO STORIES FROM THE TORONTO DISTRICT SCHOOLBOARD ARCHIVES

TORONTO STORIES

STORIES BY: EMILY BERG, KHRISTINE CUTHBERTSON, MAYA DONKERS, CURTIS FREDRICK, & MAIREAD MURPHY

COMPILED BY: BRENNA PLADSEN

The series of digital stories about Toronto history and culture which make up this project are the work of fifty-three Master of Museum Studies (MMSt) graduate students. The project was inspired by the 2015 Myseum Intersections – Telling Toronto’s Stories and invited each storyteller to select an object from local collections which has significance to Toronto’s past and present. The objects inspired the authors to connect historical events with contemporary context so that they tell stories about the multiple intersections that happen in the city.

Musings will be posting collected stories once a cycle. We hope that, after reading the stories, you will know Toronto a little bit better. And perhaps you will find similar stories in your own objects!

Our partners for this project, to which we are extremely thankful, are:
Now, without further ado, object stories from the Toronto District School Board Archives.

GOOD VIBRATIONS: MORE THAN JUST A PIANO


BY: EMILY BERG

Did you know that the Toronto District School Board (TDSB) Museum and Archives houses the largest collection of public education artefacts in Canada? Amongst them is a Heintzman Square Grand Piano that belonged to the Metropolitan Toronto School for the Deaf in the 1920s. Why is this particular piano important? Well, it was used by hard-of-hearing students in the TDSB to feel the vibrations on the wood and in their bodies while the piano keys were played by the teacher, allowing these children to also have access to music in the school system.

Heintzman Square Grand Piano, Rosewood, built in 1873. Toronto District School Board Museum and Archives, Toronto, ON. Photo by E. Berg
Heintzman and Co. Ltd. was a Toronto based piano manufacturer founded by Theodore Heintzman (1817-1899), a German immigrant who arrived in the United States in 1850 and came to Toronto in 1860, where he applied his wood-working, machinery, and instrument making skills. The world renowned Heintzman pianos were considered some of the finest pianos built in Canada, winning several first prize awards and gold medals while being exhibited in the United States and in Canada, including at what is now known as the Canadian National Exhibition (CNE). Canadians no longer had to import high-quality pianos.

The piano at the TDSB Museum and Archives was built in December 1873, and is made of high-quality rosewood, which is one of finest finishes for instruments. It is quite large, and if you think this looks the size of a large desk or couch, you are right.

TDSB Archivist, Greg McKinnon, noted that students would lay across the piano or put their hands and head down against the piano to hear, feel, and experience the musical vibrations. Their bodies acted as resonance cavities and the music creates a tingling sensation in our bones, muscles and nerves. Lower notes are often felt in the legs and thighs, while higher pitches resonate in the chest and face. Learning to “hear” different tones with their bodies teaches hard-of-hearing children about music.

Hard-of-hearing students placing their hands on a piano. Metropolitan Toronto School for the Deaf (N.D.)
Out of the Silence. Toronto: Toronto District School Board. [catalogue]
They were using the Orff-Schulwerk multi-sensory method, whereby children can discover, explore, and create music combining singing, dancing, listening, speaking rhythms, and playing instruments. Children use these playful sensorial intersections to experience the changes in resonances within their bodies. Learning music together creates an important collective experience, opening up creativity and encouraging conversations about music.

Today, music therapists believe that music should be available for hard-of-hearing students to learn more about themselves, as well as aiding in their speech development. How wonderful that the TDSB knew the value and positive experiences that children would have using this piano almost a century ago.

Although the Metropolitan Toronto School for the Deaf closed two years ago, there is a hard-of-hearing program run at Faywood Arts-Based Curriculum public school in North York. Today, a special music instructor uses drums instead of a piano with children to help them learn music and feel the vibrations. Music nurtures and builds self-expression, confidence, and better communication skills in all children, including those with disabilities.

Bibliography
Darrow, A.A. (2007). Teaching Students with Hearing Losses. General Music Today, 20(2), 27-30.

Darrow, A.A. (2006). The Role of Music in Deaf Culture: Deaf Student’s Perception of Emotion in Music. Journal of Music Therapy, (43)1, 2-15.

Heintzman and Co. Ltd. (c. 1880-1899) Archival Collection. Baldwin Collection of Canadiana. Marilyn & Charles Baillie Special Collections Centre, Toronto Reference Library. Toronto, ON.

McKinnon, G. Personal Communication. Oct. 20, 2015, Oct. 27, 2015 and Nov. 3, 2015.

Metropolitan Toronto School for the Deaf. Out of the Silence. Toronto: Toronto District School Board. [catalogue]

Toronto District School Board Museum and Archives. Toronto, ON.

AN ELEPHANT NEVER FORGETS, OR IS FORGOTTEN: ELMER THE SAFETY ELEPHANT


BY: KHRISTINE CUTHBERTSON

“Elmer and I never forget!” was a phrase uttered by schoolchildren across Canada during the 1960s, reminding each other to play safely around roads and busy intersections. So how did this popular pachyderm catch his big break and what has become of him?

Elmer the Safety Elephant is a beloved Canadian mascot that was created by Bas Mason and Vernon Page in 1947 with the purpose of educating Toronto’s elementary school children on traffic safety. As noted by Greg McKinnon, chief archivist at the Toronto District School Board Museum and Archives, the program was so successful in its first year that traffic accidents among schoolchildren in Toronto dropped a staggering 44 percent, even as the number of registered vehicles increased by 10 percent. Word of Elmer’s success in Toronto spread to other municipalities in Ontario, and eventually the Elmer safety program was implemented in other provinces.

Archival footage from a 1955 CBC news story shows how the program included in-school safety demonstrations by local police officers, a song which helped children remember traffic safety rules and most memorably, an Elmer flag which was displayed in front of schools. McKinnon spoke of one example of an Elmer pennant flag housed in the museum’s collection. “This particular example is dated to the 1960s, and was often the pride of the school that displayed it.” According to McKinnon, “the Elmer flag was used as bragging rights among Toronto children” as schools could fly the flag when accruing 30 accident-free days.

“Elmer the Safety Elephant” flag (c.1965), TDSB Archives and Museum,
photo by Khristine Chua
So what exactly happened to Elmer after his years of glory? During the 1980s and 1990s, Elmer’s popularity waned and he disappeared from schools. A resurgence in the program that was prompted by the Canada Safety Council during the early 2000s lead to a revamping of Elmer’s image – he ditched the 1940s Disney duds and traded them in for a baseball cap and sneakers. Elmer still lives on today in the form of an interactive website. He continues to educate children on traffic safety, but updated his topics to include contemporary issues such as internet safety. Some have criticised Elmer as being too tame for today’s youth and no longer relevant, but I think he deserves some credit! Elmer paved the way for other safety initiatives and mascots. Remember McGruff the Crime Dog?. Will Elmer ever reach the fame that he did in the 1950s? It’s hard to predict, but in an ever-growing city with its increasing reliance on vehicles, Elmer’s rules should be practiced more than ever.

A special thanks to Greg McKinnon and the Toronto District School Board Museum and Archives at 16 Phin Avenue, for his help conducting research.

Works Cited
Note: All sources used have been linked in the preceding blog post.

DO YOU KNOW THE DRILL? THE CURIOUS CASE OF THE DENTAL CHAIR IN THE TDSB MUSEUM AND ARCHIVE


BY: MAYA DONKERS

If you’re like me and do not enjoy the dentists, take a minute to reconsider the comfort and security of the dental chair you sit in. The Toronto District School Board (TDSB) Museum and Archive is home to Child’s Chair No. 2, a dental chair patented December 10, 1907, by S.S. White Technologies, Inc. Founded in 1844 by Dr. Samuel Stockton White, the multifaceted technological company remains in operation today.

Child’s Chair No. 2 is the only dental chair in the TDSB Museum and Archive. It provides an example of the early collaborations between health professionals and educators in the Toronto public school system. The black leather, metal, and dark wooden chair is child-size both in the dimensions of the seat and the distance to the upper headrest. As the aesthetic qualities of the chair give it a ‘creepy’ and austere appearance, is it possible that these early dental chairs contributed to the fear of going to the dentists?
S.S. White. Child’s Chair No. 2, 1907.
Front view. Photo Source: Maya Donkers
Research on this chair led to some unexpected findings. Surprisingly, it is the Annual Report of the Inspector for the Public Schools of the City of Toronto in 1880, which provides some answers to my questions through the record of a general meeting held to discuss school hygiene. This left me wondering: When was an adequate health and hygiene practice introduced into Toronto’s public school system?

The TDSB Museum and Archive highlights that in 1910, the Toronto Board of Education organized a system of school visitations and medical inspections to battle health risks associated with unsanitary living conditions, crowded classrooms, and a general lack of knowledge about health and hygiene. According to the Ontario Dental Association, pressure from the association forced the City of Toronto to open a six-chair dental clinic to treat city children in 1911. The ODA states that within a year, the educational proficiency of children who received dental care and oral hygiene instruction through the clinic increased by 54 per cent. However, it was not until 1913 that dental clinics were designed within schools to test and treat children with severe illnesses and infections.


S.S. White. Child’s Chair No. 2, 1907. Side view.
Photo Source: Maya Donkers
So when did Child’s Chair No. 2 enter the school system? Although the exact date is unknown, TDSB archivist Greg McKinnon informed me that, “It was one of the very first dental chairs to enter Toronto’s school system… between 1907-1913.” I wonder how students would have reacted to this dental chair. Would the chair have been new and exciting or unknown and horrifying? As tooth decay was identified as a major concern at the time, I would imagine the latter. Although this dental chair is only one example of the many objects that record the history of Toronto’s public school system, it certainly provides a fascinating intersection of education and dental health in Toronto.

Works Cited James Hughes. (1881). Annual Report of the Inspector of the Public Schools of the City of Toronto: for the Year Ending December 31st 1880. Toronto: Patterson & Co, Steam Printers, p. 29.

Toronto District School Board Museum and Archive. (n.d.). Health and Wellness [Label]. In Exhibition Room. Toronto, Canada.
Toronto District School Board Museum and Archive. (n.d.). Medical and Dental Care [Label]. In Exhibition Room. Toronto, Canada.

SWITCHING TO AN EXCITING CAREER: SWITCHBOARD OPERATORS AND THE PRIVATE BRANCH EXCHANGE AT THE TORONTO DISTRICT SCHOOL BOARD


BY: CURTIS FREDRICK

Imagine you have just graduated from a vocational high school in Toronto in the 1920s and are looking for a job in the technology sector. What kind of jobs would be available? What kind of job would you want? For many women, becoming a telephone switchboard operator was a highly desired job. It was not only a profession where the large majority of workers were women, but it was also one of the few technology jobs where women also served in many supervision positions. Women were preferred as they were seen to be “steadier, do not drink beer and are always on hand.” [1] By the 1890s, men were no longer employed as operators, as they had a tendency to swear at and play pranks on callers. The job required manually connecting callers to each other, therefore workers needed a good attention to detail and strong communication skills. The job could be very demanding if you worked in a large city, or be very slow and monotonous if you worked in a small town where there may only be a few people with telephones.

The Private Branch Exchange at the Toronto District School Board Museum and Archives.
 The metallic book on the top right of the image is a directory
of employees working at the Toronto District School Board in 1984.
Photo: Curtis Frederick

Telephone companies were not the only businesses that required switchboard operators. Many large companies, including the Toronto District School Board (TDSB), had their own private switchboard systems, known as a Private Branch Exchange (PBX). A PBX connected all the telephones in the office to each other and routed incoming calls to the operator, who then connected them to the correct office. The TDSB’s PBX was likely made in the 1920s or 1930s by Western Electric for Bell Canada and was used until 1984 when it was acquired by the museum after the school board switched to an automatic system.

Detail view of the Private Branch Exchange. The plugs at the back were plugged
into the holes on the switching board, the vertical portion of the PBX,
to connect callers to one another. The operator could also
connect callers directly to an outside phone number  by using the rotary dial.
Photo: Curtis Frederick
To encourage new female graduates to become switchboard operators, many large companies advertised directly to high school students. In the 1950s, Bell Canada advertised to high school girls promising them “a good salary, plenty of opportunities to get ahead, and off-hour social activities.” [2]

According to the TDSB Museum archivist Greg McKinnon, the TDSB was an early adopter of many different forms of technology. In the 1920s, technologies such as the telephone, radio, and typewriters, were used in Toronto’s Commerce and Technical High Schools to teach students concrete skills that they would need to work in different industries. The commerce high schools, which focused more on business and secretarial skills, tended to be more popular with girls. Conversely, the technical high schools, which taught skills such as auto repair, plumbing, and carpentry, tended to be more popular with boys. Do you think that this gender divide still exists today? Which type of school would you want to attend?

The Toronto District School Board Museum and Archives [3] are located in the Eastern Commerce Collegiate Institute. In addition to a large collection of artefacts from schools all over Toronto, the archives hold a number of materials including meeting minutes, yearbooks, and photographs.
Footnotes
1. Chapuis, P.J. and A. E. Joel. (1982). 100 years of telephone switching (1878-1978). Amsterdam, NY: North Holland, p. 54.
2. Your place in the business world! [Advertisement]. (c. 1955). Montreal, QC: Bell Telephone Company of Canada.
3. http://www.museumsontario.ca/museum/Museum-and-Archives---Toronto

MIRROR, MIRROR: EARLY SPEECH THERAPY FOR DEAF CHILDREN IN TORONTO


BY: MAIREAD MURPHY

Today, special education is an integral part of the Toronto public education system; the Toronto District School Board (TDSB) annually updates its Special Education Plan for students with special needs. As it turns out, the antique speech correction board currently located at the TDSB Museum and Archives had its part to play in the history of special education practices in the city. For years, the board was used in Toronto’s Davisville Junior Public School as a speech correction tool for hearing impaired children. Although the exact date of manufacture is unknown, TDSB archivist Greg McKinnon estimates that the speech correction board was made sometime in the 1930s and was housed in Davisville before arriving at the TDSB Archives in the 1980s.

The speech correction board located in the TDSB Museum and Archives.
Photograph by Mairead Murphy.
The TDSB speech correction board consists of a small chalkboard mounted above a large square mirror, which is then joined to two support legs. Using a series of metal hinges and mechanisms, the board can either be locked in place or flipped vertically in order to reveal a large chalkboard surface on the other side, complete with a small shelf for holding sticks of chalk. Since it is made of wood, the whole board could be moved from classroom to classroom fairly easily.

The board appears to be an artifact from the era of the “pure oralist method” of deaf education in Toronto. In the early 20th century, Toronto schools discouraged hearing impaired students from learning sign language. Instead, teachers promoted lip-reading and talking aloud. According to McKinnon, teachers would write words onto the board’s chalk surface. Then, teacher and student would read the words out loud in front of the mirror and the deaf student could observe his or her mouth movements and the formations of the teacher’s mouth simultaneously. Teachers did this in the hope that hearing impaired children would learn how to pronounce words.

This informational pamphlet about Davisville Junior Public School
was found in the TDSB Museum and Archives.
The pamphlet features an image of a teacher and student using a speech correction board
similar to the one found in the Museum.
Photograph by Mairead Murphy.
Today, sign language is an important aspect of deaf education in Toronto and the speech correction board is a relic rather than a tool. The question remains: how effective was the speech correction board? Dozens of chalk stains on the chalkboard show that it was used many times, but anecdotal or personal testimony about how well this specific form of therapy worked is hard to find.

Regardless, the speech correction board was a step toward modern special education practices. Now that the object sits in a museum instead of a classroom, it exists as a representation of a distinct point in time in the development of Toronto’s learning strategies for students with special needs. The board is not only physical evidence of the city of Toronto’s investment in early childhood education but also a piece of history relating to the experiences of its hearing impaired citizens. For decades, hearing impaired students would have met at the common intersection of the TDSB speech correction board and left with a shared experience.

Works Cited
 Ellis, Jason A. 2014. All methods—and wedded to none: The deaf education methods debate and progressive educational reform in Toronto, Canada, 1922-1945. Paedagogica Historica, 50(3), 371-389. http://dx.doi.org/10.1080/00309230.2013.833273

TDSB Special Education Plan. (2015, July 31.) Retrieved from http://www.tdsb.on.ca/Portals/0/EarlyYears/docs/SpecialEducationPlan.pdf