Showing posts with label Royal Ontario Museum. Show all posts
Showing posts with label Royal Ontario Museum. Show all posts

1 March 2021

LAND ACKNOWLEDGEMENTS: MEANING AND ACTION

 Breaking the Glass Case | Chantelle Perreault


I have lived in Canada all of my life – in big cities like Toronto and Ottawa, and in suburban towns like Whitby, Ontario – and in all of these instances, I have been culpable of knowing far too little about the Indigenous history of the land I was occupying.

Kanyon Sayers-Roods, a Mutsun Ohlone activist, affirms that "there have always been Indigenous peoples in the spaces we call home, and there always will be". All land in Canada, from coast to coast to coast, has Indigenous connections, and the increasing practice of Land Acknowledgments provides an opportunity for settlers to gain an introductory understanding about past and present Indigenous relationships to this territory. While the practice of acknowledging connections to both the land and the people who reside on it is not new – this has been a tradition amongst many Indigenous cultures long before the arrival of European settlers, and Karyn Recollet, an urban-Cree professor at the University of Toronto, describes it as “an ancient practice that flows into the future” – today, organisations and individuals alike are engaging in the practice of crafting Land Acknowledgements more frequently.

Land Acknowledgments – intentional statements that recognise the relationships between Indigenous people and their traditional land – act to remind settlers of a place’s Indigenous history and the continued presence of Indigenous people in that place today, and encourage settlers to understand how they have come to live on this land, explains Indigenous U of T. You may have heard a Land Acknowledgement spoken aloud at an event, or read one in a syllabus at school. Museums and heritage institutions, in an effort to reconcile their own colonial roots, are also increasingly turning towards the use of Land Acknowledgements.

The process of creating the Land Acknowledgment and the content included in the statement are equally important aspects of the practice. The Native Governance Centre explains that, as a settler, it is essential to begin with self-reflection and an understanding of the goals of Land Acknowledgements — specific goals can differ depending on the institution, but should include the empowerment of Indigenous voices and a commitment to ongoing action. Before beginning, knowledge of the land you are occupying and the Indigenous groups that reside there (historically and presently) is crucial, and this will require research and time. Anishinaabe academic Sheila Cote-Meek also emphasises the importance of connecting with Indigenous people of the territory when possible (and with proper compensation for labour).

The language of Land Acknowledgments is significant: the use of present tense rather than historical references to Indigenous communities reiterates that Indigenous people continue to live on this territory today — colonialism is an ongoing process. 

Land Acknowledgement from the website of the Royal Ontario Museum

Similarly, when Land Acknowledgments are read aloud, accurate pronunciation is required: Emily Riddle of Alexander First Nation in Treaty 6 territory explains that mispronunciation indicates “a lack of effort and consideration” by the organisation. An emphasis on correct pronunciation can be encouraged by including a pronunciation guide, as seen in the City of Toronto’s official Land Acknowledgement.

Pronunciation guide from the City of Toronto's Land Acknowledgment webpage

Land Acknowledgements should also be accompanied by further action – these statements are not made to "check a box", but stem from a commitment to empower Indigenous voices. The Manitoba Museum, following their Land Acknowledgement, lists a series of further commitments towards reconciliation, such as developing collaborative relationships with Indigenous communities and partnering with local communities to share more Indigenous stories. This transparency encourages accountability and makes clear to the museum’s audience that they are committed to specific goals when it comes to reconciliation.

We Are All Treaty People, exhibit at the Manitoba Museum. (Image: manitobamuseum.ca)

Museums often have a colonial past to reckon with, and have a responsibility to understand their connection to the physical land that they occupy. Anishinaabe writer and educator Hayden King reminds us that Land Acknowledgements are not done to validate Canadian presence on the land, but rather to empower and uplift the voices of Indigenous people. At a time where Land Acknowledgements are becoming increasingly common, and can sometimes seem redundant or meaningless, museums have an obligation to reflect on the purposes of these statements, and how they will impact museum practices going forward.

20 May 2020

THE UNKNOWN CREATOR: THE MYSTERY BEHIND INDIGENOUS CRAFT ARTISTS



Alongside art and cultural objects, museums preserve the names of those who created the items, except in the case of Indigenous peoples whose personhood often fails to appear in the official museum record. One of these reasons is due to the unfortunate binary created between craft and art. We typically think of art as paintings, sculptures, or drawings, while craft denotes pottery, textiles, or woodworking. This gap has been greatly contested over the past decade and my use of “craft” is of great respect for the practice that rivals or exceeds other art practices. Emerging craft artists are more readily recognized for their works, especially due to the growth of social media, but museums are still left with many brilliant craft items created by unknown Indigenous artists.

Coiled Tlingit basket made by Unknown (Artist). (Source)

Many Indigenous craft items, such as woven Tlingit baskets, are utilitarian and used by various family or community members. A special acknowledgement of the creator was not a necessity, as members of the community knew who the item was created by and it was created for public use rather than just visual appreciation. When these objects are brought into museums, the makers are listed as “Unknown.” Dolores Churchill, a Haida elder and basket weaver, has said, “As long as Native art remains in museums, it will be thought of in the past tense.” The use of the “Unknown" artist only reiterates the idea of a past culture by amplifying knowledge that was lost to time and does not continue into the present. The item was not created by a Tlingit artist, but a depersonalized and uniform Tlingit culture.

"Peace Treaty Belt" made by a Haudenosaunee Artist. Photo courtesy of Jaime Meier. 

As of now, the names of the artists involved in Indigenous craft are either irrecoverable or museums lack the resources or to solve the mystery. The National Gallery of Canada has made the decision to move past listing unnamed Indigenous artists as “Unknown” and have relabeled to acknowledge the artist in connection to their nation. For example, as an “Haudenosaunee Artist,” thus bridging the gap between artist and community. The artist is no longer an unidentified person, but rather an artist who carries the spirit of their community. The Royal Ontario Museum (ROM) has taken similar steps in their online collection, listing the maker based on the Indigenous community who created it rather than simply an affiliation.

"Lacrosse Stick" made by a Haudenosaunee Artist. (Source)
Museums are closely drifting away from the use of the “Unknown Artist" to the benefit of the public, the original artist, and the artist's community. Social media has made it difficult for Indigenous craft artists to remain unknown, as many have thriving social media accounts and online shops. Whether it's beadwork, tufting, or birch bark, Indigenous artists are reclaiming craft, identities, and their places in the art world. 

27 March 2020

STRONGER TOGETHER: ALUMNI CHECK-IN WITH LYNNE KURYLO


 Alumni Check-In | Elizabeth Cytko



Lynne Kurylo
Photo courtesy of Lynne Kurylo

Lynne Kurylo is the Chair for Liberal Studies in Continuing Education at George Brown College. Lynne’s focus is on adult education and is continually improving how it is delivered. Lynne remains in the museum community by volunteering at the Enoch Turner Schoolhouse Foundation.

What is your favourite memory from your time in the Museum program?

It was my internship. The internship back then was very broad on what we could do; there weren't many precedents or guidelines. I organized a tour of museum education departments in England for six months, after the program ended. I wrote to the museum studies program in Leicester and asked which places they recommended for adult educational programming and they sent me back a list. I got permission to visit five or six places. It was a huge insight, a huge learning experience and I got many ideas I was able to apply when I started working.

What has changed in museums from the time you graduated to now?

I'm looking at it from a museum educator’s point of view. When I started it was very much ‘how do you do educational programming in a glass case museum?’ With the influence of the Leicester Museum, as well as from influences from the United States, we started using interpretation methods that were lots more experiential (hands on) than what visitors were used to encountering at the ROM for example. That came through interrelationships that we developed going to different museum associations conferences. You were exposed to museum education methods and techniques from all these other places, and it became much more of a blend.

What does a typical day entail at your job?

I'm an academic administrator. That means I'm responsible for planning the development and delivery and evaluation of over 130 courses in a wide range of subject areas. I have to make sure on a day to day basis that those courses are running smoothly, that they have instructors, and that the instructors have all the support that they need in order to deliver their courses. I have to coach my staff and my instructors. Teaching at a post-secondary institution is different from what they're used to, many of my instructors come from the financial sector. They are either trainers or working in in some kind of job that has a direct connection to our courses.

Do you have any advice on how to become an effective leader?

I think it's really important to know your own strengths and knowledge. What is it that you know about? What is it that you can do? What are your skills? How can you be useful and relevant to the job? You need to be really clear on who you are and what you've got to offer, because that's your foundation. That's your strength, that's where you're coming from. You also need a vision or a goal. I used to have written on a little yellow sticky on my desk, "What am I here for?" and every day, I had to answer that question. You also have to recruit other people to your vision. Let them be part of it. How can they contribute? How can they help make it happen? And why should they? You need to respect them and value them so that you can achieve a set of goals that you all believe in. And you want to make it fun. If it's not fun, what are you here for?

When managing major projects, what does one need to be aware of?

You need to have a really clear, realistic understanding of your resources. If you’re going to do something, you've got to have the resources to do it. How much money is in your budget? How many employees? How many staff members do you have? How many external sources might you be able to rely on for materials or programming or whatever, right? You can't do more than you have resources for. If you get the institution into financial problems because you overspend, nobody will thank you.

What are some of the greatest risks you have taken in your career?

It was doing the programming for Into the Heart of Africa at the Royal Ontario Museum. We didn't know how risky it was at the time, but it was.

From the perspective of the Education team we made really strong, wide ranging connections with the African Canadian community in Toronto. We had a great team effort with representatives of those communities, and we put together a really good series of concert performances, activity days, and so on. For the first three or four months, everything went well. We did our best to do outreach, but on the board or at the more senior levels there were no black voices. We had done that exhibition in the context of multiculturalism. I don't know if you are aware that in the 1980s, the federal government’s National Museum Program promoted multicultural awareness, to celebrate all the different cultures that made up Canadian society. And they made money available to museums and other cultural institutions to do public programming. A guest curator of ethnology, Dr. Jeanne Cannizzo, saw that using the African collection would be a way of meeting the goals of the multicultural program and a source of funding to carry out a National Cultural policy.

Four months into the exhibition is another story altogether. But once the activism started, certain groups in the city who felt that they had messages to give the public about blackness and structural racism saw an opportunity. It became a kind of a vehicle to carry that message, but it got ugly. It ruined at least one career. You know, maybe more. I don't think the team ever recovered from that, the curator certainly.

You have to work with the collections and this African collection was brought to the ROM in a particular way by a missionary. It was part of what was going on in the late 19th, early 20th century with Britain and its colonies. It was in hindsight imperialistic, culturally arrogant and wrongheaded. And the curator was influenced by her colleagues in the ethnology field to pull the curtain back and show that collection and how it got here. She was just saying here it is, judge for yourself.

A really valuable insight was offered by a history professor from the State University of New York who came up to see the exhibition. I was the one who took him through. I asked if he had any insight into why this happened? And he said,

 “Well, no, not really. But I'll tell you what I think about this collection and what you did with it. If you're going to start a conversation, or a relationship with a group of people that you have never had a relationship with before, you don't start by airing the dirty linens. That was your mistake. You told a very sad, unhappy story as your first gesture in trying to make the African collection available to the community. It was the wrong thing to do. You had to find a positive, happy, constructive topic. And then once everybody has built some trust you can ask, well now do you want to see what we've got in the closet?”

If you could travel back in time what would you advise your younger self?

Don't put all your eggs in one basket. In other words, don't let yourself be defined totally by your job. When you lose that job, and inevitably you will, then you're in trouble. Diversify your interests and hobbies, and make yourself a whole person, not just a job. I think that was one of the big things I learned. I would also say don't be willful, don't be arrogant. You also have to listen and respect other people's views and needs. You're not flying the plane alone, you know? You’ve got a crew there with you and you need to work together.

What are some of the long term trends that you think young museum professionals need to be aware of?

It’s important to understand your own values and find a place where you can make your values actual. If you believe in sustainability, put yourself in an institution that also cares about sustainability. You’ve got to find a match for what you're about.


7 March 2020

WINNIE THE POOH: EXPLORING A CLASSIC

Weekend Edition | Elizabeth Cytko



This post for sure contains spoilers! Continue at your own risk. 

The Victoria and Albert Museum is capping off their world tour of "Winnie the Pooh: Exploring a Classic" at the Royal Ontario Museum. The exhibition explores the process behind the storytelling and art which created this beloved series.

I absolutely love the layout of this exhibition, it's fun, whimsical, and whisks you away to a different world. When you enter you are greeted  with large appealing words which immediately draw you in.


I literally feel as if I am in a story book! What is not shown in this photo are the large balloons hanging overhead, giving the room a sense of whimsy.
Photo courtesy of Elizabeth Cytko


On the right is the story of who Winnie the bear originally was and how they ended up in London to begin with - the Canadian connection is the ROM's contribution to the exhibition.  This then leads into the main parts of the exhibition that explores the life of Christopher Robin, the toys, and A.A. Milne (author) and  E. H. Shepard (illustrator).
How Winnie became Winnie the Pooh. The Canadian Connection.
Photo Courtesy of Elizabeth Cytko


The main text panels are books - books! Unfortunately due to the strange architectural layout of the building, we also get a preview of the ending of the exhibition.
Photo courtesy of Elizabeth Cytko
What I appreciated is that this exhibition has you physically inhabit the world of the books. You start in Christopher Robin's bedroom, move into E.H. Shepards shed where he did his illustrations, and pass through a portal into the Hundred Acre Wood itself.

Christopher Robin's Room.
Through the window you get a sneak peek of the Hundred Acre Wood.
Can you spot the books just waiting to be read?
Photo courtesy of Elizabeth Cytko

One of the main goals of the exhibition is to get people reading the books again. There are plenty of opportunities within the exhibition to sit down with the books - such as upon the very squishy and comfortable bed.

Shed of E.H. Shepard. This discusses the process he went through to illustrate the world.
Photo courtesy of Elizabeth Cytko.
What is not seen is the cozy seating area for children, and the books.
Another opportunity to read, and an inviting portal into the world of Pooh.
Photo courtesy of Elizabeth Cytko
Transported into the wood itself! I hear bees!
Photo courtesy of Elizabeth Cytko

Probably were wise not to provide Pooh Sticks... but the bridge and the river are very relaxing.
Photo courtesy of Elizabeth Cytko

Please note how throughout there are areas to sit and take things in (or possibly continue reading your book!)

Potential spoilers? Literally opening the cupboard as if we too are needing hunny!
Photo courtesy of Elizabeth Cytko
Technique and Composition.
Photo courtesy of Elizabeth Cytko
Another aspect that I loved about this exhibition is that it is geared to all ages. Instead of the adult awkwardly standing off to the side wistfully staring at the activity, a table is provided so that everybody can draw! If only more exhibitions incorporated this inclusive mentality - I too want to dress up as Boudicca/Ancient Egyptian Pharaoh/A Dinosaur/Winnie the Pooh!

Throughout are original planning sketches.
Photo courtesy of Elizabeth Cytko

A relatable mood.
Photo courtesy of Elizabeth Cytko

What I really appreciated about this exhibition is how it had me rethink this childhood classic. As a visual artist myself, I had never really "clicked" that Winnie the Pooh could fall into the comic book/graphic novel category of literature. How the images and text interplay with one another come to light here. I also appreciated how the process of E.H. Shepard is shown, the messy sketches, the trial of expressions, the scribbled out ideas.

Even if you do not care a jot or tittle about Winnie the Pooh, if you are an artist this is an absolute feast of inspiration. I definitely recommend you go, and take your time! Read a book or two! Perhaps allot at least two hours for exploration... or maybe go more than once!

The exhibition runs March 7, 2020 to August 3, 2020. 



5 March 2020

LOOKING FROM BEHIND THE GLASS: CHALLENGES WITH DISPLAYING FASHION

Sew What | Natalie Heaton
The trend to display fashion and textiles is becoming increasingly popular in museums. Curators often run into issues when it comes to displaying garments, like many objects within institutions.  For decades, fashion exhibits were struggling to be accepted because they were not seen as "real art" because it was controlled by the female sector. This article will dive into these challenges and try to understand how these challenges came to be.

Christian Dior Exhibition, Glenbow Museum, June 2019
Photo Courtesy of Natalie Heaton
The National Scottish Museum, May 2019
Photo Courtesy of Natalie Heaton
One of the largest obstacles that institutions face that the guests are unable to touch the garments. When it comes to clothing, the main sense that guests use is touch as it is what is familiar to them. Most museums do not allow the guest to touch the artefacts and more often than not, the garments are kept in glass cases while on display to protect and ensure its longevity. An example of a museum that does this is The National Scottish Museum in Edinburgh. This institution keeps all its garments in glass cases while on the floor. Since guests are not able to handle the clothing, the curator of the exhibition must find a creative way to solve this problem.

An additional obstacle that fashion and textile exhibitions often encounter, despite curator’s best efforts, is the affiliation with shopping or consumerism. Often, guests will associate what is in an exhibition to what is familiar in their lives. In this case, the guest will be related to one’s personal experiences of shopping or the clothing that they are wearing. This may be a strength because the institution does not have to contextualize the item, but with that being said, the museum may struggle to make the guest understand the object in a different way; to understand it as a form art.

Christian Dior Exhibition, Glenbow Museum, June 2019
Photo Courtesy of Natalie Heaton



This struggle with guests understanding fashion and textile as a form of art is nothing new. In fact, this has been a struggle for as long as museums have been around. “The European 19th century’s male-centric curatorial view understood fashion as a form of feminine folly.” This legacy has continued to be associated with fashion and textile exhibitions within the museum setting. Critics of these exhibitions continually undermine these exhibitions as they view them as a highly feminine, and just a way to keep the institution trendy, but never as art.


However, there has been a shift in recent years within fashion exhibitions to look at the construction of the clothing instead of just the garment. Through this shift, fashion is being considered as an art form based on the construction that goes into the different aspects of a garment. An example of this would be Iris Van Herpen: Transforming Fashion at the Royal Ontario Museum (ROM) in 2018. The exhibition focused on the creation of Van Herpen’s extravagant dresses, with videos, images and didactic stations. The emphasis on craftsmanship and the creation of Van Herpen’s garments is an example of how fashion is considered a form of art.

Iris Van Herpen: Transforming Fashion, ROM, October 2018.
Photo Courtesy of Natalie Heaton
Overall, fashion and textile exhibitions continue to evolve with the times. While, there continues to be a struggle for these exhibitions to be taken seriously and viewed as a form of art, they remain some of my favourite exhibits to visit.

24 February 2020

TEACHER STRIKES: HOW MUSEUMS ARE RESPONDING

Muse News | Michelle Wright



Ontario teachers have been without a contract since August 31, 2019, and even after months of negotiations there are few signs of progress. Between the work-to-rule campaigns and the rotating strikes everyone is feeling the impact. Today’s article will take a specific look into the impact this has had in the museum world, and how museums have responded.

Teachers on strike, February 21, 2020, St. Catharines, Ontario. Photo courtesy of Hillary Kerr.
Ontario’s French-language school boards (AEFO) also announced a work-to-rule campaign starting January 23, 2020 followed by The Elementary Teachers’ Federation of Ontario (ETFO) on February 3, 2020. This means that teachers will only undertake their scheduled teaching and supervision duties and not participate in any extracurricular actives, including field trips. The lack of school trips to museums has severely impacted several museums that rely on that income for the year. Institutions have reached out to boards not under this campaign, for example the Canadian Museum of Nature in Ottawa reached out to other boards and have been fortunate enough to not suffer substantial losses. Other museums, like Ottawa’s National Arts Centre, are forced to wait it out due to the nature of their programming. Museums are trying to provide extra services, both to help out the community with thousands of children needing care and to generate revenue.

The Ministry of Education agreed to provide parents with a credit of up to $60 when strike actions close schools or school-based childcare centres, however there is a need for parents to provide care for their children during these days. The City of Toronto says that it will not be able to provide alternate childcare options, but some museums across the city are stepping to the plate, some of the museums on the list include, the Royal Ontario Museum (ROM), the Ontario Science Centre, the McMichael Gallery, the Toronto Zoo, and more. Many of these one-day camps, as they are being called, are also offering early drop-off and/or late pick-up options, making museums even more of a help to parents.

The Science Centre admits that the program was a bit of a scramble to put together, but they were determined to provide students with a fun-filled science education. Lorrie Ann Smith, the director of education said, “It will be a full day of science adventure and excitement, so we will be doing interactive science experiments, maybe see an IMAX movie and we will go to the planetarium.” It was most-likely a scramble for other museums too, but through their hard work many are going above and beyond to provide an alternative fun and safe learning environment. Afterall, there is a reason these cultural institutions are one of the highest field-trip destinations for schools; museums provide an alternative learning method and have been proven successful tools of education for many students across all boards.

The Ontario Science Centre. Source.
Many other cultural institutions have been able to set up similar programs, but with no end in sight to the teacher strikes, it is hard to say exactly what will happen next.


21 January 2020

HIDDEN IN THE BACK: OPENING AND RE-INTERPRETING COLLECTION SPACES FOR THE PUBLIC

Collections Corner | Jaime Meier 


One of the reasons I decided to write for the "Collections Corner" column was because I knew very little about collections and wanted the opportunity to expand my knowledge by exploring current practices. A popular career choice by students in my program is collections work and a sentiment I have heard illustrating why is, "I like working alone and being surrounded by interesting objects." As an extrovert, the thought of going a full day without human interaction is harrowing. Collections rooms and warehouses act as private places for museum staff, but I am left wondering what role does the public play in collections, if any.

Image result for wdm collections
I was fortunate enough to tour the Western Development Museum collection over Christmas. (Source)
I believe that in order to stay relevant and serve their audiences, museums must be willing to share not only their exhibition spaces, but also their collection storage rooms. Museums belong to everyone, regardless of education, race, and gender, and therefore people have the right to see more than the exterior, a small part of the story. I was shocked the first time I saw a collections room, with a huge variety of items stacked high and low. By seeing the collection, I was reminded that these things were made by humans, for humans, and are still being cared for by humans to serve other humans. A variety of museums have begun to allow the public to access their spaces or bring the collection to the people via digitization projects.


The McCord Museum in Montreal has reconsidered how to incorporate the public into their collection through collaborating with Inuit Elders. In the early 2010s, eleven workshops were planned and included over 85 participants. While the elders were asked to be careful with the fragile objects, they were encourage to handle the objects freely and based on personal discretion. The unique aspect of touch allowed for unparalleled understandings of remembrance, narratives, demonstration, and communication between Inuit peoples, cultural objects, and the museum. The idea of having people go into a collection and touch objects without gloves may terrify some, but the very objects we collect, especially cultural significant ones, only unveil their true meaning once grounded in the hands of a person.

Quitsaq Tarriasuk and the late Simon Makimmak discussing a fishing rod (McCord Museum, April 29 , 2010, object accession number ME982X.386.1-3).  

Quitsaq Tarriasuk and the late Simon Makimmak discussing a fishing rod at the McCord Museum. (Source)


Physical, social, and economic barriers can prevent people from attending the collection location and many museums have turned to digitizing their collections for a wider audience. The Royal Ontario Museum (ROM) in Toronto has over 13 million artworks, cultural objects, and natural history specimens and approximately 43,004 have been published online. While not a complete reflection of the collection, it offers a unique glimpse into the collecting habits and considerations of a major institution. It has become a necessity to understand what objects are being held within museums, especially cultural significant or sacred ones. This aids in rectifying possible prior unethical collecting practices by re-opening spaces and conversation for communities to (re)connect and claim sovereignty over their items.

Opening collection spaces allows for the demystification of museum spaces and will only strengthen the public's connection to their past, present, and future. Since a vast majority of museums are colonial institutions, they have a special duty to share their collections with the communities involved and increase physical or technological access. Objects are not and should not be preserved just for people to look at, but experience on their own terms.

15 January 2020

TEACHING CLIMATE CHANGE PART II: LANGUAGE & NEED

Museums on Earth | Defne Inceoglu


Illustration courtesy of Defne Inceoglu.

\\\

In Part I of this column, we discussed the necessary politicization of museums that plan to tackle the subject of climate change. In Part II, we will look over how language affects learning and begin to address the needs of visitors.

\\\

Over the months of October and November, I undertook a visitor research project at the Royal Ontario Museum (ROM), where I conducted 100 anonymous interviews with visitors of varying demographics within the Life in Crisis: Schad Gallery of Biodiversity. The intention of this research was to inform my thesis work, which is interested in analyzing what exactly is the relationship between the halls of biodiversity galleries, the stuffed animals which inhabit them and the visitor who walks through them. What sort of takeaway is a biodiversity gallery that is focused on overarching themes related to a global ‘life in crisis’? How does the visitor see this; what do they look at or absorb and how do they relay what they've learned? 

An area of the Biodiversity Gallery which has stark climate change messaging. Photograph courtesy of Defne Inceoglu.


A didactic in the gallery which details the human
impact on Great Lakes ecosystems. Photograph courtesy
of Defne Inceoglu.



LANGUAGE 

Immediately, the idea of the language or the semiotics of climate change related displays created contention. It occurred to me that using a term like ‘climate change’ is not interchangeable with other concepts such as ‘deforestation’, ‘ocean acidification’, ‘habitat loss’ – among other things. The assumption that climate change would act as an umbrella term for most visitors ended up being false. Further to this, it appeared as though visitors at the ROM do not completely correlate or group these sorts of globally-scaled events like mass habitat loss or extinction with the idea of climate change. Language, then, plays an important role in creating climate change awareness and education.





Of the 99 participants who answered the question “in your own words, what was the exhibition trying to show?” – only 7 people outright mentioned climate change as a major theme in the Biodiversity Gallery. This small number however does not represent a gap in understanding of the exhibition’s themes -- rather it represents a wide variety of understanding, again enforcing the idea that there is more meaning-making going on than meets the eye. 

A portion of a display case in the gallery, detailing life
in the Great Lakes. Photograph courtesy of
Defne Inceoglu. 
When asked the question, some visitors replied:

“Endangered species. [Humans are] destructive to habitat(s)”. 
[Participant 13, aged 25-34, Ontario resident]. 

“Reminds us of nature, what was here before us”. [Participant 38, aged 25-34, Toronto resident].

“We’re losing things that were alive when I was a child. Urgency is accelerating”. 
[Participant 54, aged 45+, BC resident].

“Trying to show us nature and making us realize we are out there in the world. In our hands to see if these creatures are protected or destroyed”. 
[Participant 78, aged 35-44, Mississauga resident].





These four participants, while giving answers unrelated in terminology to climate change, demonstrate that the exhibition offered to them a divergent understanding. Here then, we see where the gaps emerge. A low percentage of visitors picked up on the explicit climate change message, opting instead to mention personal anecdotes or speak directly to a non-specific or generalized 'negative' human impact. This is a good start, and shows that visitors are in fact engaged and relating the content back to themselves in a way. However, we can now consider language as a barrier to universal understanding and we must shrug off the assumption that all visitors relate-to and can speak-to climate change terminology. Instead, we have to listen to our audiences and connect to what is really being asked for. 

NEED

When asked, "Do you have anything else you would like to share with me? Be they concerns or praises?" some visitors replied:

"Nice exhibit. Not a lot of actions steps, doom and gloom; what can you do? Missed opportunity". [Participant 51, aged 25-34, US resident].

"Needs stuff more prescriptive and non-intimidating. Small steps people can take".
[Participant 66, aged 25-34, Toronto resident].

"What is climate change, what are some of the effects, actually explaining it. The science, the challenge, [is it] attainable?"
[Participant 68, aged 45+, New York resident]. 

The arctic display case in the gallery. Photograph courtesy of
Defne Inceoglu.
I want to address this area of need. We took a long look at the language discrepancies that visitors presented. Now we see a request, a demand or want. Teaching hard-to-digest topics to museum visitors can be daunting, and discovering what visitors are looking for is a way to ensure that your messages are communicated effectively. In the ROM's case, it is clear that visitors are seeking out tangible, attainable action and information. This discovery is crucial in understanding how we can begin to create a running dialogue which will both educate, un-intimidate and invigorate visitors.



///

Next time, we'll cover a few different international institutions and their efforts in creating climate awareness using a biodiversity collection.

I did not go into detail on my research methods -- if you have questions please reach out through a comment and I can get back to you with more information.

This research was conducted with deep gratitude to the Social Sciences and Humanities Research Council for funding. The human research component of the project is approved by the University of Toronto's Research Ethics Board.

2 December 2019

FANG-TASTIC BLOODSUCKERS: INSIDE THE MEDIA PREVIEW

Muse News | Michelle Wright



On Wednesday, November 13th Musings was invited to the Royal Ontario Museum's (ROM) media preview of the blockbuster exhibition Bloodsucker: Legends to Leeches and it did not disappoint!

Dr. Sebastian Kvist. Photo courtesy of Alexandra Forand.
The morning started with perfectly themed refreshments, such as blood-orange cake, deviled-eggs, and little peanut butter and jelly sandwiches cut into bat shapes! We took our seats as CEO Josh Basseches gave his introduction speech and handed it off to curator Dr. Sebastian Kvist, who, with his fellow curator Dr. Doug Currie and their team, have worked on the exhibition for the past 11 months. He showed pictures of their field research where they often used themselves as live bait to collect samples of leeches and mosquitos and other fun bloodsuckers. Talk about dedication! Kvist also spoke about what he thinks this exhibition truly is; “Natural history has inspired culture, story telling, and artistic inspiration, that in turn has affected how we think of the natural kingdom. What this show would like to do, is to be able to empower you with the knowledge to be able to live side by side with bloodsuckers. Empowered by the knowledge that we can hopefully provide at this show.” We were then taken to the exhibition (located in Garfield Weston Exhibition Hall, Level B2) and given a tour by Kvist himself.

Introduction section on blood. Photo Courtesy of Alexandra Forand.
The bright red colour running through the exhibition works perfectly to remind the visitor of blood that is the source of sustenance for these creatures. The exhibition is broken up into nine sections and utilizes a variety of sounds, interactives, and visuals to immerse the visitor in the experience.  The introduction section set the stage for feeling like the visitor was inside a vein itself. The round shape of the room, the heart-beat sound, and the display gave the impression of a vein and allows the visitor to learn about the thing that is so important to these animals: blood. We toured through other sections on evolution, how animals suck blood, the diversity wall, folk lore on vampiric creatures, pop culture’s expression of vampires, the history of bloodletting, and the how to live with these creatures today. The exhibition was also filled with live specimen, such as leeches, mosquitoes, sea lamprey, and more.

Sea Lamprey. Photo Courtesy of Alexandra Forand.

Two things that Kvist highlighted about the exhibition was that it is trans-disciplinary, as well as a unique story to the ROM. Let’s sink our teeth into these for a moment. Including the sections on folk lore and pop culture makes this exhibition trans-disciplinary, meaning that there is both natural history and cultural history. But was adding these elements actually necessary for the exhibition? In many ways they feel like a way to draw people into the exhibition in the first place.
How do you get people to come into an exhibition about mosquitoes and leeches when most people actively avoid such creatures? 
By connecting them with things people do want to see; vampires. But if I’m honest you can just skip this part of the exhibition. It was well done, but the exhibition is so rich with other information to explore. We have seen vampires so often that it doesn’t feel like anything new. I will admit that I did like the first edition books Dracula that are on display.

Three books of original vampire tales; Vikram and The Vampire, first addition Dracula, and Carmella. Photo Courtesy of Alexandra Forand. 
Lastly the uniquely ROM story. One of my favourite sections was the barber shop from the 1700’s that spoke about the history of bloodletting. Bloodletting was originally performed by monks, but in the 12-14 century the church told them to focus on theology. Barbers had been coming to the monasteries for a long time to shave the monks’ heads. They had a presence and they had sharp objects to use in bloodletting. To this day, barber polls are indications of bloodletting, the red strip shows this barber let blood, and the white strips indicated the bandages they would use to patch up the wound, while the top ball indicates that leaches were used. Kvist explained that almost all of the objects here come from the European department of the ROM. He says that this is the reason why they are so proud that this is a ROM original show, because the ROM is filled with experts in so many fields.

Using an interactive element on mosquitoes. Photo Courtesy of Alexandra Forand.
There were a few missed opportunities, for example I would have loved to see something on blood donations, or even a partnership with blood drives. But of course you can’t hit everything.

Overall, the exhibition was a success and worth checking out, you could even say it is fang-tastic!

6 November 2019

WHO CARES?: CARING FOR THE SPIRITUAL ELEMENTS OF OBJECTS IN MUSEUM COLLECTIONS

Breaking the Glass Case | Alexandra Forand 

“Some pieces were stolen out from graves or families, individuals, but when they came to the museum does that mean that in the grand scheme of things, that’s where they were meant to be? You know, that their perceived end is at a museum? Or is that just part of their life?” – Don Bain (Lheit-lit’en--Carrier) 
Museums have amassed diverse and dense collections, and within these collections there are a number of Indigenous artifacts--objects that were once used for ceremonial practises and continue to be sacred to this day. These artifacts are physically conserved and cared for by museum staff, but what about the spiritual needs of these items? These artifacts aren’t simply inanimate objects, but instead they’re living beings and hold power even if they are removed from their original community. Until very recently the need to spiritually look after these objects has been largely ignored.

What I am trying to impress on you, dear reader, is that these spiritual objects are not simply artifacts within a collection, but are still a part of the outside world. The National Museum of the American Indian (NMAI) was one of the first institutions to recognize this and thus the museum’s Cultural Resource Centre was born. The centre creates a nurturing environment that properly honours the wishes of Indigenous peoples: to care, protect, and allow access to these objects. The Cultural Resource Centre at the NMAI acknowledges the dual life of these objects.

The NMAI (Source). 
The NMAI isn’t the only institution striving to care for more than the physical elements of these objects. During a revitalization project at the University of British Columbia’s Museum of Anthropology, the Vancouver Hindu community conducted an abishekam (ritual renewal) for a bronze figure of the Hindu God Vishnu that had been in the collection for 24 years. The abishekam involved anointing the figure with auspicious liquids including water mixed with turmeric, milk, oil, honey, and a type of fruit salad. The figure was dressed with regalia and floral garlands, before being offered a feast of fruits and sweets.

Another way ritual objects can be spiritually cared for is through smudging the collection or a specific object (smudging is the exposure to smoke from plants such as sweetgrass, tobacco, or sage).  In 2017, Kim Wheatley offered traditional blessings with water and tobacco for the Out of Depths: The Blue Whale Story exhibition at the Royal Ontario Museum.

Ritual smudging is one of many ways to care for ceremonial objects (Source). 
The way objects are stored in collections can also reflect the intervention of spiritual care. For instance, when displaying or storing a ceremonial pipe, the stem and bowl should be separated when not performing sacred ceremonies (If you are interested in a version the traditional story behind the ceremonial pipe, I’ve included the link here).

Up until this point I have focused on examples where members from the community came into the collection and cared for these object, but there are instances where community members have borrowed objects from museums’ collections. Mariam Clavir recalls:

“ a Kwakwaka’wakw family that was moving their old regalia from the Kwagiulth Museum in Cape Mudge, B.C., to the U’mista Cultural Center in Alert Bay gave a potlatch for this event. The objects were central to the celebration, and normally regalia would be worn and danced at a potlatch. The family, however, chose to show the fragile old pieces but not to dance them. Out of respect for this ancestral regalia, it was, as tradition demanded, witnessed by those at the event, but handled by its First Nations owners according to museum conservation standards.”

This story told by Clavir harkens back to the idea that led to the NMAI’s Cultural Resource Centre: preserved, but available to communities.

In museum collection there is a set protocol and a laundry list of best practises designed to care for the physical elements of museum artifacts. While I am not arguing to throw out these measures, I am urging museum collections (and the staff who work there) to prioritize the spiritual care the objects. At present these objects are being kept in a mausoleum, but these objects aren’t at the end of their life, instead they are still very much connected to the communities from which they originated. The benefits of caring for the spiritual elements of these objects greatly out-weighs the risks to the physical objects.

What do you think? Should spiritual care be applied to all museum objects? Have you seen it in praise or do you care for collections beyond the physical? Let me know! As always, you can leave a comment, send me an email (allyforand@gmail.com), or if Twitter and Instagram are more your speed my handle on both is @Ally_but_online.

5 November 2019

(FUN)DRAISING RETROSPECTIVE: 1.5 YEARS OF INTERVIEWS

(Fun)draising | Samantha Summers


This is my penultimate column of 2019, and thus it marks 1.5 years of me writing the (Fun)draising column. Rather than feature another interview this month, I decided to sit back and reflect a bit on what I have learned about fundraising over the past 16 months. (Don’t worry, I have some amazing interviews lined up for later this month and for 2020.)

A quote adorns the wall of the Textile Museum's collection space. "Who is worthy of memory?" -Desmond Miller.
Photo courtesy of Samantha Summers.

I started (Fun)draising knowing nothing at all about the art of fundraising. In fact, I didn’t even realize I was interested in this field as a career. I went to my first Musings meeting, was told it was essentially the only column available, and so I took it. Knowing nothing about fundraising, I decided the best way to tackle this would be to feature the words of those who do know something about fundraising. Surely that would be a better use of readers’ time than the ramblings of someone who knew nothing about the field.


Armed with all of the confidence of someone who did not understand this field very well, I set out to meet with anyone and everyone who was involved in the financial side of museums. I sent emails with abandon. I have met with Executive Directors, COOs, Directors, curators, and even high-profile donors. I have met with people who, now that I understand the field better, I am shocked ever took the time to meet with me. Which brings me to the first thing I have learned about fundraising through writing this column: this is a field of incredibly friendly people. You cannot be successful in fundraising (or I think a more accurate term, development) unless you are excellent at meeting with people and building and maintaining relationships with them.

The Art Gallery of Hamilton in downtown Hamilton. (Source.)

I would characterize the average development professional as passionate, driven, and incredibly warm. They are all deeply invested in the educational and social programming at their institutions, and work hard to ensure that other departments have the support they need to achieve their goals. My favourite question to ask my interviewees is what they think is the most exciting thing achieved through fundraising since they joined their institutions. Almost every single person I have spoken to has discussed providing the support for educational programming, supporting marginalized communities, and supporting their institution’s involvement in the local community.

I have learned that the root of development work is education; teaching potential donors about the importance of the work your institution does and showing them how they can support that mission. This can take many forms, from throwing major events like galas to meeting with people for coffee and a chat. As an aside, if you hate coffee, this might not be the field for you.

Friday Night Live, an event hosted at the ROM in which the museum becomes a club. Drink and dance with your favourite dinos! Source.

I have learned a lot of practical things writing this column, like the ideal ratio of funding from various sources to which major corporations tend to support what kind of philanthropy (any literacy initiatives coming up? Talk to TD). I have learned tips for how to make “The Ask” (for money) to major donors and smaller donors alike. I have learned that the financial side of museums requires just as much passion and heart as the more artistic side.


I get the impression at the Faculty of Information that we prefer to avoid talking about the financial side of museums, or to think of them as less our business than what might be more cultural concerns. It isn’t easy to marry ambitions of social justice and curating conversations with the capitalist reality in which museums exist, so we tend to sweep those realities under the rug. While there is a half-year course offered about fundraising and project management, and the Ethics, Management, and Leadership course usually includes an assignment involving a spreadsheet, we really don’t talk about money in a practical way during our museum studies courses here. The overwhelming impression this gives is that we are museum professionals, interested in tough conversations and changing the world, and the money side of things will be sorted out by the cold capitalists working in accounting and development.

A gift of custom Caxton Cicero stationary given to donors who helped the Fisher purchase the Caxton. Photo courtesy of Samantha Summers.
I think that this is a grave injustice to the field of development. This is not only an important field and one that everybody working in museums should have some understanding of, but also one that engages with some of museology’s biggest questions today in a very unique way. I hope that my column has introduced readers to this fascinating field, challenged our understandings of development, and provided some insight into this extremely important aspect of running a museum.


Here’s to another 16 months!