WHAT I WISH I KNEW IN SEPTEMBER

THE GRAD SCHOOL GUIDE

BY: HAYLEY MAE JONES

Hi all! I know most of you are expecting an Object of the Week article, but for my last post I wanted to share something personal.

The second year of my Masters Degree has been spent in the city of Ottawa at the Canada Aviation and Space Museum. I was offered a job after my internship last summer and jumped on the opportunity.  I contacted all of my professors before the school year started, and worked out a plan for each of my classes. This allowed me to complete my Museum Studies courses from Ottawa.

Being away from the ischool, working full time, and being a full-time student has been overwhelmingly rewarding. However, I wish I had known a few things before I started this process. In this article I would like to share what I wish I had known back in September.


1. Your Classmates are Going Through the same Coursework - TALK TO THEM!

School is stressful, and overwhelming at the best of times.  You will probably be dealing with quite a few emotions throughout the school year.

Source

Being in a different city, I didn't have many student friends who I could vent to about school troubles.  I wish I had reached out to my classmates sooner. They are amazing people to talk to and are going through the same coursework.  It would have alleviated so much of my stress if I had just skyped them more often.


2. Your Schedule will be Crazy

If you choose to follow this path, you will be exhausted. Many nights will be spent working on papers and reading texts. The last weeks of the semester will be awful, but you will get through it. Figure out a schedule that works for you, and stick with it throughout the semester. 

Source

I found that I could not be productive during the week, unless I gave myself an hour to exercise between work and school. I also found that using either Saturday/Sunday to catch up on anything I missed was the best solution. Whatever you do remember to schedule in time for yourself, because self care is important. 

3. It Happens...

Despite your best attempts to avoid drama, there will come a time when drama occurs. For me it happened in second semester when my apartment flooded and I broke my tailbone. 

Life always finds a way to keep things interesting.  Take it one step at a time and don't freak out (you will probably freak out, but try not to).  If life ever takes a major turn, and you need help, talk to your faculty adviser. 

4. Your Professors Understand

There will be times when you think you are not doing as well as you could be. There will be times when you question your sanity.  There will be times when you can't remember how to spell your own name (I seriously forgot).

Remember your professors understand that you are in an odd situation. They support you. If ever you are in a situation where you need advice, they are experts in the field and in the ischool.  I reached out to my professors, and together we were able to put together a special studies class to help ensure I earned the required number of credits.  This saved my masters degree.


5. Your Syllabus is Gold.

You don't have weekly classes, or classmates to help remind you of assignments. Your syllabus is worth its weight in gold, check it regularly.  I am serious.



6. It Will be Worth it in the end

This experience has been one of the most rewarding ones I have had. I was able to work within a Museum I love, on projects that have helped me grow as a professional.  Although it has been challenging I have gained practical experience, and newfound knowledge.  I highly recommend this experience to anyone interested. 

Source

This will be my last post as a student at the ischool.  It has been a pleasure writing for Musings, and I want to thank everyone for all your support these past two years. It has been a blast!

CHEATING YOUR WAY THROUGH YOUR 2017 RESOLUTIONS

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

To celebrate my colleagues arrival in Ottawa, I have compiled a list of three museum objects that provide visitors with exciting experiences around the city. These objects let visitors claim they have completed some pretty impressive feats without breaking a sweat!  If living life on the edge was one of your 2017 resolutions (and you're slightly scared) then you should check out the following museums.  You will be able to claim to have: milked a snake, sent something into space, and become an Ottawa famous artist.

Snake Milking Station - Canadian Museum of Nature

You might not be milking an actual snake, but it is the next best thing. The Canada Museum of Nature is currently housing the travelling exhibit: Reptiles. In this exhibit, there is a snake milking interactive, where visitors can push a button and "milk" a model snake. Where else can you say you "milked" a snake in the middle of winter?

                                 

Photo Credit: Hayley Mae Jones

Cube - Canada Aviation and Space Museum

I am biased towards this object because I have been working on the Cubes in Space project at the Canada Aviation and Space Museum. However, I feel that this tiny object will allow one visitor to have quite a unique experience. The museum, in partnership with the Cubes in Space program from idoodlelearning, is running a competition where one visitor will get to send their science experiment into space on a sounding rocket. That being said, the science experiment must survive 20Gs of force, and fit inside the tiny 4x4x4cm cube. 

Image Source

This tiny cube gives visitors the chance to say they have participated in scientific competitions. In addition, one visitor will have the bragging rights of sending their ideas into space! 

Artissimo Gallery - National Gallery of Canada

The Artissimo Gallery is a gallery space that display's young visitors works of art. It is amazing to think that your art works could be displayed in the same building that is showing art works done by Picasso, Alex Janvier, and Van Gogh. This can not only boost a visitor's confidence, but also show off local emerging talent. It is enough to make anyone feel like a famous artist, daring to be bold!

Whatever your 2017 resolutions, I hope you enjoy life, and live on the edge... Museum style!

TORONTO STORIES FROM THE ONTARIO JEWISH ARCHIVES

TORONTO STORIES

STORIES BY: EMMA HOFFMAN, HAYLEY MAE JONES, KRISTINA KARAKOLIS, CLAUDIA PALERMO, AND NATANIA SHERMAN

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:

• Archeological and Cultural Heritage Services 
• Canadian Lesbian and Gay Archives 
• John M. Kelly Library, St. Mike’s College, University of Toronto 
• Lambton House 
• Myseum of Toronto 
• Ontario Jewish Archives 
• Private Collection of Russian Artefacts 
• Scarborough Historical Society 
• Scarborough Museum 
• The Multicultural Historical Society of Ontario 
• The Real Canadian Portuguese Museum 
• Toronto Botanical Garden 
• Toronto District School Board Archives

Now, without further ado, object stories from Ontario Jewish Archives.

FROM GEFILTE FISH TO GRILLED CHEESE: UNITED BAKER'S AND JEWISH CULTURE IN TORONTO

BY: EMMA HOFFMAN

The smell of beet borsht and the savoury taste of cheese inside a blintze… that’s what Jewish culture tastes like at United Baker’s, a true Torontonian institution.

A dairy restaurant [1] serving traditional Ashkenazi [2] fares, United Baker’s was originally located in Kensington Market until it closed in 1986, but still maintains a location uptown at 506 Lawrence Avenue West. The Ladovsky’s, a Polish-Jewish family, established the original United Baker’s in 1912 when Kensington Market was the centre of the Jewish community in Toronto and the population of Kensington Market was almost 100% Jewish. [3]

The copy of the last menu [4] used at United Baker’s in Kensington Market, can be found in the Ontario Jewish Archives (OJA). Herman Ladovsky, the second-generation owner of the restaurant and his daughter Ruthie Ladovsky donated this object to the archives when the downtown location closed in 1986. Herman and Ruthie have signed the menu with the message: “With fond memories of a long history.” 

United Bakers Dairy Restaurant menu, cover. (1986).
Ontario Jewish Archives, fonds 83, file 8. Scanned copy of object by OJA.

Although similar dishes can be found on United Baker’s 1986 menu and on their current menu, this object is significant because it represents the migration of the Toronto Jewish community north during the past 60 years. [5] By the end of the Second World War, Jewish peoples had prospered from their businesses in Kensington Market and began moving to wealthier neighbourhoods uptown, while new immigrants displaced by the War were moving into the more affordable houses in Kensington Market, at the same time Jewish families were relocating from the area. [6]

Today, United Baker’s still provides a meeting place for Jewish immigrants to Toronto and their descendants. Ruthie Ladovsky, the third-generation co-owner of United Baker’s, gives insight into why the restaurant originally gained popularity: “It was a real meeting spot. The same as it is today.” [7]

United Bakers Dairy Restaurant menu, inside. (1986).
Ontario Jewish Archives, fonds 83, file 8. Scanned copy of object by OJA.

Herman Ladovsky was a great supporter of the Ontario Jewish Archives, [8] so much that after his death in 2002, the Ladovsky family installed a plaque at the OJA that reads: “A Jew is not a Jew unless he is a member of a community.” [9] With continued support from a community of customers from all cultures, United Baker’s still remains a central place for schmoozing [10] and for enjoying delicious homemade food.

Footnotes

1. A restaurant that does not serve meat or meat-products to accommodate those who follow the Kosher laws of kashruth that disallow milk and meat from being consumed together.
United Baker’s. (2012). “United Baker’s Dairy Restaurant: Celebrating 100 Years, a Toronto Tradition Since 1912.” United Baker’s. 21. Retrieved from http://unitedbakers.ca/wp-content/uploads/2012/08/united-bakers-celebrating-100-years1.pdf.
2. Jewish peoples originating from Central and Eastern Europe.
3. N. Li, (2015), Kensington Market: Collective Memory, Public History, and Toronto’s Urban Landscape, Toronto: University of Toronto Press, 15.
4. United Bakers Dairy Restaurant menu. (1986). Ontario Jewish Archives, fonds 83, file 8. Scanned copy of object by OJA.
5. E. Roher, (1986, August 4), “A Spadina tradition, restaurant to close,” The Globe and Mail. Ontario Jewish Archives.
6. Li 2015, 17.
7. Li 2015, 54.
8. Li 2015, 72.
9. Ibid.
10. Socializing and chatting in a group setting.

SENDING OFF CRIMINALS, COMMUNISTS, REBELS, SOLDIERS AND HEROS

BY: HAYLEY MAE JONES

Personal Photo of Mackenzie Papineau Battalion Pin Taken at the Ontario Jewish Archives

Hidden away in the Ontario Jewish Archives (OJA) is a Mackenzie Papineau Battalion pin. The pin is small, about the size of a dime, but the colours are bold, and it is smooth to the touch. Despite the size, the artifact has a powerful message: No Pasaran. Translated from Spanish, the passage means: "they shall not pass". These words were the slogan of men and women who fought against fascism during the Spanish Civil War.

The pin's origin is a mystery. Archivists claim that little is known about how the object fell into the Joseph Baruch Salsberg fonds at the OJA. Many members of the Jewish community were actively involved with the labour movement, including Joseph Salsberg. Salsberg's files provide copious information about his political involvement with the Communist Party of Canada, but show little information about how he acquired the pin. This being said, the pin reveals the Mackenzie Papineau Battalion’s strong connection to the city of Toronto.

The Mackenzie Papineau Battalion was made up of almost 1,600 Canadians who defied the Canadian government, broke the law, and fought against the fascists in the Spanish Civil War. Spain became politically divided after the abdication of King Alfonso XIII in 1931, which escalated into the Spanish Civil War after a fascist coup d'état in 1936. Many nations, including Canada, wanted to avoid aggravating the conflict at all costs. As a result, the Mackenzie King government imposed the Foreign Enlistment Act, to bar any Canadian involvement. However, the members of the Battalion foresaw the dangers of fascism, and knew they must act.

Toronto was one of the two meeting points for these soldiers when they left their lives behind, and began their journey to Spain. In Toronto, these men prepared to be smuggled out of Canada while hiding from the RCMP. This was done with the help of the Communist Party of Canada. The story goes that the Communist Party would meet volunteers in Toronto or in Montreal and travel with the volunteers until they reached Spain, providing them with clothing, and travel tickets. As they were being smuggled out of Canada, volunteers were under threat of being arrested by the RCMP for attempting to disobey the Foreign Enlistment Act.

Once in Spain, the Mackenzie Papineau Battalion faced even greater challenges. The fascists led by General Francisco Franco were being supported by Adolf Hitler and Benito Mussolini. Ultimately, many members of the battalion were captured, wounded or killed. Having lost the War, the surviving members eventually returned to Canada only to face discrimination for their actions. They were placed under RCMP surveillance and deemed to be criminals, communists and rebels.

Regardless of how they are perceived, the memory of the Mackenzie Papineau battalion lives on through artifacts scattered across Toronto, the city where their journey began in 1936.

For more information on the Mackenzie Papineau Battalion:

Secondary Sources
Beeching, William C. (1989). Canadian Volunteers: Spain 1936-1939. Regina: Canadian Plains Research Center.

CBC radio. (2012) Canada's 'MacPaps' and the Spanish Civil War (Promo) [Podcast] Retrieved from: http://www.cbc.ca/player/Radio/The+Sunday+Edition/ID/2302691551/?page=4&sort=MostPopular

Frohn-Nielsen, Thor Erik. (1982). “Canada’s Foreign Enlistment Act: Mackenzie King’s Expedient Response to the Spanish Civil War” Masters dissertation. Available from UBC Theses and Dissertations. University of British Columbia. DOI: 10.14288/1.0095528

Howard, Victor. (1987). The Mackenzie-Papineau Battalion: the Canadian contingent in the Spanish Civil War. Ottawa: Carleton University Press.

Jones, Hayley Mae. (2014). Final Paper: The Canadian Spanish Civil War Volunteers. (Unpublished Undergraduate paper). University of Ottawa: Ottawa.

Petrou, Michael. (2008). Renegades: Canadians in the Spanish Civil War. Vancouver: UBC Press.

Poggi, Mathew. "Spanish Civil War Veteran’s and the Pursuit of Recognition." Masters dissertation. (n.d.) url: http://www.albavolunteer.org/wp-content/uploads/2013/01/Poggi_Watt-Essay_2012.pdf

The Friends and Veterans of the Mackenzie-Papineau Battalion. (n.d.). Canadian Volunteers in Spain 1936-1938. Retrieved from: http://web.net/~macpap/volunteers.htm.

The Friends and Veterans of the Mackenzie-Papineau Battalion. (n.d.) Bibliography. Retrieved from: http://web.net/~macpap/bibliography.html

The Friends and Veterans of the Mackenzie-Papineau Battalion. (n.d.) La Pasionaria (Dolores Ibarruri, Member of the Spanish Parliament) Farewell to the International Brigades in Barcelona, Spain. Retrieved from: http://web.net/~macpap/texts/Farewell.htm.

The Friends and Veterans of the Mackenzie-Papineau Battalion. (n.d.) Poetry, Speeches, Texts on Individual Brigadistas. Retrieved from: http://web.net/~macpap/texts/texts.htm.

Wikipedia. (2014). No Pasarán Speech (1936) by Dolores Ibárrui Spanish Civil War, Speeches. Retrieved from: https://en.wikisource.org/wiki/No_Pasaran

Wikipedia. (2015). They shall not pass. Retrieved from: https://en.wikipedia.org/wiki/They_shall_not_pass

Primary Sources
Blum, Leon. (September, 1936). 5697 - Approaching the Crisis. The Jewish Standard. (p. 5, 40-43). Ontario Jewish Archives.

International Workingmens Association an Archosyndicalists. Events In Catalonia. Ontario Jewish Archives. Fonds 32, series 3-3, file 24.

Mackenzie Papineau Battalion pin [object] – [195-?].Ontario Jewish Archives. Fonds 92, Series 3, Item 2.

Workers Party of Marxist Unification of Spain. (October 1936). The Spanish Revolution. Ontario Jewish Archives. Fonds 32, series 3-3, file 24. 

Workers Party of Marxist Unification of Spain. (November 1936).  The Spanish Revolution. Ontario Jewish Archives. Fonds 32, series 3-3, file 24.

DORA TILL, THE WOMEN'S AUXILIARY, AND BAYCREST: A GLIMPSE INTO THE TORONTO'S JEWISH COMMUNITY

BY: KRISTINA KARAKOLIS

Dora Till could be defined best as a leader in the Jewish community in Toronto. From her early commitment to community service, her advocacy for women, children, and the elderly, Till aimed to make changes and fulfil a need within her community wherever possible. According to Ontario Jewish Archives (OJA) Archivist Donna Bernardo-Ceriz, Till emphasised the welfare of youth and elders in the Jewish community and urged others to give back through donations, volunteer work, or by participating in community events.

During her long and inspiring philanthropic career, Dora Till, participated and created a number of organisations that directly helped Jewish mothers and children. From the Federation of Jewish Philanthropies of Toronto, the United Jewish Welfare Fund (UJWF), and The Women’s Service Council, Till actively donated her services, skills, and passion wherever she was needed. Till later served as the vice-president for the Maternity Hebrew Aid Society and later become president of Women’s Auxiliary at Baycrest Heath Sciences.

The Ontario Jewish Archives, Blankenstein Family Heritage Centre is currently displaying an exhibit entitled Polyester, Pattern, and Perms: Fashion from the 1960s and 70s. The exhibit highlights women, their fashions, and their lifestyles during the 60s and 70s, giving viewers a glimpse into Toronto’s history and it’s Jewish community.

The “Visit of Constance Bennett to Baycrest Women's Auxiliary, 1961” is one of the photographs displayed in the exhibit and depicts six women in the midst of conversation. Taken by Famous Portrait Studio, a significant institution in the Toronto Jewish community, the photograph features Constance Bennett, who during her career as an actress started in over 60 films, standing in the center, wearing a glamorous fur coat, and Dora Till, who stands to Bennett’s left. The photograph was taken during an annual fundraiser held by the Women’s Auxiliary in honour of Baycrest hospital. 

Jewish Home for the Aged hosts Constance Bennett, 13 Dec. 1961.
Ontario Jewish Archives, fonds 18, series 3-4, file 11.

The Women’s Auxiliary, which operated separately from Baycrest, helped to encourage female participation, leadership, and aided in the foundational work for the hospital. Through various initiatives, from program development to running the hospital’s gift shop, the women at Baycrest filled an important role in the operation of the hospital. One of the Women’s Auxiliary main initiatives was an annual fundraising event, and under Till’s leadership, the Auxiliary was able to directly aid in the build and development of their new facilities on Bathurst, which is still in use today.

Jewish Home for the Aged hosts Constance Bennett, 13 Dec. 1961.
Ontario Jewish Archives, fonds 18, series 3-4, file 11.

Due to her long-standing commitment to the Jewish community and her unwavering leadership, Dora Till was the first woman to ever receive the UJWF’s Ben Sadowski Award for Jewish Community Service in 1969. Till was a central figure to her community, a prominent women through her philanthropic work, and was instrumental in the rebuilding of Baycrest hospital.

The Ontario Jewish Archives, Blankenstein Family Heritage Centre is the largest repository of Jewish life in Canada. Check out their website to learn more about Till and other prominent figures in the Jewish community.

PHILANTHROPY IN THE GTA: THE LEGACY OF SYLVIA SCHWARTZ

BY: CLAUDIA PALERMO

Sylvia Schwartz, 1950.
Ontario Jewish Archives, fonds 80, series 5-1, item 17.

A quick search in the Ontario Jewish Archives reveals some fascinating information about the photographic work of Sylvia Schwartz. Schwartz, pictured in the photograph below was born with a medical condition known as dwarfism. [1] She is best known for capturing wonderfully creative formal portraits of servicemen during the war, families, brides, and eventually carved out her own niche specializing in child portraiture.

Schwartz had the ability to connect with children on a level that most adults could not. She could get children to sit quietly and pose in creative and charming positions and the result was formal children’s portraiture with exceptional lighting, props, and posing. After the death of her sister, Sylvia Schwartz established the Ruth Schwartz Children’s Book Awards, which was later changed to the Ruth & Sylvia Schwartz Children’s Book Awards [2] to honor both sisters. For over 35 years, this award has recognized artistic excellence in Canadian children’s literature and features two awards, which are presented annually, for picture books and for young adult readers.

The Ontario Jewish Archives holds the records of individuals who have made important contributions to the Jewish communities of Ontario, and Sylvia Schwartz serves as a reflection of the important role that Jewish citizens played in the artistic history of Toronto. Sylvia’s is also the story of female artists in Toronto during the 1940’s. Through both her life and her work, Sylvia Schwartz has demonstrated her involvement and engagement with the philanthropic community in Toronto. Personal philanthropy has been a mainstay of funding art programs in the City of Toronto, and through her partnership with the Ontario Arts Foundation, [3] Schwartz has helped build a stronger art community.

Her legacy continues to touch the lives of numerous gifted children around the Toronto area. Alan Walker, the Executive Director of the Ontario Arts Foundation writes, “We hear time and time again from Ruth and Sylvia Schwartz Children’s Book Award winning authors at how moved they are by the insight and sophistication shown in the school-age jurors. These awards have a profound impact on all involved, and we thank the Ruth Schwartz Foundation and the Ontario Arts Council for helping to make these awards such a memorable experience for all.” [4] Her story leaves us wondering just how many other less known female artists have also left a lasting legacy on the city? To learn more information about Sylvia Schwartz or other prominent Jewish Torontonians, visit the Ontario Jewish Archives at ontariojewisharchives.org.

Footnotes

1. “Dwarfism.” 2015. Wikipedia. Wikimedia Foundation. https://en.wikipedia.org/wiki/dwarfism.

2. “PERSONAL PHILANTHROPY Ruth & Sylvia Schwartz Children's Book Awards.” 2015. Ontario Arts Foundation / Fondation Des Arts l'Ontario. Ontario Arts Foundation / Fondation des Arts l'Ontario. Accessed. http://www.ontarioartsfoundation.on.ca/pages/ruth-sylvia-schwartz-awards.

3. “Sylvia Schwartz.” 2015. Sylvia Schwartz. Ontario Jewish Archives. Accessed. http://ontariojewisharchives.org/explore/people/sylvia-schwartz.

4. “Shortlist For 2015 Ruth and Sylvia Schwartz Children's Book Awards Announced.” 2015. Shortlist For 2015 Ruth and Sylvia Schwartz Children's Book Awards Announced. Ontario Arts Council. Accessed. http://www.arts.on.ca/page5833.aspx.

LIFE IN THE SHMATA BUSINESS: THE STORY OF TIP TOP TAILORS AND ITS WORKERS

BY: NATANIA SHERMAN

This two inch sliver of silver engraved with the words “Tip Top Tailors: Canada’s Largest One Price House” was brought to the Ontario Jewish Archive (OJA) by a collector. It is a small pocketknife from the 1960s. There is no record of who owned and used the pocketknife. Instead, I started to think about all the people who might have owned it, and the company that made it. From trendy Tip Top Lofts downtown to the old Jewish furriers on Queen West, there is no question that the garment trade physically altered the city of Toronto. Tip Top Tailors’ history is the story of the Dunkelman family who owned it, of the Jewish immigrants who worked there, and of the labour and Zionist movements that shaped their experiences.

Tip Top Tailors Pocketknife from the Ontario Jewish Archives, Blankenstein Family Heritage Centre,
circa 1960’s, photo by author

A Jewish immigrant named David Dunkelman founded Tip Top Tailors in 1909. His concept was to sell one-price suits tailored to measure. This business model quickly became a success, transforming Dunkelman into a leading manufacturer of men’s clothing in Canada. Until 1967, Tip Top Tailors was owned and operated by members of the Dunkelman family. The Dunkelmans were well known Zionist leaders in Toronto, and maintained a strong commitment to assisting Jews in the diaspora.

While the Dunkelmans had built a comfortable life in Toronto, many of their Jewish employees had a very different experience when they settled in Canada. After World War Two ended in 1937, a large number of Jews who had lost their homes to the Nazis, were displaced. Many of these Jews had been tailors in Europe because that was one of the few professions open to Jewish people. Meanwhile, Canada was experiencing a shortage of skilled labourers in factories because so many men had joined the war effort. From 1946 to 1948, an initiative by the Canadian Overseas Garment Commission, called the Tailor Project, provided sponsorship and housing to displaced Jews from Europe to work in Canadian garment factories. Tip Top Tailors was one such company. [1]

Tip Top Tailors factory interior, Toronto, [ca. 1933].
Ontario Jewish Archives, Blankenstein Family Heritage Centre, item 2373.

While the Tailor Project certainly helped many displaced people find shelter and work in Canada, Jewish immigrants to Toronto had few options. Not only did they face anti-Jewish sentiments in their new homes, they faced the reality of harsh labour conditions in the garment factories. In Sweatshop Strife, Ruth Frager describes the sweatshops of 20th century Toronto as places where “…women toiled alongside men, and Jews toiled side by side with non-Jews…” Eventually, workers in the sweatshops unionized in order to build better working conditions. In today’s culture of imported fast fashion, it is easy to forget that our city was shaped by the local garment industry. We may never know who used this pocketknife, but its history tells the stories of the industrialists and workers at Tip Top Tailors.

Footnotes

1. A Daily News article from November 6th, 1947 described Tip Top Tailors taking on 75 displaced persons.

Works Consulted
Charles, Alana, “Condo of the Week: The Tip Top Lofts Building,” BlogTO, June 25, 2015 http://www.blogto.com/city/2015/06/condo_of_the_week_the_tip_top_lofts_building/. Retrieved on November 13, 2015

Frager, Ruth A. “Sweatshop Strife: Class, Ethnicity and Gender in the Jewish Labour Movement of Toronto 1900-1939.” University of Toronto Press, Toronto 1992, pages 1-24

Gladstone, Bill, “Tailor Project brought displaced persons to Canada.” February 19 2015, Canadian Jewish News, Toronto ON

Tip Top Tailors, “Homepage” 2015, http://www.tiptoptailors.ca/. Retrieved on November 13th 2015

Wigoder, Geoffry, Ed. “The New Encyclopedia of Zionism and Israel.” Fairleigh Dickinson University Pr; Rev Sub edition, 1994

(ca. 1960’s) Tip Top Tailors pocket knife, Morris Norman Collection, The Ontario Jewish Archive, Fond 22, item 165, Toronto ON.

Various authors, 195-?-1996, “Biographies of Dunkelman Family Members,” Benjamin Dunkelman Fonds, Ontario Jewish Archives, fond 2, series 1-1, file 9, Toronto, ON.

Various Authors, “Mrs. D. Dunkelman obituaries,” Benjamin Dunkelman Fonds, Ontario Jewish Archives, fond 2, series 1-1, file 3, Toronto, ON.

Tip Top Tailors, 1941-1949, “Tip Topics, Vol 9 No. 3,” Benjamin Dunkelman Fonds, Ontario Jewish Archives, fond 2, series 3-1, file 1, Toronto, ON.Meduiau, Walter and Thomas Aplin, Overseas Garment Workers Commission Correspondence1946-1948. Men's Clothing Manufacturers' Association of Ontario fonds, Ontario Jewish Archives, fonds 31, file 1, Toronto ON,

WAYFINDING MAPS: WHAT MUSEUMS CAN LEARN FROM DORA THE EXPLORER

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

Welcome back Musings readers! I hope you all had a fantastic winter break.

When it comes to wayfinding, maps are often the first tool that museums provide to visitors. Maps are a crucial component of a visitor's experience in a larger museum; an ineffective map could ruin a visitor's experience. There are many elements to a successful map including: clear legibility, simplicity of language, appropriate scale, strong use of colour etc...

Keeping all of these elements in mind, I believe that the gold standard for museum map making can be boiled down to the following question: Would Dora the Explorer use it? 

Photo Credits

Dora the Explorer is a children's cartoon, where a little girl named Dora and her monkey friend Boots go on adventures. These two friends are guided by their trusted magical map. It may seem ridiculous, but Dora's map is quite effective for three reasons: 

1. Personalization

Dora's magical map is personalized to meet her individual needs. For every adventure, Dora's map changes to show her exactly what she wants to see and where she needs to go. It would cost museums a fortune to develop this type of personalized map; however, some are experimenting with maps 'personalized' for different audiences' unique needs. 

Personal Photo Credit: Hayley Mae Jones

The Canada Aviation and Space Museum in Ottawa is currently testing out a multi-map approach. One map is geared towards the "family" audience, emphasising major themes and activities. Another map (aircraft index) is geared towards the needs of the aircraft "enthusiast" audience, marking the location of each specific aircraft within the Museum. 

 

2. Simplicity

No matter where Dora is, or where she is trying go, her map always breaks the instructions down into three simple steps. Dora's map shows the audience each step in the journey, and highlights the process on screen through fun colourful images. Not only does the map present these steps visually, but it also communicates the directions orally.

In real life, this style of map is often seen in interactive touch screens at shopping malls.

Interactive mall maps provide simple, step-by-step instructions to shoppers. Newer maps highlight the simplest route for customers, provide auditory accompaniment for the visually impaired, and display clear images and/or store logos to indicate to shoppers where they need to go.

3. Language

Dora the Explorer in general is a very bilingual show focusing on helping English viewers to learn Spanish. The show (and the as a result the map) has been translated into multiple languages for viewers around the world to understand and enjoy.

It is challenging for museums to translate their documents into multiple languages. The cost of translation alone is enough to break a small museum's budget. In addition, unless the museum has access to people fluent in each of the languages, there is no guarantee that the translations will be correct (or able to communicate the desired message). Despite these challenges both the National Art Gallery and the Royal Ontario Museum are making strides into providing maps to visitors who read different languages other than French and English.

Personal Photo Credit: Hayley Mae Jones

Ultimately, I'm not saying that all museums should provide visitors with magical talking maps, like the one found in Dora the Explorer (maybe someday). Still, there are many elements that make or break a museum map. Dora's map is effective in that it is personalized, simple and accessible. This can serve as an unlikely source of inspiration for museum professionals.

REST AND RELAXATION

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

According to John H. Falk there are five different types of museum visitors: Explorers, Facilitators, Professional/Hobbyists, Experience Seekers, and Rechargers. These visitor typologies explain why individuals are motivated to visit museums and cultural Institutions.

With the stressful holiday (and exam) period fast approaching I feel like many people fit within the "recharger" category:

“Visitors who are primarily seeking to have a contemplative, spiritual, and/or restorative experience. They see the museum as a refuge from the work-a-day world or as a confirmation of their religious beliefs”.

In order to relax and recharge here are some amazing objects/areas in Museums you should definitely check out for a little rest and relaxation!

1. The Cupola - Canada Aviation and Space Museum

The original cupola is a window on the International Space Station (ISS). This window area provides astronauts with a working space and observatory. Although the Museum only shows visitors a model, this object is still surreal in its depiction of the Earth. The area surrounding the model is semi-isolated and slightly dimmed. There are benches for visitors to sit down and relax, while classical music is played in the background. Visitors have often been caught taking power naps!

Personal Photo - Hayley Mae Jones

2. Pier and Ocean by artists François Morellet and Tadashi Kawamata. - Le Centre Pompidou

Pier and Ocean is an art installation comprising of 38 neon argon lights that are scattered around a room. The lights turn on and off in a set pattern (for a video click here). One of the second year students within the program was lucky enough to have seen the art installation in person:

"The installation limits the number of people that may enter at a time, and I was able to stand by myself for a while to really savour the experience. The lights are timed to gently dim and light to resemble ebbs and flows of the ocean, and the humming sound that the florescent tubes make are meant to make the visitor think of waves. It's also meant to pay homage to Piet Mondrian's series of sketches of the same name. I loved that it served as an interpretation of a familiar idea (the ocean/sea) in a completely foreign medium, while still retaining the "calming" sensation that many experience on the water." - Khristine, Masters of Museum Studies Student

Photo credit: source 

3. The Main Lobby - Aga Khan Museum

The Aga Khan Museum's main building is an architectural feat, incorporating relaxing light into the main lobby. The main lobby has multiple glass windows that allow for soft natural light to flood into the entrance of the building. Although it may seem like an odd place to relax, on a quiet day the main lobby is peaceful enough for some personal rest and relaxation.

Photo credit: source

Some other honourable mentions include: 

The Dream House - New York, USA 

Kadriorg Palace - Tallin, Estonia 

Cloud Cities by Tomás Saraceno

Hope you all enjoyed this post and have relaxing holidays! 

Falk, John H. Understanding Museum Visitors' Motivations and Learning. Accessed August 2016.http://slks.dk/fileadmin/user_upload/dokumenter/KS/institutioner/museer/Indsatsomraader/Brugerundersoegelse/Artikler/John_Falk_Understanding_museum_visitors__motivations_and_learning.pdf

ETHICAL MANNEQUINS?

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

Mannequins may be a strange object to focus on, but they are used in many museums to display clothing to visitors. As display tools, they are quite useful to portray how clothing looks on humans.

That being said, when presenting historic clothing, mannequins often need to be in specific shapes. This can cause some ethical issues for the modern museum worker.

Modern Ethical Issue #1: Mannequin Size
Historical clothing was built for individuals living during specific time periods. During these historic time periods there were different factors that affected the way individuals' bodies grew and looked (such as diet, exercise, and beauty standards). 

Personal Photo Credit: Hayley Mae Jones

These historical individuals may or may not accurately represent the way people look like today. They also may not represent the variety of different body types. This raises a modern ethical question: should museums change their mannequins/clothing to adequately represent diverse modern body types? or should they maintain the historical integrity of the clothing and not be inclusive to different body types?

Modern Ethical Issue #2: Gender
Mannequins often come in one of two body types: male and female. This doesn't adequately represent the variety of different gender identities people can posses, and outwardly express. The development of different genders (other than male and female), is a relatively new concept that is not necessary represented in historical clothing displays. That being said, we don't necessarily know how historical individuals felt about gender. Which brings me to the second ethical question: Should museums draw more attention to the concept of gender within historical clothing?

I cannot answer whether or not museums should become players in the body image and gender debate. In addition, buying a variety of new mannequins that represent modern body types may be financially unrealistic.  That being said, if a museum chose to partake in this debate, mannequins can be altered and modified. This was seen this past summer through Rachael Thiessen:

"This summer while interning at Discovery North Bay I came across a crucial museological issue; the lack of a male manikin. The museum did have two male manikins, but they were already being used in another temporary exhibition. The only other manikin was a female manikin that was very well endowed.

However, I needed a male mannequin, so I had to use what was available. With ethafoam, tissue paper and a great amount of determination, a co-worker and I stuffed the female manikin to hide her natural curves. In the end, it worked out quite well, and not even my supervisor could tell that our voyageur display was in fact the museums rarely used, but beloved, female manikin."

Personal Photo Credit: Rachael Thiessen

I would love to know what you think about these issues, please feel free to leave comments!

LIGHTING UP THE PERSIAN CEILING

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

From a conservationist standpoint, light is often viewed as an enemy, causing damage to objects within a museum collection. However, light can be used to create unique displays that inspire visitor engagement. This is seen in the new Royal Ontario Museum (ROM) exhibit entitled: Chihuly.

I was really impressed with the way the exhibit controlled light. Throughout the exhibit there are interesting displays that reflect, absorb, and manipulate the light in order to complement the glass work itself.

I think the best example of this mastery of light is seen in the Persian Ceiling. The Persian Ceiling has many works of glass arranged to form a ceiling and there are lights shining above the artefact.

Personal Photo Credit: Hayley Mae Jones

The art installation is enclosed in a room with cream coloured walls. These cream walls/floor of the exhibit were a beautiful canvas for the multi-coloured light reflecting through the art work. This showed off the natural beauty of the glass work, while compelling visitors to look up towards the ceiling.

Personal Photo Credit: Hayley Mae Jones

The multi-coloured light also drew my eyes upwards towards the placement of the object, and made visitors arch their necks. The light really felt like a part of the object itself.

Personal Photo Credit: Hayley Mae Jones

The ROM also provided visitors a place to sit and lie down within this exhibit space providing visitors with different perspectives and methods of experiencing the light shining through the art work. This allowed the visitors to view the glass work, and light from different angles.

Museums should take into consideration, how light can be used to create different types of visitor experiences, and how light can dramatically impact an exhibition.  Light is what allows visitors to view objects within a collection, and poor lighting design can cause a negative impact on the visitor experience.  That doesn't mean that all museums should push for elaborate light shows within their exhibitions.  Dramatic lighting effects are not always possible, due to the materials and condition of the objects displayed. Museums should take into consideration how to best use light to meet their exhibition, collection, and visitor needs.

That being said, the Persian Ceiling shows how combining objects and light can create a unique visitor experience.

MEMORIES OF THE SUMMER

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

Museum objects can have an amazing effect on people.  They have the ability to connect individuals inspire them to make new meanings, and create lasting bonds.  For my last post over the summer I thought it would be fantastic to outline two touching stories of students that connected with “objects”.    

“My object is an expenditure ledger that belonged to a soldier of the First World War and was an employee of Eaton's prior to enlistment. My research is for an upcoming exhibition at Mackenzie House, "Eaton's Goes to War", which explores the corporate giant's dedication to its employees overseas as well as to the personal histories of soldiers, as told by their descendants.  This ledger is special because it is from 1914-1915, a year before Henry Roland Garneault Agassiz enlisted. He was killed in the battle of the Somme in 1917, leaving behind a wife and five children, four of which made it to adulthood. ... I spoke with the grand daughter and great grandson of Henry Ronald Garneault Agassiz, and they remembered the bravery and resourcefulness of Henry Roland Garneault's wife Eugenie and her oldest child, Alfred. Henry Ronald Garneault's expenditure ledger, which I uncovered in the archives of the city of Toronto, painstakingly records all of his expenditures, showing that he received 15 dollars a month from Eaton's. When he purchased something for his wife or children, he would write their names next to it… The artifact, which just about anyone can access and touch, is a testament to this man's love for his family and a time capsule, as he records the price of all his purchases as well as the stores he visited, many of which no longer exist.” – Stephanie, Mackenzie House.

Personal Photo Credit: Stephanie R. 

Throughout this summer, students have also discovered that it was not only objects that captured our hearts, but also animals.  The memory is described perfectly, just like the fading summer, and I can only imagine the beautiful scene:

"Merlin the Rainbow Macaw and I have been bonding through games of Peekaboo at the Maritime Museum of the Atlantic" – Shanlon, Maritime Museum of the Atlantic

Adorable.

Although our summer will soon come to a close, we will still remember our experiences we learnt, the people we worked with and the objects we cared for.  I hope that everyone enjoys their vacation and made many memories. 

ACCESSING INFORMATION: ONE BUMP AT A TIME

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

This might sound dull, but my objects for the week are actually some of the exhibit panels in the Canadian Museum of Nature's temporary exhibit: Ultimate Dinosaur.

Personal Photo: Hayley Mae Jones

I liked the panels because the lettering was very clear and easy to read. However, I was really captured by the fact that the panels have Braille embossed underneath the printed letters.

Personal Photo: Hayley Mae Jones

I liked the fact that the Canadian Museum of Nature made a conscious effort to make the exhibit more inclusive and accessible to those with impaired vision. The Braille was placed in the same location as the written information, meaning that those who need the Braille did not have to go to a separate panel to read about dinosaurs. I also enjoyed the fact that the Braille did not blur the information for those wishing to visually read the English and French texts, or for those wishing to take pictures of the panels.

The Canadian Museum of Nature also made sure that the accompanying children's activity was accessible to those who have visual impairments.

Personal Photo: Hayley Mae Jones

Instead of providing children with a sticker scavenger hunt (which is only exciting to those that can see the stickers), the Canadian Museum of Nature made children find different embossing stations. Children would push down on a lever and make a 3D imprint into their paper. These bumps, although not brightly coloured like stickers, allowed for those with limited visibility to feel the dinosaur prints. It also added another tactile element to the exhibit. 

Personal Photo: Hayley Mae Jones

In addition to being accessible, this interactive activity seemed to be relatively sustainable. The Museum would not have to continuously replace ink pads for stamps, or purchase new stickers. Once the embossing machine was built all they needed was the paper worksheet.

Overall it is a great exhibit, one that everyone should check out if you are in Ottawa this summer!

SMOKE AND MEMORIES

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES


Have you ever been camping? Imagine yourself out exploring nature. Your tent is set up, and the sun is setting in the distance. You have a fire cracking in the background; the pleasant scent of smoke fills your nose. I cannot explain, but the scent of smoke is very distinct in my mind. Every time I smell a wood fire, I am brought back to my childhood memories of roasting marshmallows on the fire with my family.

When smelling the "scratch and sniff" card at the Bytown museum in Ottawa, I was not brought back to my childhood camping memories. The "scratch and sniff" card is supposed to replicate the smell of the Great Fire of 1900. This fire destroyed both the city of Ottawa and Hull, leaving 15, 000 people homeless. The "scratch and sniff" card provided by the museum gave off a strong, toxic smell, unlike my childhood memories of camp fire songs and marshmallow roasting. The smell made me feel afraid.

Personal Photo: Hayley Mae Jones

This object shows the power smells can have on a visitor.

Many museum scholars such as Sandra Dudley explore the idea of mutisensorial museum experiences. These experiences immerse all five of the visitor's physical senses: sight, smell, taste, touch and hearing. These types of experiences are meant to engage visitors while creating unique and memorable experiences.

This being said, the sense of smell is difficult to incorporate into public settings. There are many people who suffer from allergies and sensitivities to smell, making it dangerous to have different smells dispersed throughout museums. The fact that the Bytown was able to incorporate the use of smells within their exhibit in a safe manner, makes their "scratch and sniff" cards my object of the week.

Let me know in the comments below if you have had a multisensorial experience in a museum!

I AIN'T NOTHING BUT A GOLD DIGGER

OBJECT OF THE WEEK

BY: HAYLEY MAE JONES

Visiting the Royal Canadian Mint in Ottawa was fantastic. I was taken on a tour of the factory, and was shown the importance of currency within Canadian heritage.

There were tons of amazing objects within the Mint for visitors to see including the: Vancouver Olympic medals, factory machinery, and a million dollar collector coin. However, all requests to take photos of the objects were denied due to the fact that the Mint did not want any photos to be taken of the factory technology.  Visitors were also not able to touch or engage with most of the objects.  This raises an important dilemma: how do cultural institutions balance the visitor's needs while protecting their facility and objects? The Mint is a unique case, due to the fact that many of the objects shown to visitors are used to produce a form of Canadian currency. Allowing visitors to take detailed photos of this machinery increases the risk of potential counterfeit currency production.

The only object I was allowed to take pictures of at the Royal Canadian Mint in Ottawa, was of a 24 carat gold bar that was chained to the display in the gift shop, and was constantly watched by a security guard. I can understand why the security guard was close by considering the fact that the bar is worth over $750,000. Many visitors enjoyed interacting with the gold bar, and took the time to take pictures, and pick up the gold. It is heavier than it looks.

Personal Photo: Hayley Mae Jones

The fact that visitors were even allowed to interact with the gold bar, and take pictures of this object, shows a unique compromise made by the Mint. They were able to make this object accessible to the visitors while protecting the other objects by placing the gold bar in the gift shop which was separate from the factory floor/machinery. I guess it goes to show that even gold can be accessible to visitors!

WE CAN ENGAGE THEM, WE HAVE THE TECHNOLOGY.

GREATEST HITS 

BY: HAYLEY MAE JONES

In her post What to Wear During Wartime: 'Fashion on the Ration', Mallory Horrill tackled a question all museums have faced: how do we engage visitors?

While visiting the exhibit Fashion on the Ration at the Imperial War Museum, Mallory observed that some visitors were slightly disengaged with the subject matter of "fashion". In trying to increase their attendance, museums need to figure out ways to engage new audiences, and Mallory suggests the use of audio and video aids. I agree with what Mallory suggested; however, I think that museums should not be limited to the use of audio and video aids to create new and engaging experiences. There are many new technologies being produced that can facilitate visitor interactions, while at the same time increasing visitor engagement. This is seen in the Star Wars Identities Exhibit that is currently touring the globe.

  

The Star Wars Identities Exhibit was displayed at the Canada Aviation and Space Museum, in Ottawa (summer 2013). I was hesitant to visit this exhibit, mostly because I am not a huge Star Wars fan.  I had seen the Star Wars movies, but I was worried that I would be confused or worse -- bored. In retrospect, I had nothing to worry about.

Visitors were provided with a hands-free audio guide that incorporated infrared technology, making the exhibit's audio-visual content accessible to visitors of all languages. The exhibit then surpassed my expectations by letting visitors create their own realistic Star Wars hero based on the visitors' responses to pre-set questions.

Before entering the exhibit, I was given an RFID bracelet, which tracked my progress throughout the exhibit. The exhibit had various stations that asked visitors questions about what type of Star Wars hero they wanted to develop. These questions tackled key building blocks of an individual's identity such as: species, genres, parents, culture, mentors, friends, events, personality and values. To answer each question, I would tap my RFID bracelet with my selected answer. All of my answers shaped my character, and in turn created my own unique Star Wars hero.

Hayley Mae Jones' Star Wars Identities Character - Published with X3 Production's Permission

 
At the end of the process, I had to select whether or not I would join the "dark side".  I chose to resist the "dark side", and fight against the Emperor.  My character was then  displayed on a giant screen for all visitors to see, and I was also able send myself an email with my character and character information. 

It was such a popular exhibit that its stay at the Canadian Aviation and Space Museum was extended by over a month. This exhibit is a significant example of how museums can go beyond the traditional audio and visual aids by using technology creatively. It also shows how new and innovative technologies can engage visitors in an unexpected way.  Hopefully we will continue to see more unique applications of technology in the future. 

Comment bellow if you know of any other exhibits that use innovative technology to engage visitors!

AFTERNOON TEA, WITH A SIDE OF HERITAGE

GREATEST HITS

BY: HAYLEY MAE JONES

I love hearing stories of people experiencing heritage when they least expect it.  Lunch, With a Side of Heritage, describes author Katherine Hannemann's unexpected encounter with Toronto's hockey heritage at the 60 Carlton Street Loblaws.  Katherine reminisces about her unexpected Bill Barilko history lesson, and how heritage is hidden throughout the building.  It goes to show that history can be found in the most unexpected places. 

I have also had a similar experience at the Fairmont Royal York hotel here in downtown Toronto. 

My family decided to have Afternoon Tea at the Royal York to celebrate my Aunt's birthday.  I had never been to the hotel, and didn't know what to expect.  Once I arrived, I quickly understood the appeal.  The tea and dessert were divine.  

Photo Credit: Laura Nigro

 What followed was an unexpected treat: a historical guided tour of the hotel.  Neither myself, nor my family knew that the Fairmont offered tours to their diners.  The tours were supposed to be 20-30 minutes long; however, mine ran longer due to the fact that I asked a million questions (I was that person).

On the tour, we saw some of the gorgeous ballrooms, while learning about the history of the building.  Through these stories, and visits, to normally inaccessible areas, I was able to gain insight into how a hotel can contribute to the history of Toronto.   

Photo Credit: Hayley Mae Jones

The 60 Carlton Street Loblaws, and the Fairmont, are not traditionally seen as heritage sites, but rather as businesses.  This raises a two questions: how can businesses promote their heritage, while maintaining their primary function as businesses? Should businesses spend time promoting themselves as sites of heritage?  Unfortunately, I don't think that there is one overarching answer to these questions. 

I believe that each institution should critically reflect on their mandate.  It is important to recognize that promoting your business, and promoting heritage are not always one in the same. More specifically, it may not be suitable for your institution's goals or organization's brand.  Only after this reflection can the institutions understand whether or not they should promote their corporation's history, and how they should share their heritage with the public.  In formulating a strategic plan, businesses can control the platform, and the amount of historical information they share with the public, in a way that suits their organization. 

Regardless, I am happy to have found an unexpected glimpse of history at the Fairmont Royal York.  Let me know in the comments if you have had any similar experiences!

If you want to treat yourself to Afternoon Tea and a tour at the Royal York, the tours are still being offered to patrons on Saturdays and Sundays at 2pm/4pm, and reservations can be made by email (RYH.RestaurantReservations@Fairmont.com).