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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
1980
Date Range To
2015
Material Type
Artifact
Materials
NYLON, SPANDEX, PLASTIC
Catalogue Number
P20170007005
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
NYLON, SPANDEX, PLASTIC
No. Pieces
2
Length
23
Width
8.5
Description
PAIR OF WHITE, REFLECTIVE GLOVES WITH WHITE AND OPAQUE PLASTIC BEADING ON WRISTS; BEADING FORMS FLOWER PATTERNS WITH BEADED LOOP AND TWO BEADED STRANDS FROM CENTER. TAG INSIDE LEFT HAND GLOVE READS “87.30% NYLON, 12.70% SPANDEX, MADE IN TAIWAN”. FINGERTIPS ON RIGHT HAND GLOVE STAINED RED; BEADING ON BOTH GLOVES IS STAINED RED-BROWN UNDERNEATH. OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-ACCESSORY
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE GLOVES, MCDONALD ELABORATED, “WE ALWAYS WORE WHITE GLOVES FOR FUNERALS, FOR WHEN OUR SUPREME CAME. IF OUR SUPREME CAME, WE ALWAYS HAD OUR DRILL TEAM…THEY WORE LONG SKIRTS, BUT THEY DIDN’T WEAR JACKETS. IF YOU WERE HONORABLE ROYAL LADY, AND YOU HAD SOMEBODY IMPORTANT COME TO VISIT YOU, YOU WORE WHITES, WHICH MEANT WHITE GLOVES. IF YOU GO TO A FUNERAL, AND YOU DRESS IN ROYAL PURPLE, YOU’D BETTER BRING YOUR WHITE GLOVES, OR PUT YOUR HANDS IN YOUR POCKETS.” WILMA WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007005
Acquisition Date
2017-02
Collection
Museum
Images
Less detail