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2 records – page 1 of 1.

Date Range From
1995
Date Range To
2000
Material Type
Artifact
Materials
COTTON, LEATHER, WOOD
Catalogue Number
P20190005003
  2 images  
Material Type
Artifact
Date Range From
1995
Date Range To
2000
Materials
COTTON, LEATHER, WOOD
No. Pieces
1
Length
94
Width
24.5
Description
STUFFED COTTON PUPPET WITH LIGHT BROWN HANDS AND FACE; PUPPET HAS CURLY WHITE HAIR WITH TWO WHITE AND BLACK ADHESIVE-BACK EYES AND RED CUT-OUT MOUTH. PUPPET IS DRESSED IN BLUE AND WHITE SUIT JACKET WITH TWO BRASS BUTTONS ON FRONT, A WHITE SHIRT WITH ONE WHITE PLASTIC BUTTON, A BLACK BOWTIE, BLACK VELVET PANTS, AND BLACK LACE-UP LEATHER SHOES WITH RUBBER SOLES. CLOTHING IS SEWN ONTO PUPPET; SHOES HAVE TEXT INSCRIBED ON BOTTOM, “WILLITS”. LEFT HAND OF PUPPET HOLDS A WOODEN CONDUCTOR’S BATION WITH BLACK RUBBER END TIP, AND HAS ATTACHED TO HAND A BRASS ROD WITH WOODEN HANDLE. PUPPET HAS MINOR FRAYING OF THREADS; SHOES ARE SCUFFED; OVERALL VERY GOOD CONDITION.
Subjects
PUBLIC ENTERTAINMENT DEVICE
TOY
Historical Association
EDUCATION
History
ON FEBRUARY 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BARB CAVERS REGARDING HER DONATION OF ITEMS FROM HER HOME AND TEACHING CAREER. ON THE PUPPET, CAVERS RECALLED, “[I MADE THE PUPPET] PROBABLY ABOUT [1995] TO 2000…AT SENATOR BUCHANAN SCHOOL, AND I TAUGHT MUSIC TO GRADE TWO, THREE, AND FIVE, AND SIX, DEPENDING ON WHO WAS TEACHING THOSE GRADES, BUT I USED HIM PRIMARILY FOR GRADES TWO AND THREE…HE WAS JUST CALLED THE MAESTRO.” “ONCE I GOT INTO ADMINISTRATION IN THE SCHOOLS, RATHER THAN BEING A CLASSROOM TEACHER, I MOSTLY TAUGHT MUSIC AND ART, BECAUSE THOSE WERE SUBJECTS THAT HAD THE RIGHT NUMBER OF PERIODS. TEACHERS GOT THREE 30-MINUTE PERIODS A WEEK OF PREP TIME, SO I COULD GIVE A TEACHER THAT, WITH TEACHING MUSIC, WHICH I LOVED TO DO. IT WAS FUN. I’D BEEN TEACHING GRADE TWO AND THREE MUSIC FOR PROBABLY FOUR OR FIVE YEARS, AND, IN THE TEACHER GUIDE, THEY HAD DIRECTIONS ON HOW TO MAKE THIS…BEING A PERSON WHO LIKES TO MAKE THINGS, I THOUGHT, ‘WELL, THAT WOULD BE FUN.’ EARLIER, WHEN I WAS ACTING PRINCIPAL AT ALAN WATSON SCHOOL, [I] HAD BEEN TEACHING A GRADE SIX CLASS ART, AND WE HAD MADE SOFT SCULPTURES…AGAIN I SAID, ‘HOW HARD COULD IT BE?’ QUITE CHALLENGING ACTUALLY, BECAUSE LOTS OF THE KIDS HAD NEVER SEWED, BUT WE MADE THE WHOLE BODY PUPPET, AND THE KIDS BROUGHT THE CLOTHES AND DRESSED THEM. WE MADE THE FACES, TOO, OUT OF THE NYLON STOCKINGS, AND THE EYES, AND THEY ADDED HAIR, AND IT WAS REALLY FUN. WHEN I SAW THIS, I THOUGHT, ‘WELL, I CAN DO THAT, BECAUSE I’VE DONE THE SOFT SCULPTURE BEFORE.’ I HADN’T DONE THE KIND OF MUPPET HEAD BEFORE. HE’S KIND OF CRAZY LOOKING, BUT THE IDEA WAS THAT YOU COULD USE THIS GUY, BECAUSE HE HAS A BATON ATTACHED TO ONE HAND; THAT YOU COULD USE HIM TO GET KIDS TO BE ABLE TO BEAT OUT THE TIME; KIND OF ‘ONE-TWO-THREE’. A BIT MORE FUN TO WATCH A PUPPET THAN IT IS TO WATCH A TEACHER…[THE STUDENTS] WOULD BE ABLE TO HOLD HIM SOMETIMES, AND YOU CAN MANIPULATE HIS MOUTH BY GOING IN HIS BACK…I WANTED TO MAKE HIM, AND PARTLY BECAUSE I WANTED TO USE HIM, AND I DID USE HIM FOR ABOUT THE NEXT FIVE YEARS, IN THE CLASSROOM.” “[WE DIDN’T USE THE PUPPET] THAT MUCH. PROBABLY WITH EACH CLASS, MAYBE FIVE OR SIX TIMES, DURING THE YEAR, JUST USUALLY TO MAKE A POINT…THEN I’D MOVE ON, AND DO SOMETHING ELSE. PROBABLY THE KIDS WOULD HAVE LIKED TO SEE HIM MORE OFTEN, BUT I HAVE A SHORT ATTENTION SPAN SOMETIMES, SO I WANTED TO MOVE ON TO SOMETHING NEW.” CAVERS ELABORATED ON HER TIME TEACHING MUSIC, NOTING, “I THINK [TEACHING MUSIC IS] REALLY IMPORTANT. IT GETS A DIFFERENT PART OF YOUR BRAIN WORKING, THAN PENCIL, PAPER, SPEAKING, READING DOES. IT GIVES KIDS AN OPPORTUNITY TO MOVE, BECAUSE WE DID, PARTICULARLY WITH THE YOUNGER KIDS, WE DID LOTS OF MOVEMENT, AND ACTION SONGS…IT GAVE THEM AN OPPORTUNITY TO STRETCH, AND GET SOME OF THE ‘WIGGLES’ OUT…I THINK THE MIND AND THE SPIRIT ARE IMPORTANT. THE SPIRIT IS IMPORTANT IN MUSIC JUST TO THE JOY OF SINGING; THE JOY OF SINGING TOGETHER; MAKING MUSIC WITH INSTRUMENTS; OF PERFORMING. I ALWAYS LIKED TO HAVE CERTAIN TIMES OF THE YEAR…I REALLY LIKED CHRISTMAS CONCERTS. IT WAS REALLY A LOT OF WORK, BUT I REALLY LIKED IT, BECAUSE THE KIDS HAD A SENSE OF PERFECTING SOMETHING. WE DID LOTS OF CLASSROOM MUSIC FOR FRIDAY ASSEMBLIES…THE KIDS WOULD JUST GET UP AND SING A CLASSROOM SONG, OR SAY A POEM…WE DID LITTLE OPERETTAS…THOSE GAVE KIDS A REAL PRIDE IN WHAT THEY WERE ACCOMPLISHING—THAT THEY WORKED REALLY, REALLY HARD, AND HAD THAT SENSE OF REALLY PERFORMING WELL, WHICH I THINK IS IMPORTANT, TOO. WHEN YOU’RE PART OF A GROUP THAT’S PERFORMING, YOU CAN SHARE IN THE SUCCESS OF THAT, EVEN IF YOU’RE NOT THE BEST. SO, THERE’S SOMETHING ABOUT THE ANONYMITY; ABOUT BEING PART OF A CHORAL GROUP, OR AN INSTRUMENTAL GROUP, WHERE YOU GET TO SHARE THE BENEFIT OF ALL THE APPLAUSE, AND THANKS OF THE AUDIENCE…IF YOU’RE TEACHERS, EVEN IF YOU ARE NOT THE VERY BEST, THAT WAS IMPORTANT.” “I DIDN’T [GO TO THE KIWANIS FESTIVAL WITH MY STUDENTS]. I DID WHEN I WAS A CLASSROOM TEACHER, SOME SINGING, USUALLY FOR ‘SPEECH’, AGAIN BECAUSE I THOUGHT IT WAS IMPORTANT TO PERFORM. MAYBE FOR THE FIRST TEN YEARS OF MY TEACHING, AND THEN THERE WERE MORE OPPORTUNITIES WITHIN THE SCHOOL, THAT HADN’T BEEN THERE IN THE FIRST TEN YEARS. THEY DIDN’T SEE THE BENEFIT OF REGULAR ASSEMBLIES OR ANYTHING LIKE THAT.” “I STILL HAVE A BOX LABELLED MUSIC MAKING, WHICH HAS GOT A BUNCH OF LITTLE INSTRUMENTS, LIKE A RAIN STICK, AND THE THING THAT YOU BLOW THROUGH TO MAKE THE TRAIN SOUND, AND MARACAS…IT PARTICULARLY REMINDS ME OF THE MUSIC TEACHING AT SENATOR BUCHANAN, WHICH IS WHAT I DID MORE OF THAT THAN ANY OTHER KIND OF TEACHING, AND JUST THE FUN THAT WE HAD. FOR ME, WHEN YOU ARE THE PRINCIPAL OF A SCHOOL, YOU’RE REALLY ‘ON-CALL’ ALL THE TIME, BUT, WHEN I WAS TEACHING MUSIC, I WOULD SAY, ‘OK, NOBODY BOTHERS ME. THE ONLY TIME YOU INTERRUPT ME IS IF IT’S THE SUPERINTENDENT, OR MY HUSBAND, OR IF THERE IS, LIKE SOMEBODY’S REALLY SERIOUS EMERGENCY, BUT, ANY OTHER POINT, DON’T BOTHER ME’…THAT, TO ME, WAS JUST A TIME I COULD HAVE FUN, AND ENJOY BEING WITH THE CHILDREN…I GUESS LOOKING AT HIM MAKES ME THINK OF THAT, EVEN THOUGH HE’S KIND OF UGLY.” FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20190005001-GA.
Catalogue Number
P20190005003
Acquisition Date
2019-02
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, FELT, PAINT
Catalogue Number
P20160003002
  1 image  
Material Type
Artifact
Date Range From
1933
Date Range To
2000
Materials
CLOTH, FELT, PAINT
No. Pieces
2
Height
29.5
Width
15
Description
A: HANDMADE DOLL. THE “ESKIMO” DOLL IS MADE WITH LIGHT BLUE, FELT-LIKE FABRIC WITH WHITE FABRIC ACCENTS. THE FACE IS MADE OUT OF A LIGHTER FABRIC THAT IS PEACH-COLOURED. THE FACIAL DETAILS ARE HAND PAINTED. THE DOLL HAS BLUE EYES, EYEBROWS, NOSTRILS, RED LIPS, AND ROSY CHEEKS. THE LIGHT BLUE FABRIC THAT MAKES UP THE MAJORITY OF THE DOLL’S BODY IS ENCOMPASSING THE DOLL’S FACE LIKE A HOOD. THE DOLL’S TORSO IS COVERED IN THE LIGHT BLUE FELT. TWO HEART-SHAPED ARMS, MADE OF THE SAME MATERIAL, ARE ATTACHED TO EITHER SIDE OF THE BODY. THE DOLLS UPPER LEG AND FEET ARE COVERED IN THE LIGHT BLUE FELT. FROM THE KNEES TO THE ANKLES, A LIGHTER, WHITE FABRIC IS COVERING THE LEGS. B: DOLL SKIRT. AROUND THE DOLL’S WAIST IS A DETACHABLE SKIRT MADE OF THE SAME FABRIC AND A WHITE WAISTBAND. POOR CONDITION. ALL FABRIC IS WELL-WORN AND THREADBARE IN MULTIPLE PLACES. THE DOLL’S RED STUFFING IS VISIBLE THROUGH PARTS OF THE FABRIC. THERE IS DISCOLORATION (YELLOWING) OVERALL. THE STUFFING IS NOT EVENLY DISTRIBUTED THROUGHOUT THE DOLL. THE SEAMS AT THE ARMS ARE FRAGILE. THE PAINT FOR THE DOLL’S FACE IS SEVERELY FADED.
Subjects
TOY
Historical Association
ETHNOGRAPHIC
LEISURE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928 THEIR DAUGHTER, ELSIE WAS BORN. THE FAMILY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS DOLL BELONGED TO MORRIS AS A CHILD. SHE EXPLAINS, “THIS CAME FROM A GREAT AUNT WHO CAME TO VISIT US AND SHE ALWAYS BROUGHT GIFTS AND THIS ONE WAS MINE AND I LOVED THIS DOLL… I REMEMBER PLAYING WITH IT, IT WAS SOFT AND CUDDLY WHEN I HAD IT… MY DAUGHTER WENT THROUGH IT AND MY GRANDDAUGHTER AND THEN I PUT A STOP TO IT BEFORE THEY ATE IT UP OR DID SOMETHING… THEY LOVED IT AND THEY, YOU KNOW LITTLE KIDS, THEY’RE CARELESS SO I’LL KEEP IT...” IN A PHONE CALL WITH COLLECTIONS ASSISTANT ELISE PUNDYK ON OCTOBER 24, 2017, MORRIS SAID SHE RECIEVED THE DOLL FROM HER GREAT AUNT WHO HAD BROUGHT IT FROM VISITING BRITISH COLUMBIA. MORRIS PLAYED WITH THE DOLL AS A CHILD, AS DID MORRIS' CHILDREN. THE DOLL WAS LOVED BY MULTIPLE GENERATIONS IN MORRIS' FAMILY AS HER GRANDCHILDREN AND GREAT GRANDCHILDREN WOULD ALSO PLAY WITH THE DOLL WHEN THEY CAME TO VISIT. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail