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Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
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. THEY 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. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20150016008
  1 image  
Material Type
Artifact
Date
1902
Materials
COTTON
No. Pieces
1
Length
75.5
Width
29.5
Description
CHILD’S BAPTISMAL/CHRISTENING GOWN WITH AN OFF-WHITE COTTON BODY, PLEATED SKIRT WITH EMBROIDERED LEAF AND FLOWER PETAL MOTIF. IT HAS LACE CUFFS AND COLLAR. ADHESIVE MASKING TAPE, “GRANNY SUPINA’S CHRISTENING DRESS 1902, MADE BY GRANNY WOODS”. THERE ARE BUTTONS UP THE BACK TO FASTEN THE DRESS. FAIR TO GOOD CONDITION. SMALL IODINE-COLOURED STAIN ON BACK SKIRT. THERE IS A SMALL STAIN ON THE HEM AND 3 SMALL BURNS ON THE HEM. THERE IS A SMALL HOLE AT THE SIDE OF THE DRESS. THE BOTTOM BUTTON ON THE BACK OF THE DRESS IS MISSING. THERE ARE SMALL TEARS ON THE DRESS’ OPENING ON THE BACK. THERE IS SLIGHT TEARING AND FRAYING AT THE LACE COLLAR.
Subjects
CEREMONIAL ARTIFACT
Historical Association
RELIGION
COMMEMORATIVE
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA (OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE). HORHOZER WAS THE FIRSTBORN OF THE FAMILY AND WAS CHRISTENED IN THIS BAPTISMAL GOWN AT ST. PATRICK’S CHURCH. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY HISTORY. DONAH HILL MET NICHOLAS SUPINA WHEN HE CAME IN TO DO BUSINESS AT A GROCERY WHOLESALER, SCOTTS, WHERE SHE WORKED. THEY COURTED BEFORE MARRYING ON JUNE 7, 1922. FOR MORE INFORMATION ON THE COUPLE’S WEDDING, PLEASE SEE RECORD P20150016009. DURING THE INTERVIEW, HORHOZER EXPLAINED, “MY MOM WAS NOT CATHOLIC [LIKE MY FATHER WAS], BUT IT’S AMAZING HOW THAT DIDN’T SEEM TO ENTER INTO THEIR MARRIAGE. I THINK THEY MUST HAVE REALLY TALKED IT OVER, PREVIOUS TO THAT, AND MY MOM DIDN’T HAVE A STRONG RELIGION SO THAT HELPED. SHE DIDN’T INTERRUPT IN ANYTHING AT ALL, AND SHE KNEW THAT WE HAD TO BE BROUGHT UP AS CATHOLICS, BUT SHE NEVER ONCE BUTT IN. AND SO MY DAD KNEW MY BROTHER WAS NOT INTERESTED, SO HE JUST SAID TO US KIDS ONE DAY, “WHEN YOU GET OLD ENOUGH, YOU CAN MAKE YOUR OWN DECISION.” MY BROTHER LEFT AND I STAYED WITH MY DAD… MY DAD WAS EXTREMELY STRONG. I WOULD SAY MY HUSBAND TOO, JOE. HE WOULD NEVER MISS CHURCH. AND OF COURSE I WENT TO CHURCH WITH HIM ALL THE TIME AND I BELONGED TO THE CHOIR AND EVERYTHING WHEN I WAS YOUNG. I ALWAYS WENT TO CHURCH AND THAT, BUT, THE CHILDREN DIDN’T. WE WERE STRONG IN THAT WAY THAT WE ATTENDED CHURCH ALL THE TIME BUT, WE WEREN’T - WELL, I DON’T KNOW HOW TO DESCRIBE IT BUT I KNOW SOME PEOPLE KIND OF REALLY LIVED RELIGION AND GO TO CHURCH EVERY MORNING. WELL, NO WE WEREN’T LIKE THAT.” THE GOWN WAS MADE FOR HORHOZER BY HER GRANDMOTHER, DONAH SUPINA’S MOTHER. AFTER HAVING EVERAL, THE SUPINA’S HAD A SON NAMED NICK F. SUPINA. NICHOLAS SUPINA PASSED AWAY AT THE AGE OF 84 ON MARCH 27, 1975. DONAH PASSED AWAY 19 YEARS LATER ON MARCH 8, 1994 AT THE AGE OF 91. NICK PASSED AWAY IN 2012 AND HORHOZER PASSED AWAY IN LETHBRIDGE IN 2016 AT THE AGE OF 88 YEARS OLD. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT SUPINA’S MERCANTILE AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016008
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
TULLE
Catalogue Number
P20150016003
  1 image  
Material Type
Artifact
Date
1949
Materials
TULLE
No. Pieces
1
Length
120
Width
99
Description
WHITE TULLE VEIL WITH WHITE LACE HANDWORK AND TRIM. GOOD CONDITION. THERE ARE SMALL HOLES THROUGHOUT THE TULLE. FOUR SMALL GREEN-COLOURED STAINS. THERE IS SLIGHT FRAYING AT THE EDGES.
Subjects
CEREMONIAL ARTIFACT
Historical Association
PERSONAL CARE
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY HISTORY. THIS WEDDING VEIL WAS WORN BY EVERAL HORHOZER AS SHE MARRIED JOE HORHOZER. EVERAL MET JOE HORHOZER WHEN HE CAME TO SUPINA’S TO WORK. SHE REMEMBERS: “HE WAS HIRED BY MY DAD TO WORK IN THE BUTCHER SHOP [AFTER] HE CAME OFF TOUR. I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.' AND, MY AUNT HAPPENED TO BE VISITING, AND WHEN I WENT HOME FOR LUNCH SHE SAID, ‘OH, HAVE YOU GOT A STEADY BOYFRIEND?’ AND I SAID, ‘NO, BUT I’M GONNA HAVE ONE SOON.’ THAT’S HOW IT ALL HAPPENED. HE DIDN’T HAVE A CAR AT THE TIME AND HE SAYS, ‘I CAN’T TAKE YOU TO THE SHOW OR ANYTHING BECAUSE I DON’T HAVE A CAR,’ BUT, HE SAYS, ‘I’M SAVING FOR ONE, AND AS SOON AS I GET ONE…’ AND HE CAME OVER AND CALLED ON ME. MY DAD WAS THERE, BUT I DON’T THINK MY DAD THOUGHT IT WOULD DEVELOP INTO ANYTHING. MY MOTHER WAS QUITE HAPPY ABOUT HIM AND MY GRANDMA TOO, SHE WAS STAYING WITH US AT THE TIME. SO, ANYWAY THAT’S HOW IT STARTED.” WHEN THEY FIRST ENCOUNTERED EACH OTHER, EVERAL DID NOT KNOW ABOUT JOE’S MUSICAL CAREER: “I THINK IT WAS THAT SAYING, 'LOVE AT FIRST SIGHT,' THAT HAPPENED TO BE IT FOR ME, AND HE SAID IT WAS FOR HIM TOO. THERE MUST HAVE BEEN SOME CHEMISTRY THERE, BUT IT HAD NOTHING TO DO WITH HIM BEING POPULAR OR ANYTHING LIKE THAT. IT TURNED OUT JUST FINE.” HORHOZER GOES ON, “[W]E WENT TOGETHER - WELL IT WAS ABOUT A YEAR BEFORE [GETTING MARRIED]. WE DID BREAK UP FOR A WHILE AND THAT’S WHEN MY [LAUGHS] - THAT WAS KIND OF A CROOKED THING, BUT [MY DAD] WANTED US, OF COURSE, TO BREAK UP, SO IT WAS AROUND VALENTINE’S DAY WE BROKE UP. THEN [MY DAD] TOOK ME TO [MONTREAL]. I SAID, ‘YOU KNOW I’VE ALWAYS WANTED TO GO TO MONTREAL,’ CAUSE THAT’S WHERE HE DID HIS BUYING, SO HE TOOK ME TO MONTREAL. AND WHILE WE’RE IN MONTREAL, JOE’S WRITING TO ME ABOUT EVERY DAY. OTHERWISE I WOULD HAVE NEVER GOT TO GO THERE. SO THEN, I GOT BACK [AND] WE GOT TOGETHER AND THEN THAT’S WHEN WE MARRIED. YES, IT WAS WITHIN THE SAME YEAR, YES.” THE COUPLE MARRIED IN 1949. AS MENTIONED ABOVE THIS VEIL, AS WELL AS A HEADDRESS ALSO DONATED, WAS WORN BY HORHOZER ON THEIR WEDDING DAY. HORHOZER EXPLAINS, “THIS IS WHEN I GOT MARRIED. WE ELOPED, SO I JUST HAD THIS HEADDRESS AND A NICE WHITE SUIT AND THIS VEIL BEHIND IT… I HAD A NICE WHITE SUIT MADE FOR MYSELF; IT WAS VERY NICE. JOE BOUGHT ME AN ORCHID AND IT WAS VERY NICE, BUT NO SUCH THING AS A DRESS OR ANYTHING LIKE THAT… WELL, FOR ONE THING, MY DAD, OF COURSE, WAS TOTALLY AGAINST THE MARRIAGE. I [STILL] WORKED FOR [MY DAD] AND EVERYTHING, BUT HE NEVER SPOKE TO ME FOR FIVE YEARS. HE WAS JUST AGAINST THE MARRIAGE AND SO WE THOUGHT WELL WE’LL SAVE AN AWFUL LOT OF TROUBLE [BY ELOPING]. MY DAD WASN’T ONE YOU COULD TALK TO. PROBABLY IF I WOULD HAVE TALKED TO HIM, I THINK HE WOULD HAVE HAD SOMETHING [LIKE A WEDDING CEREMONY] FOR ME, BUT, I JUST WAS SO KIND OF NERVOUS ABOUT IT. WE JUST THOUGHT THAT WOULD BE THE BEST THING TO DO, WOULD BE TO ELOPE THE THING THAT I FEEL SO BAD ABOUT IS THAT OUR PARENTS WEREN’T THERE. I ALWAYS FELT BAD ABOUT MY MOTHER NOT BEING THERE. JOE AND I WENT TO ST. PATS, AND THAT WAS IN THE BASEMENT, AND WE GOT MARRIED THERE… I HAD TO WAIT. WE WANTED TO GET MARRIED WHEN I WAS 20, BUT THE PRIEST COULDN’T MARRY TILL YOU WERE 21. OF COURSE MY DAD MADE THE PRIEST STICK TO THAT BECAUSE HE WAS FRIENDS WITH FATHER CHRISTIAN, SO WE HAD TO WAIT TILL I WAS 21. [LAUGHS]… THEN ALL WE DID WAS GO TO GREAT FALLS AND THAT WAS THAT. WE DIDN’T HAVE MONEY BECAUSE I DIDN’T GET ANY MONEY AT ALL FROM MY DAD, WE WERE ON OUR OWN SO WE HAD TO BE VERY CAREFUL AT THAT TIME OF WHAT WE SPENT SO WE JUST WENT THERE, AND COME BACK AND STARTED, STARTED OUR LIFE. RENTED A LITTLE PLACE OVER ON THE 3RD AVE. NORTH THERE, AN APARTMENT, SO THAT WAS ABOUT IT.” AFTER THE MARRIAGE, EVERAL’S FATHER DID NOT SPEAK TO NEITHER EVERAL NOR JOE FOR FIVE YEARS. WHEN ASKED WHY HER FATHER WAS AGAINST THE MARRIAGE, HORHOZER REPLIED, “WELL, IT KIND OF SURPRISES ME, BECAUSE HE USED TO HAVE COFFEE WITH JOE ALL THE TIME; THEY WERE GOOD FRIENDS. I GUESS IT’S WAS BECAUSE HIS SISTER MARRIED SOMEBODY THAT WORKED IN THE STORE AND IT TURNED OUT TO BE A COMPLETE DISASTER. HE HAD TO PAY TO GET HER OUT OF THE BIG MESS HE THOUGHT, WELL, THE SAME THING WOULD HAPPEN TO ME. WHEN WE GOT MARRIED THEN [JOE LEFT SUPINA'S], AND HE THEN WORKED FOR EMERSON MOTORS, PLAYING JUST ABOUT EVERY NIGHT. THAT’S WHAT WE BOUGHT OUR HOUSE WITH. HE SAVED US MONEY AND AS SOON AS THE FIRST HOUSES THAT CAME AVAILABLE, THAT YOU COULD PUT A DOWN PAYMENT ON, WE BOUGHT ONE. [MY DAD] CAME TO SEE THE HOUSE, AND THE MINUTE HE SAW THE HOUSE THEN HE WAS HAPPY… HE DID COME ON HIS OWN TO LOOK AT IT. THEN WE INVITED HIM OVER FOR DINNER AND HE CAME. AND THEN MY MOTHER WOULD COME EVERY WEDNESDAY BECAUSE I STARTED WORKING, AND SO SHE’D COME EVERY WEDNESDAY AND MAKE SUPPER AND THAT, AND SO MY DAD WOULD COME. SO FROM THEN ON HE CAME EVERY WEDNESDAY. OH, AT CHRISTMAS OR WHENEVER WE WOULD INVITE HIM… AND HE WAS FINE EVER AFTER THAT.” JOE AND EVERAL HAD TWO CHILDREN TOGETHER: MELODEE MUTCH AND RAE FLANAGAN. JOE HORHOZER PASSED AWAY IN LETHBRIDGE ON OCTOBER 21, 2010 AT THE AGE OF 89 YEARS. HORHOZER WAS THE LAST SURVIVING MEMBER OF THE ALBERTA RANCH BOYS. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016003
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
GHST LETHBRIDGE
Material Type
Artifact
Materials
FELT, THREAD
Catalogue Number
P20140049004
  2 images  
Material Type
Artifact
Other Name
GHST LETHBRIDGE
Date
1913
Materials
FELT, THREAD
No. Pieces
1
Height
25
Length
77
Width
0.3
Description
A YELLOW AND GREEN FELT PENNANT. MACHINE SEWN IN WITH FELT IS THE TEXT “GHTS LETHBRIDGE”. FOUR FELT RIBBONS, TWO GREEN, TWO YELLOW, SIT AS TIES AT THE WIDE END OF THE PENNANT, HAND CUT BUT APPROXIMATELY 17.5 CM LONG AND 1.5 CM WIDE. ATTACHED TO THE BACK IS A PIECE OF MASKING TAPE, ON WHICH IS HANDWRITTEN “MADE BY MRS TAYLOR”. GOOD CONDITION: THE POINT OF THE PENNANT IS FALLING APART AS THE FELT PULLS APART.
Subjects
CEREMONIAL ARTIFACT
Historical Association
COMMEMORATIVE
ASSOCIATIONS
HEALTH SERVICES
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS BANNER WAS DONATED TO THE GALT SCHOOL OF NURSING ALUMNAE BY ELIZABETH TAYLOR (NEE PATTESON), WHO WAS A PART OF THE FIRST CLASS OF THE GSN. IT WAS OBTAINED BY TAYLOR IN 1913, BUT ITS USE IN THE HOSPITAL IS UNKNOWN. THE WRITER OF THE ARTIFACT’S HISTORY BELIEVES, “[TAYLOR] PROBABLY RECEIVED [THE BANNER] EITHER DURING TRAINING OR WHEN SHE GRADUATED.” ACCORDING TO A PROFILE IN THE DECEMBER 4, 1981 ISSUE OF THE LETHBRIDGE HERALD AND GALT ARCHIVES RECORD 19971065002, ELIZABETH PATTESON WAS BORN IN FORT MACLEOD IN 1891 – HER FATHER, THOMAS EDWARD PATTESON, WAS A STAFF SERGEANT WITH THE NWMP. THE FAMILY MOVED TO LETHBRIDGE IN 1904, AND ELIZABETH BEGAN HER TRAINING AT THE GALT SCHOOL OF NURSING IN 1910. AFTER GRADUATION IN 1913 SHE NURSED IN SOUTHERN ALBERTA BEFORE MOVING TO EDMONTON IN 1914, WHERE SHE MET AND MARRIED LT. ARNOLD TAYLOR. ELIZABETH ENLISTED AND WENT OVERSEAS WITH THE CANADIAN ARMY SERVICE CORPS, WORKING WITH THE BRITISH RED CROSS AND GIVING BIRTH TO A SON, JOHN, IN HASLEMERE, ENGLAND. IN 1919 THE FAMILY RETURNED TO CANADA AND SETTLED IN EDMONTON. IN 1920 TAYLOR JOINED THE OVERSEAS NURSING SISTERS, WHICH SUPPORTED VETERANS IN HOSPITALS, AND WORKED FOR YEARS WITH THE CANADIAN NATIONAL INSTITUTE FOR THE BLIND AND GIRL GUIDES. A 1991 LETHBRIDGE HERALD ARTICLE ABOUT THE CELEBRATION OF THE GALT HOSPITAL CENTENNIAL MENTIONS PATTESON TAYLOR AS EXPECTED TO ATTEND THE CEREMONY AT AGE 99, THE LAST SURVIVING MEMBER OF THE FIRST GALT SCHOOL OF NURSING CLASS. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049004
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003001
  1 image  
Material Type
Artifact
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
4
Length
41
Width
12
Description
WOODEN FLAIL. ONE END HAS A PADDLE WITH A WIDTH THAT TAPERS FROM 12 CM AT THE TOP TO 10 CM AT THE BASE. THE PADDLE IS WELL WORN IN THE CENTER WITH A HEIGHT OF 4 CM AT THE ENDS AND 2 CM IN THE CENTER. HANDLE IS ATTACHED TO THE PADDLE AND IS 16 CM LONG WITH A CIRCULAR SHAPE AT THE END OF THE HANDLE. ENGRAVED ON THE CIRCLE THE INITIALS OF DONOR’S MATERNAL GRANDMOTHER, ELIZABETH EVANAVNA WISHLOW, “ . . .” GOOD CONDITION. THERE IS SLIGHT SPLITTING OF THE WOOD ON THE PADDLE AND AROUND THE JOINT BETWEEN THE HANDLE AND THE PADDLE. OVERALL WEAR FROM USE.
Subjects
AGRICULTURAL T&E
Historical Association
AGRICULTURE
ETHNOGRAPHIC
History
THE 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. THIS WOODEN DOUKHOBOR TOOL IS CALLED A “FLAIL.” A NOTE WRITTEN BY ELSIE MORRIS THAT WAS ATTACHED TO THE FLAIL AT THE TIME OF DONATION EXPLAINS, “FLAIL USED FOR BEATING OUT SEEDS. BELONGED TO ELIZABETH EVANAVNA WISHLOW, THEN HANDED TO HER DAUGHTER ELIZABETH PETROVNA KONKIN WHO PASSED IT ON TO HER DAUGHTER ELIZABETH W. MORRIS.” ALTERNATELY, IN THE INTERVIEW, MORRIS REMEMBERED HER GRANDMOTHER’S, “… NAME WAS JUSOULNA AND THE MIDDLE INITIAL IS THE DAUGHTER OF YVONNE. YVONNE WAS HER FATHER’S NAME AND WISHLOW WAS HER LAST NAME.” THE FLAIL AND THE BLANKET, ALSO DONATED BY MORRIS, WERE USED TOGETHER AT HARVEST TIME TO EXTRACT AND COLLECT SEEDS FROM GARDEN CROPS. ELSIE RECALLED THAT ON WINDY DAYS, “WE WOULD PICK DRIED PEAS OR BEANS, OR WHATEVER, AND WE WOULD [LAY THEM OUT ON THE BLANKET], BEAT AWAY AND THEN HOLD [THE BLANKET] UP, AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN.” THE FLAIL CONTINUED TO BE USED BY ELIZABETH “RIGHT UP TO THE END,” POSSIBLY INTO THE 1990S, AND THEREAFTER BY MORRIS. WHEN ASKED WHY SHE STOPPED USING IT HERSELF, MORRIS SAID, “I DON’T GARDEN ANYMORE. FURTHERMORE, PEAS ARE SO INEXPENSIVE THAT YOU DON’T WANT TO GO TO ALL THAT WORK... I DON’T KNOW HOW MANY PEOPLE HARVEST THEIR SEEDS. I THINK WE JUST GO AND BUY THEM IN PACKETS NOW.” 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. DOUKHOBOURS CAME TO CANADA IN FINAL YEARS OF THE 19TH CENTURY TO ESCAPE RELIGIOUS PERSECUTION IN RUSSIA. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907 TO HER PARENTS, PETER AND ELIZABETH WISHLOW. AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, AND THEY LATER MOVED TO THE DOUKHOBOR SETTLEMENT AT SHOULDICE. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. THEIR DAUGHTER, ELSIE MORRIS (NÉE KONKIN), WAS BORN IN SHOULDICE IN 1928. INITIALLY, WILLIAM TRIED TO SUPPORT HIS FAMILY BY GROWING AND PEDDLING VEGETABLES. WHEN THE FAMILY RECOGNIZED THAT GARDENING WOULD NOT PROVIDE THEM WITH THE INCOME THEY NEEDED, WILLIAM VENTURED OUT TO FARM A QUARTER SECTION OF IRRIGATED LAND 120 KM (75 MILES) AWAY IN VAUXHALL. IN 1941, AFTER THREE YEARS OF FARMING REMOTELY, HE AND ELIZABETH DECIDED TO LEAVE THE ALBERTA COLONY AND RELOCATE TO VAUXHALL. MORRIS WAS 12 YEARS OLD AT THE TIME. MORRIS STATED: “… [T]HEY LEFT THE COLONY BECAUSE THERE WERE THINGS GOING ON THAT THEY DID NOT LIKE SO THEY WANTED TO FARM ON THEIR OWN. SO NOW NOBODY HAD MONEY, SO VAUXHALL HAD LAND, YOU KNOW, THAT THEY WANTED TO HAVE THE PEOPLE AND THEY DIDN’T HAVE TO PUT ANY DOWN DEPOSIT THEY JUST WERE GIVEN THE LAND AND THEY HAD TO SIGN A PAPER SAYING THEY WOULD GIVE THEM ONE FOURTH OF THE CROP EVERY YEAR. THAT WAS HOW MY DAD GOT PAID BUT WHAT MY DAD DIDN’T KNOW WAS THAT THE MONEY THAT WENT IN THERE WAS ACTUALLY PAYING OFF THE FARM SO HE WENT TO SEE MR., WHAT WAS HIS LAST NAME, HE WAS THE PERSON IN CHARGE. ANYWAY HE SAID TO HIM “HOW LONG WILL IT BE BEFORE I CAN PAY OFF THIS FARM” AND HE SAYS “YOU’VE BEEN PAYING IT RIGHT ALONG YOU OWE ABOUT TWO HUNDRED AND A FEW DOLLARS”. WELL THAT WAS A REAL SURPRISE FOR THEM SO THEY GAVE THEM THE TWO HUNDRED AND WHATEVER IT WAS THAT HE OWED AND HE BECAME THE OWNER OF THE FARM." MORRIS WENT ON, ”THE DOUKHOBORS ARE AGRARIAN, THEY LIKE TO GROW THINGS THAT’S THEIR CULTURE OF OCCUPATION AND SO THE ONES WHO LIKED FRUIT MOVED TO B.C. LIKE MY UNCLE DID AND MY DAD LIKED FARMING SO HE MOVED TO VAUXHALL AND THERE WERE LET’S SEE, I THINK THERE WERE FOUR OTHER FAMILIES THAT MOVED TO VAUXHALL AND THREE OF THE MEN GOT TOGETHER AND DECIDED THEY WERE GOING TO GET THEIR TOOLS TOGETHER LIKE A TRACTOR AND MACHINERY THEY NEEDED AND THEN THEY WOULD TAKE TURNS…” THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
PAPER, RIBBON, SEQUINS, FOIL, STYROFOAM, FELT, COTTON, METAL, PLASTIC
Catalogue Number
P20150022004
  1 image  
Material Type
Artifact
Date
1998
Materials
PAPER, RIBBON, SEQUINS, FOIL, STYROFOAM, FELT, COTTON, METAL, PLASTIC
No. Pieces
7
Height
17
Diameter
8
Description
ALL CHRISTMAS ORNAMENTS HAVE A ROUND STYROFOAM CENTRE. A: CHRISTMAS ORNAMENT. GOLD PAPER ON BODY, GATHERED AT THE TOP, WITH NARROW GOLD RIBBON (WITH PURPLE SPOTS PAINTED ON) AND WITH WIDE, FLEXIBLE GOLD RIBBON, WITH SMALL STARS IN THE FABRIC. SMALL SILVER COLOURED BUTTERFLY EARRING AFFIXED ON ONE OF FOUR PIECES OF WIDE GOLD RIBBON. HAND DRAWN MISTLETOE ALL THE WAY AROUND ORNAMENT, BELOW THE RIBBON. METAL WIRE FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "LYNNE GREGSON 'CAN YOU FIND THE BUTTERFLY?'" DESIGNED BY LYNNE GREGSON, AN ARTIST KNOWN FOR HIDING BUTTERFLIES WITHIN HER WORKS. VERY GOOD CONDITION. B: CHRISTMAS ORNAMENT. GOLD SEQUINS ON BODY, WITH BLACK SEQUINS FORMING A JUDO BELT AROUND CENTRE OF ORNAMENT. TOPPED WITH FLEXIBLE GOLD FABRIC RIBBON AND FLEXIBLE GOLD WIRE WITH PLASTIC GOLD COLOURED STARS ATTACHED. CANADIAN OLYMPIC PIN ON GOLD FABRIC RIBBON, ABOVE TIE OF BLACK BELT. METAL WIRE FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "JOE MELI". DESIGNED BY JOE MELI, A FOUR TIME OLYMPIAN. VERY GOOD CONDITION. C: CHRISTMAS ORNAMENT. GOLD AND SILVER COLOURED. BODY PRIMARILY MADE OF SILVER COLOURED STRAIGHT PINS, PUSHED INTO STYROFOAM BALL. VERTICLE STRIPES AROUND BALL: EIGHT STRIPES OF A SILVER/GOLD/BLACK RIBBON, FOUR STRIPES OF SILVER STRAIGHT PINS, AND FOUR STRIPES OF SILVER STRAIGHT PINS, WITH GOLD COLOURED THUMB TACKS. GOLD THREAD WOVEN ALL AROUND BALL. SILVER COLOURED CORDING FOR HANGING ORNAMENT. SMALL PAPER TAG ATTACHED READS: "LESLIE ROBINSON-GREENE '98" DESIGNED BY LESLIE ROBINSON-GREENE, A COSTUMER AT THE UNIVERSITY OF LETHBRIDGE DRAMA DEPARTMENT. VERY GOOD CONDITION. GOLD THREAD LOOSE IN PLACES, BUT IS STILL ATTACHED TO ORNAMENT. D: CHRISTMAS ORNAMENT. GREEN SEQUINS WITH WHITE STRAIGHT PINS PUSHED INTO STYROFOAM BALL. WHITE SATIN ROSETTES AT TOP OF ORNAMENT. METAL WIRE FOR HANGING ATTACHED TO VERY NARROW WHITE SATIN RIBBON. SMALL PAPER TAG ATTACHED READS: "FIRST SNOWFLAKES - DORY ROSSITER" DESIGNED BY DORY ROSSITER, A BROADCASTER WITH CTV NEWS. VERY GOOD CONDITION. E: CHRISTMAS ORNAMENT. BLUE FOIL PAPER BODY. SINGLE PIECE OF NARROW SILVER COLOURED RIBBON VERTICALLY AROUND ORNAMENT. STRAND OF PLASTIC CHRISTMAS LIGHTS VERTICALLY AROUND ORNAMENT, PERPENDICULAR TO SILVER RIBBON. LIGHTS ARE RED, YELLOW, GREEN, BLUE, AND PURPLE. STRAND OF LIGHTS GATHERED AT THE TOP OF ORNAMENT, WITH FIVE METAL BELLS (2 VERY SMALL, 2 SMALL, 1 MEDIUM SIZED), AND TWO PLASTIC, GOLD-COLOURED VIOLINS. SEVENTEEN SILVER COLOURED 16TH-NOTES STUCK ONTO BLUE FOIL. SILVER RIBBON FOR HANGING. SMALL PAPER TAG ATTACHED READS: "MIKE LEBLANC CJOC" DESIGNED BY MIKE LEBLANC, WHO WORKED FOR CJOC. VERY GOOD CONDITION. APPEARS THAT SEVERAL 16TH-NOTES HAVE FALLEN OFF OVER THE YEARS. FOIL IS SILVER WHERE THESE NOTES HAVE FALLEN OFF. SOME GLUE REMAINS IN THESE LOCATIONS. F: CHRISTMAS ORNAMENT. BLUE SPARKLES, WITH GOLD COLOURED "CFCN - CTV" PINS STUCK INTO THE STYROFOAM BALL. SEVERAL ITEMS DEOCRATE THE TOP OF THE ORNAMENT: GOLD COLOURED PINECONE; THREE PLASTIC PINE SPRIGS; GREEN PLASTIC LEAVES WITH SPARKLES; BLUE PLASTIC APPLE WITH SPARKLES; FOUR BLUE BERRIES ON LONG GREEN STEMS; GOLD COLOURED MICROPHONE; AND A SMALL, BLUE, FOIL WRAPPED (WITH GOLD STRING RIBBON) GIFT. NO HANGING SYSTEM. SMALL PAPER TAG ATTACHED READS: "TERRY VOGT, CFCN-TV" DESIGNED BY TERRY VOGT, WHO WORKED AT CFCN. (AS OF 2016, HE REMAINS WITH CTV NEWS) GOOD CONDITION. SPARKLES COME OFF WITH MINIMAL HANDLING. G: CHRISTMAS ORNAMENT. OFF-WHITE COTTON FABRIC, STRAIGHT PINNED ONTO STYROFOAM BALL AT TOP. FABRIC HANGS DOWN, LEAVING STYROFOAM EXPOSED AT BOTTOM OF ORNAMENT. PIECE OF BLACK STRING TIED WITH A SQUARE KNOT, HORIZONTALLY AROUND ORNAMENT. TOPPED WITH A LARGE WHITE POM-POM, ON TOP OF WHICH IS A HAT MADE OF RED FELT, A SMALL WHITE POM-POM, AND WHITE PIPE CLEANER. GIVES THE APPEARANCE OF SANTA WEARING A JUDOGI. WRITTEN ON FRONT OF JUDOGI: "LETHBRIDGE JUDO CLUB" WITH JAPANESE CHARACTERS ON REVERSE. NO PAPER TAG ATTACHED. DESIGNED BY YOSH SENDA, FOUNDER OF THE LETHBRIDGE KYODOKAN JUDO CLUB. FAIR TO GOOD CONDITION: LARGE POM-POM VERY LOOSELY ATTACHED TO MAIN PART OF ORNAMENT.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DOMESTIC
History
THESE CHRISTMAS ORNAMENTS CAME FROM A HOLIDAY ARTISTAN MARKET HELD AT THE SOUTHERN ALBERTA ART GALLERY (SAAG) WHERE THE DONOR WORKED (FROM 1992-2003). IN AN ORAL INTERVIEW WITH THE DONOR, ANINE VONKEMAN, CONDUCTED BY KEVIN MACLEAN IN JUNE 2015, ANINE EXPLAINED THAT THE ORNAMENTS CAME FROM A “CELEBRITY CHRISTMAS TREE RAFFLE … WE WOULD GO INTO THE COMMUNITY AND ASK LOCAL CELEBRITIES … TO DECORATE AN ORNAMENT OF CHOICE ... AND SO THIS PARTICULAR YEAR, IT WAS A STYROFOAM BALL.” THE TREE AND ORNAMENTS WERE RAFFLED OFF AND ANINE’S FATHER, WIM, WON. SHE RECOUNTED THE EVENT SAYING: “MY PARENTS CAME TO THE SALE RELIGIOUSLY EVERY YEAR AND THEY WOULD BUY THEIR RAFFLE TICKET. AND BRIAN GALLANT WAS SANTA, WHO’S A VOLUNTEER FOR SAAG … AND IT WAS HIS JOB TO PULL THE RAFFLE TICKET OUT TO ANNOUNCE THE WINNTER. AND AT THIS PARTICULAR EVENT, MASON [DONOR’S SON] WAS THERE, AND HE WAS JUST LITTLE AND SO SANTA LET MASON PULL THE NAME … AND SANTA GAVE IT TO ME TO ANNOUNCE ON THE MIC TO EVERYBODY WHO WAS THERE WHO HAD WONT THE TREE AND IT WAS MY DAD. SO INSTEAD OF SAYING, ‘AND THE WINNER OF THE TREE IS WIM VONKEMAN’ I SAID ‘THE WINNER OF THE TREE IS’ – AND THEN I LOOKED AT THE PIECE OF PAPER – ‘MY DAD!’ AND I GOT SOME FLACK OVER THAT FROM MY BOSS, JOAN STEBBINS AT THE TIME, BUT WHATEVER, IT WAS LEGITIMATE.” ANINE CONTINUED, SAYING “SO MY PARENTS PUT THE TREE UP IN THEIR HOUSE IN PICTURE BUTTE FOR YEARS AND THEN WHEN MY DAD PASSED AWAY AND MY MOM MOVED INTO LETHBRIDGE IN 2008 SHE NEEDED TO DOWNSIZE SO SHE GAVE ME THE TREE. AND SOME OF THE ORNAMENTS HAD DETERIRORATED AND THEN AT MY HOUSE SOME OF THEM DETERIORATED EVEN FURTHER … THE ONES THAT I SALVAGED ARE OF PEOPLE THAT I THOUGHT WERE OF PARTICULAR IMPORTANCE TO THE COMMUNITY.” ANINE WAS BORN IN HOLLAND IN 1967 AND EMIGRATED TO CANADA WITH HER PARENTS (WIM AND TRUDY) AND TWO BROTHERS (ALWIN AND HERWIN) IN NOVEMBER 1981, FOLLOWING A FAMILY VACATION TO CANADA IN 1979. HER FAMILY SETTLED IN THE PICTURE BUTTE AREA TO FARM. HER FATHER HELPED TO ESTABLISH THE DUTCH-CANADIAN CLUB AND THE GALT 8 MINE SOCIETY. ANINE CAME TO LETHBRIDGE IN 1986 TO ATTEND THE UNIVERSITY OF LETHBRIDGE (U OF L) AND STARTED WORKING AT SAAG IN 1992, TWO WEEKS AFTER GRADUATING FROM THE U OF L. SHE BEGAN AS THE PUBLIC PROGRAMS COORDINATOR AND “WAS DOING MEDIA STUFF, VOLUNTEER COORDINATION, SPECIAL EVENTS COORDINATION AND STARTED THE ART AUCTION.” BY 2004 ANINE WAS WORKING AT THE GALT AS MARKETING/COMMUNICATIONS OFFICER. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND SEE P20150005000 FOR ADDITIONAL INFORMATION ON THE VONKEMAN FAMILY.
Catalogue Number
P20150022004
Acquisition Date
2015-06
Collection
Museum
Images
Less detail
Other Name
BALE OR HAY HOOK
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
METAL, WOOD, IRON
Catalogue Number
P20150010009
  2 images  
Material Type
Artifact
Other Name
BALE OR HAY HOOK
Date Range From
1940
Date Range To
1950
Materials
METAL, WOOD, IRON
No. Pieces
1
Height
11.0
Length
24.5
Width
12..7
Description
HAY CROOK OR BALE HOOK. METAL AND WOODEN HANDLE, WITH CAST IRON HOOK. MAIN PORTION OF THE HANDLE IS WOODEN, WITH A MEDIUM AND LIGHT GREY PAINTED FINISH. WHERE THE HANDLE ATTACHES TO THE HOOK IS SILVER COLOURED METAL, WITH A MEDIUM LIGHT BLUE PAINTED FINISH. THE HOOK ITSELF IS CAST IRON, WITH A RED PAINTED FINISH. OVERALL IN FAIR TO GOOD CONDITION. STRUCTURALLY THE HOOK IS IN VERY GOOD CONDITION, BUT THE PAINTED SURFACES ARE ALL VERY WORN. THE WOODEN HANDLE APPEARS TO HAVE BEEN FINISHED IN A LIGHT GREY FIRST, WITH A LATER ADDITION OF MEDIUM GREY PAINT. BOTH OF THE GREY FINISHS ARE VERY SCUFFED AND SCRATCHED AND THERE IS A LOT OF EXPOSED WOOD. THE MEDIUM BLUE FINISH OF THE METAL PORTION OF THE HANDLE HAS FLAKED OFF IN SEVERAL AREAS. SEVERAL MORE AREAS OF THE FINISH ARE LOOSE. THE RED FINISH ON THE CAST IRON IS VERY WORN, REVEILING BOTH UNFINISHED METAL AND A LIGHT BLUE PAINT.
Subjects
AGRICULTURAL T&E
Historical Association
SAFETY SERVICES
History
THIS HAY CROOK OR BALE HOOK WAS USED BY THE LETHBRIDGE FIRE DEPARTMENT. IN THE SUMMER OF 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN, CONDUCTED A SERIES OF INTERVIEWS WITH CURRENT AND FORMER MEMBERS OF THE FIRE DEPARTMENT, INCLUDING: CLIFF “CHARLIE” BROWN (HIRED IN 1966, RETIRED 2004), TREVOR LAZENBY (HIRED IN 1994), RAYMOND “RAY” PETIT (HIRED 1965, RETIRED 1998), AND LAWRENCE DZUREN (HIRED 1959, RETIRED 1992). ALL FOUR MEN AGREE THAT THE HOOK WAS USED TO HELP FIGHT HAYSTACK FIRES ON LOCAL FARMS. BROWN EXPLAINS THE DIFFICULTY OF DEALING WITH A HAYSTACK FIRE AND WHY THE HOOK WAS SO USEFUL: “WITH A HAYSTACK FIRE, ONCE IT STARTS ON FIRE, THE WHOLE STACK IS WRECKED, EVEN THOUGH IT DOESN’T BURN, BECAUSE THE SMOKE GOES THROUGH IT, THE HAY IS CONTAMINATED AND THE ANIMALS AREN’T GOING TO EAT IT, SO YOU PRETTY WELL HAVE TO KNOCK IT DOWN ANYWAY. AS SOON AS YOU PUT WATER ON IT, IT WILL SMOLDER, AND SMOLDER, AND SMOLDER. PROBABLY ONE OF THE HARDEST FIRES TO PUT OUT IS A HAYSTACK FIRE, BECAUSE YOU CAN’T GET THE WATER TO IT. … YOU PUT YOUR WATER, YOU SOAK ON TOP OF THE BALES AND IT JUST WON’T SOAK IN, SO YOU HAVE TO TAKE EVERY BALE APART, BREAK EVERY PIECE APART, EVERY LITTLE BALE, BREAK IT DOWN, HOSE IT DOWN, NEXT BALE, BREAK IT APART, HOSE IT DOWN, AND CONTINUE.” LAZENBY RECALLED SEEING THE HAY CROOK ON THE TRUCK WHEN HE FIRST STARTED AND EXPLAINED: “I’M NOT A FARM KID AND I DIDN’T KNOW WHAT IT WAS.” HE ASKED WHAT IT WAS, RECEIVING THE REPLY: “’WELL, IT’S A BALE HOOK’ AND I SAID, ‘SO I’M NOT TRYING TO BE A SMART ALECK HERE, BUT WHY DO WE HAVE BALE HOOKS ON THE ENGINE?’ THEY SAID, ‘WELL, IN CASE WE GO TO A HAY BALE FIRE.’ YOU KNOW, ASK A SIMPLE QUESTION, YOU GET A SIMPLE ANSWER, RIGHT? … I NEVER SAW ONE USED AND … THIS IS ONE OF THOSE PIECES OF EQUIPMENT THAT GOT PHASED OUT SHORTLY AFTER THE BEGINNING OF MY CAREER. … THIS WAS ONE OF THOSE PIECES THAT WE FOUND THAT WE JUST DIDN’T HAVE A USE FOR. YOU CAN MOVE HAY BALES WITH OTHER MEANS THAN TO HAVE A SET OF BALE HOOKS ON THE TRUCKS, SO THEY WENT AWAY.” PETIT RECALLED USING THE HOOK AND ADDED: “IT WAS USUALLY ON THE PUMP WHEN THEY RESPONDED TO GRASS FIRES … SOMETIMES WE’D TAKE THAT, NOT USUALLY TO FIGHT THE FIRE, BUT WHEN YOU HAD TO KNOCK [THE BALES] DOWN, YOU HAD TO DRAG THE BALES OUT OF THE WAY. OTHERWISE THEY WOULD START THE FIRE ALL OVER AGAIN. IT WASN’T USED THAT MUCH BUT WE DID GO TO QUITE A FEW FIRES, YOU KNOW, STACKS OF BALES.” DZUREN AGREED: “WELL, IT’S THE BAILING HOOK. AND THAT’S JUST TO MOVE ANY, WHETHER IT’S A BALE OF STRAW OR ANY OTHER ITEM THAT HAD TO BE MOVED AWAY FROM THE FIRE, OR JUST, YOU KNOW, SEGREGATED FROM WHAT WAS ALREADY BURNING.” HE RECALLED THAT IT WAS IN USE WHEN HE STARTED IN 1959 AND ADDED “IT WOULD HAVE BEEN ON ONE OF THE VEHICLES … PARTICULARLY … COUNTY VEHICLES THAT WOULD RESPOND OUT TO THE COUNTY, TO THE FARM FIRE.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND ADDITIONAL INFORMATION ABOUT THE LETHBRIDGE FIRE DEPARTMENT.
Catalogue Number
P20150010009
Acquisition Date
2015-02
Collection
Museum
Images
Less detail
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20130030001
  1 image  
Material Type
Artifact
Other Name
“CRAFT SMART”
Date Range From
2012
Date Range To
2013
Materials
STEEL, PLASTIC
No. Pieces
1
Height
1
Length
21
Width
7.25
Description
STAINLESS STEEL SCISSORS WITH BLUE PLASTIC HANDLES. ONE BLADE IS STAMPED WITH TEXT READING “STAINLESS STEEL”; THE OTHER WITH TEXT READING “CRAFTSMART”. MINOR SPOTS OF DISCOLOURATION ON BLADES. OVERALL VERY GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
CEREMONIAL ARTIFACT
Historical Association
LEISURE
COMMEMORATIVE
History
THESE SCISSORS WERE USED DURING THE RIBBON CUTTING CEREMONY CELEBRATING THE OPENING OF CASA, LETHBRIDGE’S COMMUNITY ARTS CENTRE, ON MAY 14, 2013, AT 230 8 ST SOUTH. ACCORDING TO CITY OF LETHBRIDGE RECREATION AND CULTURE DEVELOPMENT MANAGER LORI HARASEM, SEVEN REPRESENTATIVES HELPED CUT THE RIBBON: STEPHEN GRAHAM (ROTARY CLUBS OF LETHBRIDGE), KRIS HODGSON (PRESIDENT, ALLIED ARTS COUNCIL), GLENN MILLER (ASSISTANT TO LETHBRIDGE EAST MLA BRIDGET PASTOOR), DR. MIKE MAHON (PRESIDENT, UNIVERSITY OF LETHBRIDGE), MAYOR RAJKO DODIC, GREG WEADICK (LETHBRIDGE WEST MLA), AND JIM HILLYER (LETHBRIDGE MP). IN AN EMAIL TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, HARASEM DESCRIBED THE DAY’S EVENTS, WRITING: “[THE CEREMONY], ORIGINALLY SCHEDULED TO TAKE PLACE ON THE ROTARY PLAZA ON THE EAST SIDE OF THE BUILDING, WAS MOVED INDOORS DUE TO THE STRONG WINDS THAT DAY. ONCE THE SPEECHES WERE DONE, AND THE RIBBON WAS CUT, THE BUILDING WAS OPEN FOR TOURS WITH ALL SPACES BEING UTILIZED BY ARTISANS TO DEMONSTRATE TO THE PUBLIC THE VARIETY OF ACTIVITIES THAT WILL TAKE PLACE IN THE FACILITY… THE RIBBON WAS IN MY POSSESSION AS I WAS PART OF THE PLANNING COMMITTEE [FOR THE OPENING CEREMONY]… ONCE THE RIBBON CUTTING WAS OVER, I ASSISTED WITH MOVING THE STANCHIONS AND RIBBONS OUT OF THE WALKWAY, AND REALIZED THE SIGNIFICANCE OF THE RIBBON… [I] SUGGESTED WE PROVIDE IT TO THE GALT MUSEUM.” THE FOLLOWING INFORMATION ABOUT CASA WAS EXCERPTED FROM THE ALLIED ARTS COUNCIL WEBSITE. CASA IS A COLLABORATIVE INITIATIVE OF THE ALLIED ARTS COUNCIL AND THE CITY OF LETHBRIDGE. THIS UNIQUE FACILITY SETS A NEW STANDARD FOR INTERDISCIPLINARY ARTS CENTRES, AND PROMOTES EXPERIMENTATION, INCUBATION, AND LEARNING. CASA WAS BUILT TO SERVE A MULTI-GENERATIONAL COMMUNITY, WITH VARYING ART SKILL SETS AND INTERESTS IN A VARIETY OF DISCIPLINES. FUNDING FOR THE 42,000 SQUARE FOOT CENTRE WAS PROVIDED BY THE FEDERAL BUILD CANADA FUND, THE ALBERTA MUNICIPAL SUSTAINABILITY INITIATIVE FUND, AND THE CITY OF LETHBRIDGE. IN ADDITION TO PROVIDING EDUCATIONAL ARTS PROGRAMMING, VISUAL ARTS STUDIOS AND TECHNICAL WORKSHOPS, PERFORMING ARTS SPACES, AND AN EXHIBITION GALLERY, CASA ALSO HOUSES THE UNIVERSITY OF LETHBRIDGE’S CONSERVATORY OF MUSIC. ON SEPTEMBER 9, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SUZANNE LINT, EXECUTIVE DIRECTOR OF THE ALLIED ARTS COUNCIL, ABOUT THE OPENING OF CASA AND THE FACILITY’S IMPACT ON THE COMMUNITY. LINT SAID: “IT WAS A PRETTY SIGNIFICANT DAY… YOU OPEN YOUR DOORS AND YOU EXPECTED TO HAVE PEOPLE BUT WE HAD THOUSANDS OF PEOPLE. THERE WERE ABOUT 3000 PEOPLE AND AS THAT RIBBON WAS CUT, THERE WERE PEOPLE ON THE STAIRWELLS AND PACKED IN EVERY HALLWAY AND HANGING OVER THE BALCONY LOOKING DOWN INTO THE FOYER WHERE THE ACTUAL RIBBON CUTTING OCCURRED. IT WAS PRETTY AWESOME, A PRETTY EXCITING DAY… IT’S THE FULL BREADTH OF THE ARTS ARE IN THAT BUILDING, AND THAT PRESENCE IS FABULOUS TO HAVE ALL OF THE DISCIPLINES INTERMIXING TOGETHER FOR THE COMMUNITY. IT’S HUGE. SO THAT RATHER INNOCUOUS PIECE OF RED SATIN RIBBON AND A PAIR OF RECEPTIONIST’S SCISSORS DON’T LOOK LIKE MUCH BUT THEY ARE PART OF THE OPENING OF SOMETHING THAT IS PRETTY SIGNIFICANT.” LINT CONTINUED: “WE WAITED A LONG TIME FOR A BUILDING LIKE THAT… A PURPOSE-BUILT CIVIC ARTS CENTRE FOR CREATING ARTWORK IN MANY DISCIPLINES, WHICH IS ALMOST NOT HEARD OF. I DON’T THINK ANYTHING LIKE IT EXISTS OFF A UNIVERSITY OR COLLEGE CAMPUS… IT IS A PROJECT THAT THE ARTS COMMUNITY [IN LETHBRIDGE] HAS WORKED ON FOR 20 – 30 YEARS… WE HAVE ENGAGED A WHOLE NEW COMMUNITY THAT WASN’T REALLY ACTIVE OR PARTICIPATING AT THE BOWMAN ARTS CENTRE… THE BOWMAN, WHICH SERVED THE COMMUNITY AMAZINGLY WELL, [WAS] REALLY BUILT ON A MODEL OF ORGANIZATIONAL PRIORITIES AND SPACES, [WHEREAS CASA] WAS DESIGNED TO BE AN OPEN CONCEPT AND REALLY INCLUSIVE SO THAT INDIVIDUAL ARTISTS AND OTHER DISCIPLINES WOULD HAVE AN OPPORTUNITY TO PARTICIPATE IN THE BUILDING… ANYBODY CAN COME… YOU TAKE YOUR MEMBERSHIP AND YOU CAN COME IN AND WORK… THIS BUILDING IS BUSY, WITH NEW GROUPS AND INDIVIDUAL ARTIST AND IT’S ALSO ATTRACTING PEOPLE FROM AWAY… WE’RE SEEING A DIVERSITY OF PROGRAMMING THAT WE DIDN’T HAVE BEFORE; THE VERY NATURE OF THE BUILDING WE HAVE THE COMMUNITY ROOM WHICH ALLOWS FOR CERTAIN THINGS TO HAPPEN, THERE’S THE DANCE STUDIO, VISUAL ARTS STUDIOS AND ALL THE SPACES FOR MUSIC… WE’RE SEEING PEOPLE WHO WEREN’T ENGAGED IN THE GENERAL COMMUNITY BECOMING ENGAGED. WE’VE GOT A WHOLE BRAND NEW GROUP OF ARTISTS AND MUCH BROADER DEMOGRAPHIC GROUP OF ARTISTS FROM ALL AGES COMING IN… WE’RE OFFERING MORE COMMUNITY DEVELOPMENT OPPORTUNITIES. THE BOWMAN HAD THE CLASSES FOR ADULTS WITH SPECIAL NEEDS BUT WE ARE NOW DOING SOME WORK WITH HOUSING FIRST CLIENTS WHO ARE TRANSITIONING. WE’VE GOT A RELATIONSHIP AND SOME FUNDING FROM ATB THAT IS ALLOWING US TO TRY AND BUILD SOME FIRST NATIONS PROGRAMING… ARTISTS ARE DEVELOPING PROGRAMS AND WE ARE FACILITATING THEM AND DELIVERING THEM. SO IT’S REALLY GRASSROOTS… IT’S A MUCH BIGGER COMMUNITY. NOT JUST THE SIXTY PEOPLE THAT USED TO BE BOWMAN ATTENDERS. [NOW] THERE’S 100,000 PEOPLE [WHO] VISITED THE BUILDING IN ITS FIRST YEAR OF OPERATION.” LINT CONCLUDED: “THAT BUILDING, SEEING IT RISE AND THE NATURE OF WHAT IT IS, IS PROBABLY ONE OF THE MOST IMPORTANT PIECES OF WORK THAT I’VE WORKED ON, BUT IT ALSO REPRESENTS A TIME IN HISTORY WHERE THERE WAS THIS SERENDIPITOUS GROUP OF PEOPLE WHO WORKED TOGETHER AROUND AN IDEA. SO THE COUNCIL WAS RIPE, THE CITY ADMINISTRATION WAS RIPE. WE HAD A FABULOUS BOARD THAT REALLY WENT TO THE WALL AROUND ARTS IN THIS COMMUNITY ENSURING THAT THEY SURVIVED… I THINK THAT’S THE KIND OF COMMUNITY IT IS. I THINK WE’RE ISOLATED ENOUGH THAT WE DO SOME FAIRLY CRAZY AND WILD THINGS. WE CAN BE PRETTY INVENTIVE AND PROGRESSIVE. THERE’S A REAL COMPONENT OF THAT AND A CREATIVE KIND OF COMMUNITY WHICH WE ARE VERY FORTUNATE TO LIVE IN. THE INTERESTING THING IS THAT IT IS SURROUNDED BY THE MOST SOCIALLY CONSERVATIVE PEOPLE. SO IT SOMETIMES FEELS TO ME LIKE A SPLIT COMMUNITY, [BUT] THERE IS THIS REALLY STRONG PROGRESSIVE, CREATIVE, INTUITIVE GROUP OF PEOPLE THAT ARE HERE, LOVE IT, AND CONTINUE TO BE HERE.” ON OCTOBER 8, 2015 MACLEAN INTERVIEWED CAROL THIBERT, FORMER CITY OF LETHBRIDGE COMMUNITY SERVICES PROGRAM CO-ORDINATOR. THIBERT WAS THE CITY LIAISON TO THE ALLIED ARTS COUNCIL DURING THE PLANNING, CONSTRUCTION, AND OPENING OF CASA. THIBERT SAID: “PART OF MY JOB WAS ORGANIZING THE OPENING CEREMONIES… [THE RIBBON CUTTING] WAS EXTREMELY WELL RECEIVED. THE COMMUNITY WAS VERY, VERY EXCITED. IT WAS FULL – THE MEZZANINE, THE MAIN AREA, AND PEOPLE LOOKING DOWN… THE DIFFERENT LEVELS OF GOVERNMENT WERE THERE TO SPEAK, SO IT WAS A GALA AFFAIR… IT WAS A LONG TIME COMING. I WAS ON THE COMMITTEE THAT STARTED LOOKING INTO WHAT A COMMUNITY ARTS CENTRE WOULD LOOK [LIKE]. WE WENT TO CALGARY AND EDMONTON AND DID TOURS OF [THEIR] FACILITIES, AND [CASA] IS ONE OF THE MOST BEAUTIFUL, AMAZING, FORWARD-THINKING COMMUNITY ART CENTRES IN OUR PROVINCE, MAYBE EVEN IN CANADA. SO IT’S SOMETHING TO BE VERY PROUD OF.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND HARDCOPIES OF NEWSPAPER ARTICLES AND PRESS RELEASES ABOUT CASA.
Catalogue Number
P20130030001
Acquisition Date
2013-07
Collection
Museum
Images
Less detail
Other Name
CASA GRAND OPENING RIBBON
Date Range From
2012
Date Range To
2013
Material Type
Artifact
Materials
SILK
Catalogue Number
P20130030002
  1 image  
Material Type
Artifact
Other Name
CASA GRAND OPENING RIBBON
Date Range From
2012
Date Range To
2013
Materials
SILK
No. Pieces
1
Length
228
Width
9.75
Description
LENGTH OF RED SILK RIBBON. HORIZONTAL EDGES ARE FACTORY-FINISHED; VERTICAL EDGES ARE ROUGHLY CUT, WITH FRAYED THREADS. MINOR CREASING THROUGHOUT; OVERALL VERY GOOD CONDITION.
Subjects
CEREMONIAL ARTIFACT
Historical Association
LEISURE
COMMEMORATIVE
History
THIS PIECE OF RIBBON WAS CUT DURING THE CEREMONY CELEBRATING THE OPENING OF CASA, LETHBRIDGE’S COMMUNITY ARTS CENTRE, ON MAY 14, 2013, AT 230 8 ST SOUTH. ACCORDING TO CITY OF LETHBRIDGE RECREATION AND CULTURE DEVELOPMENT MANAGER LORI HARASEM, SEVEN REPRESENTATIVES HELPED CUT THE RIBBON: STEPHEN GRAHAM (ROTARY CLUBS OF LETHBRIDGE), KRIS HODGSON (PRESIDENT, ALLIED ARTS COUNCIL), GLENN MILLER (ASSISTANT TO LETHBRIDGE EAST MLA BRIDGET PASTOOR), DR. MIKE MAHON (PRESIDENT, UNIVERSITY OF LETHBRIDGE), MAYOR RAJKO DODIC, GREG WEADICK (LETHBRIDGE WEST MLA), AND JIM HILLYER (LETHBRIDGE MP). IN AN EMAIL TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, HARASEM DESCRIBED THE DAY’S EVENTS, WRITING: “[THE CEREMONY], ORIGINALLY SCHEDULED TO TAKE PLACE ON THE ROTARY PLAZA ON THE EAST SIDE OF THE BUILDING, WAS MOVED INDOORS DUE TO THE STRONG WINDS THAT DAY. ONCE THE SPEECHES WERE DONE, AND THE RIBBON WAS CUT, THE BUILDING WAS OPEN FOR TOURS WITH ALL SPACES BEING UTILIZED BY ARTISANS TO DEMONSTRATE TO THE PUBLIC THE VARIETY OF ACTIVITIES THAT WILL TAKE PLACE IN THE FACILITY… THE RIBBON WAS IN MY POSSESSION AS I WAS PART OF THE PLANNING COMMITTEE [FOR THE OPENING CEREMONY]… ONCE THE RIBBON CUTTING WAS OVER, I ASSISTED WITH MOVING THE STANCHIONS AND RIBBONS OUT OF THE WALKWAY, AND REALIZED THE SIGNIFICANCE OF THE RIBBON… [I] SUGGESTED WE PROVIDE IT TO THE GALT MUSEUM.” THE FOLLOWING INFORMATION ABOUT CASA WAS EXCERPTED FROM THE ALLIED ARTS COUNCIL WEBSITE. CASA IS A COLLABORATIVE INITIATIVE OF THE ALLIED ARTS COUNCIL AND THE CITY OF LETHBRIDGE. THIS UNIQUE FACILITY SETS A NEW STANDARD FOR INTERDISCIPLINARY ARTS CENTRES, AND PROMOTES EXPERIMENTATION, INCUBATION, AND LEARNING. CASA WAS BUILT TO SERVE A MULTI-GENERATIONAL COMMUNITY, WITH VARYING ART SKILL SETS AND INTERESTS IN A VARIETY OF DISCIPLINES. FUNDING FOR THE 42,000 SQUARE FOOT CENTRE WAS PROVIDED BY THE FEDERAL BUILD CANADA FUND, THE ALBERTA MUNICIPAL SUSTAINABILITY INITIATIVE FUND, AND THE CITY OF LETHBRIDGE. IN ADDITION TO PROVIDING EDUCATIONAL ARTS PROGRAMMING, VISUAL ARTS STUDIOS AND TECHNICAL WORKSHOPS, PERFORMING ARTS SPACES, AND AN EXHIBITION GALLERY, CASA ALSO HOUSES THE UNIVERSITY OF LETHBRIDGE’S CONSERVATORY OF MUSIC. ON SEPTEMBER 9, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SUZANNE LINT, EXECUTIVE DIRECTOR OF THE ALLIED ARTS COUNCIL, ABOUT THE OPENING OF CASA AND THE FACILITY’S IMPACT ON THE COMMUNITY. LINT SAID: “IT WAS A PRETTY SIGNIFICANT DAY… YOU OPEN YOUR DOORS AND YOU EXPECTED TO HAVE PEOPLE BUT WE HAD THOUSANDS OF PEOPLE. THERE WERE ABOUT 3000 PEOPLE AND AS THAT RIBBON WAS CUT, THERE WERE PEOPLE ON THE STAIRWELLS AND PACKED IN EVERY HALLWAY AND HANGING OVER THE BALCONY LOOKING DOWN INTO THE FOYER WHERE THE ACTUAL RIBBON CUTTING OCCURRED. IT WAS PRETTY AWESOME, A PRETTY EXCITING DAY… IT’S THE FULL BREADTH OF THE ARTS ARE IN THAT BUILDING, AND THAT PRESENCE IS FABULOUS TO HAVE ALL OF THE DISCIPLINES INTERMIXING TOGETHER FOR THE COMMUNITY. IT’S HUGE. SO THAT RATHER INNOCUOUS PIECE OF RED SATIN RIBBON AND A PAIR OF RECEPTIONIST’S SCISSORS DON’T LOOK LIKE MUCH BUT THEY ARE PART OF THE OPENING OF SOMETHING THAT IS PRETTY SIGNIFICANT.” LINT CONTINUED: “WE WAITED A LONG TIME FOR A BUILDING LIKE THAT… A PURPOSE-BUILT CIVIC ARTS CENTRE FOR CREATING ARTWORK IN MANY DISCIPLINES, WHICH IS ALMOST NOT HEARD OF. I DON’T THINK ANYTHING LIKE IT EXISTS OFF A UNIVERSITY OR COLLEGE CAMPUS… IT IS A PROJECT THAT THE ARTS COMMUNITY [IN LETHBRIDGE] HAS WORKED ON FOR 20 – 30 YEARS… WE HAVE ENGAGED A WHOLE NEW COMMUNITY THAT WASN’T REALLY ACTIVE OR PARTICIPATING AT THE BOWMAN ARTS CENTRE… THE BOWMAN, WHICH SERVED THE COMMUNITY AMAZINGLY WELL, [WAS] REALLY BUILT ON A MODEL OF ORGANIZATIONAL PRIORITIES AND SPACES, [WHEREAS CASA] WAS DESIGNED TO BE AN OPEN CONCEPT AND REALLY INCLUSIVE SO THAT INDIVIDUAL ARTISTS AND OTHER DISCIPLINES WOULD HAVE AN OPPORTUNITY TO PARTICIPATE IN THE BUILDING… ANYBODY CAN COME… YOU TAKE YOUR MEMBERSHIP AND YOU CAN COME IN AND WORK… THIS BUILDING IS BUSY, WITH NEW GROUPS AND INDIVIDUAL ARTIST AND IT’S ALSO ATTRACTING PEOPLE FROM AWAY… WE’RE SEEING A DIVERSITY OF PROGRAMMING THAT WE DIDN’T HAVE BEFORE; THE VERY NATURE OF THE BUILDING WE HAVE THE COMMUNITY ROOM WHICH ALLOWS FOR CERTAIN THINGS TO HAPPEN, THERE’S THE DANCE STUDIO, VISUAL ARTS STUDIOS AND ALL THE SPACES FOR MUSIC… WE’RE SEEING PEOPLE WHO WEREN’T ENGAGED IN THE GENERAL COMMUNITY BECOMING ENGAGED. WE’VE GOT A WHOLE BRAND NEW GROUP OF ARTISTS AND MUCH BROADER DEMOGRAPHIC GROUP OF ARTISTS FROM ALL AGES COMING IN… WE’RE OFFERING MORE COMMUNITY DEVELOPMENT OPPORTUNITIES. THE BOWMAN HAD THE CLASSES FOR ADULTS WITH SPECIAL NEEDS BUT WE ARE NOW DOING SOME WORK WITH HOUSING FIRST CLIENTS WHO ARE TRANSITIONING. WE’VE GOT A RELATIONSHIP AND SOME FUNDING FROM ATB THAT IS ALLOWING US TO TRY AND BUILD SOME FIRST NATIONS PROGRAMING… ARTISTS ARE DEVELOPING PROGRAMS AND WE ARE FACILITATING THEM AND DELIVERING THEM. SO IT’S REALLY GRASSROOTS… IT’S A MUCH BIGGER COMMUNITY. NOT JUST THE SIXTY PEOPLE THAT USED TO BE BOWMAN ATTENDERS. [NOW] THERE’S 100,000 PEOPLE [WHO] VISITED THE BUILDING IN ITS FIRST YEAR OF OPERATION.” LINT CONCLUDED: “THAT BUILDING, SEEING IT RISE AND THE NATURE OF WHAT IT IS, IS PROBABLY ONE OF THE MOST IMPORTANT PIECES OF WORK THAT I’VE WORKED ON, BUT IT ALSO REPRESENTS A TIME IN HISTORY WHERE THERE WAS THIS SERENDIPITOUS GROUP OF PEOPLE WHO WORKED TOGETHER AROUND AN IDEA. SO THE COUNCIL WAS RIPE, THE CITY ADMINISTRATION WAS RIPE. WE HAD A FABULOUS BOARD THAT REALLY WENT TO THE WALL AROUND ARTS IN THIS COMMUNITY ENSURING THAT THEY SURVIVED… I THINK THAT’S THE KIND OF COMMUNITY IT IS. I THINK WE’RE ISOLATED ENOUGH THAT WE DO SOME FAIRLY CRAZY AND WILD THINGS. WE CAN BE PRETTY INVENTIVE AND PROGRESSIVE. THERE’S A REAL COMPONENT OF THAT AND A CREATIVE KIND OF COMMUNITY WHICH WE ARE VERY FORTUNATE TO LIVE IN. THE INTERESTING THING IS THAT IT IS SURROUNDED BY THE MOST SOCIALLY CONSERVATIVE PEOPLE. SO IT SOMETIMES FEELS TO ME LIKE A SPLIT COMMUNITY, [BUT] THERE IS THIS REALLY STRONG PROGRESSIVE, CREATIVE, INTUITIVE GROUP OF PEOPLE THAT ARE HERE, LOVE IT, AND CONTINUE TO BE HERE.” ON OCTOBER 8, 2015 MACLEAN INTERVIEWED CAROL THIBERT, FORMER CITY OF LETHBRIDGE COMMUNITY SERVICES PROGRAM CO-ORDINATOR. THIBERT WAS THE CITY LIAISON TO THE ALLIED ARTS COUNCIL DURING THE PLANNING, CONSTRUCTION, AND OPENING OF CASA. THIBERT SAID: “PART OF MY JOB WAS ORGANIZING THE OPENING CEREMONIES… [THE RIBBON CUTTING] WAS EXTREMELY WELL RECEIVED. THE COMMUNITY WAS VERY, VERY EXCITED. IT WAS FULL – THE MEZZANINE, THE MAIN AREA, AND PEOPLE LOOKING DOWN… THE DIFFERENT LEVELS OF GOVERNMENT WERE THERE TO SPEAK, SO IT WAS A GALA AFFAIR… IT WAS A LONG TIME COMING. I WAS ON THE COMMITTEE THAT STARTED LOOKING INTO WHAT A COMMUNITY ARTS CENTRE WOULD LOOK [LIKE]. WE WENT TO CALGARY AND EDMONTON AND DID TOURS OF [THEIR] FACILITIES, AND [CASA] IS ONE OF THE MOST BEAUTIFUL, AMAZING, FORWARD-THINKING COMMUNITY ART CENTRES IN OUR PROVINCE, MAYBE EVEN IN CANADA. SO IT’S SOMETHING TO BE VERY PROUD OF.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND HARDCOPIES OF NEWSPAPER ARTICLES AND PRESS RELEASES ABOUT CASA.
Catalogue Number
P20130030002
Acquisition Date
2013-07
Collection
Museum
Images
Less detail

9 records – page 1 of 1.