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Other Name
"HIRSCHE"
Date Range From
1913
Date Range To
1935
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20140049011
  2 images  
Material Type
Artifact
Other Name
"HIRSCHE"
Date Range From
1913
Date Range To
1935
Materials
COTTON
No. Pieces
1
Length
44.5
Width
17.2
Description
A WHITE CLOTH, STARCHED NURSING CAP. THE BACK EDGE IS STAMPED WITH BLACK INK, READING “E1040” AND BELOW THAT “HIRSCHE” . THE WHITE STRING TIES AND THE OPENING ATTACHMENT THEY PULL THROUGH IS FRAYING. VERY GOOD CONDITION: THE HEAVILY STARCHED FRONT FOLD IS CREASED WITH FOLD LINES.
Subjects
CLOTHING-HEADWEAR
Historical Association
HEALTH SERVICES
ASSOCIATIONS
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. ACCORDING TO THIS NURSING CAP’S HISTORY, IT WOULD HAVE BEEN OF THE FIRST TYPES OF CAPS THAT THE STUDENT NURSES WOULD HAVE WORN. IT WAS WORN “ON THE WARDS” OF THE HOSPITAL FROM 1913 ONWARDS TO AN UNSPECIFIED DATE. THE INSIDE OF THE CAP IS LABELLED “HIRSCHE”. USING THE GSN HISTORY BOOK TITLED “WHITE CAPS AND RED ROSES” RECORDS ONE STUDENT FROM THE CLASS OF 1966 WITH THE MAIDEN NAME HIRSCHE AND THREE STUDENTS FROM CLASSES 1968 TO 1975 MARRIED MEN WITH THE HIRSCHE LAST NAME. 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. ON 12 JULY 2018, COLLECTIONS ASSISTANT ELISE PUNDYK MET WITH THREE MEMBERS OF GALT SCHOOL OF NURSING ALUMNI ASSOCIATION – SHARON DEJONG, DONNA KARL, AND SUE KYLLO – TO ESTABLISH FURTHER DETAILS ABOUT VARIOUS ARTIFACTS IN THIS WAVE OF GSN ACQUISITIONS. WHEN VIEWING THE CAP, KYLLO, KARL, AND DEJONG STATED THAT ALL STUDENTS HAD TO WRITE THEIR NAMES IN THEIR UNIFORMS – LIKE “HIRSCHE” IS LABELLED IN THIS CAP – BECAUSE THE UNIFORMS, INCLUDING CAPS, WOULD BE SENT TO THE LAUNDRY AND RETURNED BACK TO THE STUDENTS. ABOUT NURSING CAPS, THE THREE ALUMNI EXPLAINED THAT THEY ALWAYS WORE WHITE CAPS AS STUDENTS. UPON GRADUATION THEY RECEIVED A VELVET BLACK BAND THEY WOULD PIN ON THE CAPS FOR WORK AS GRADUATED NURSES. THIS WAS ONE OF THE INDICATORS USED TO IDENTIFY THE STUDENT NURSES VERSUS THE GRADUATED NURSES. THEY STATED THAT IN THEIR FIRST TWO YEARS OF SCHOOL, THEY WOULD WERE BLACK SHOES AND STOCKINGS (A PRACTICE THAT ENDED IN 1968) AND AFTER THAT THEY WOULD WEAR WHITE SHOES WITH WHITE STOCKINGS TO INDICATE SENIOR NURSES. THESE VARIANCES IN THE STUDENT UNIFORMS HAD IMPLICATIONS FOR THEIR EXPERIENCES ON THE FLOOR. FOR EXAMPLE, THERE WAS ONE DOCTOR WHO HAD A STRICT RULE AGAINST STUDENT NURSES SCRUBBING IN FOR HIS OPERATIONS. THEY AGREED THAT THIS WAS AN EARLY EXAMPLE OF A NURSE’S CAP, USED FROM ESTIMATE DATES OF 1913 TO 1935. REFERENCING THE GSN HISTORY BOOK, “WHITE CAPS…,” THERE IS NO RECORD OF A STUDENT WITH THIS LAST NAME IN THE SPECULATED TIME PERIOD. AS AN ANSWER TO THIS, KYLLO ADDED TO THE CAP’S WRITTEN NOTES, “THIS HAT COULD HAVE BEEN A GALT HOSPITAL STAFF MEMBER AND MAY BE NOT A GALT HAT.” IT CAN ALSO BE NOTED THAT AN ACTIVE MEMBER OF THE GSN ALUMNAE ASSOCIATION INVOLVED IN THE DECISION-MAKING PROCESS OF THE DONATION OF ITEMS TO THE MUSEUM WAS SHARON HIRSCHE (NEE TREIBER) OF THE CLASS OF 1968. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049011
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
HAIR COMB
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
CORAL
Catalogue Number
P20160042002
  1 image  
Material Type
Artifact
Other Name
HAIR COMB
Date Range From
1923
Date Range To
1924
Materials
CORAL
No. Pieces
1
Length
10
Width
3.4
Description
STRAIGHT-EDGED COMB. AMBER-COLOURED, TRANSLUCENT MATERIAL SPECULATED CORAL BY DONOR. THE HANDLE EDGE IS CURVED AND THE COMB'S LENGTH TAPERS INWARD FROM THE HANDLE EDGE TO TEETH EDGE. TEETH WIDTH APPROX. 0.2 - 0.5 CM. THERE IS A 1.1 CM WIDE EDGE BETWEEN TEETH AND EDGE OF COMB ON EITHER SIDE. CONDITION: SMALL CHIP ON SIDE EDGE AND SLIGHT LOSS OF FINISH ON TEETH.
Subjects
TOILET ARTICLE
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS COMB CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK ALONG WITH THE COMB WERE HER MOTHER’S HAIR ORNAMENTS AND A VASE (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” MRS. NISHIYAMA EXPLAINED THAT HER MOTHER PROBABLY DID NOT USE THE COMB ONCE SHE WAS IN ALBERTA. SHE SAID, “I DOUBT [THEY WERE USED]. IT DOESN’T LOOK SERVICEABLE REALLY, BUT IT’S DAYS BEFORE PLASTIC – AND I KNOW SHE TOLD ME IT WAS A SPECIAL MATERIAL. I MEAN, A SPECIAL NATURAL MATERIAL. WHETHER IT’S CORAL, I’M NOT SURE. I CAN’T SAY THAT. SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT… THIS (THE COMB) WAS SOMETHING THAT WE ONLY GOT TO SEE OCCASIONALLY.” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042002
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
BONE, RHINESTONE
Catalogue Number
P20160042003
  1 image  
Material Type
Artifact
Date Range From
1923
Date Range To
1924
Materials
BONE, RHINESTONE
No. Pieces
1
Height
16.3
Length
8.5
Description
FAN-SHAPED HAIR ORNAMENT WITH TWO LARGE PRONGS. CREAM-COLOURED WITH BROWN DAPPLING. 5 WHITE TULIP-SHAPED DESIGNS ON FANNED EDGE OF ORNAMENT WITH GREEN RHINESTONES INLAID IN THE WHITE SECTIONS OF DESIGN. TWO THIN LINES ARE ETCHED ON EITHER SIDE OF EACH WHITE TULIP SECTION. CONDITION: DESIGN FADED WITH ONE GREEN RHINESTONE MISSING ON AN INNER TULIP. SLIGHT LOSS OF FINISH ESPECIALLY AT THE WHITE PORTIONS OF DESIGN. SCUFFED SURFACE OVERALL.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS HAIR ORNAMENT AND A MATCHING ONE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S COMB AND A VASE ALSO DONATED WITH THE TWO HAIR ORNAMENTS (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY] CAME WITH HER WHEN SHE GOT MARRIED… SHE CAME OVER AS A VERY YOUNG BRIDE… [THESE] TWO PIECES ARE HER HAIR ORNAMENTS, AND I’M GUESSING THAT THEY ARE BONE… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT…” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042003
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
BONE, RHINESTONES
Catalogue Number
P20160042004
  1 image  
Material Type
Artifact
Date Range From
1923
Date Range To
1924
Materials
BONE, RHINESTONES
No. Pieces
1
Length
11
Width
6.5
Description
CROWN-SHAPED HAIR ORNAMENT. SHAPE IS MADE UP OF FOUR TULIP SHAPES. BONE COLOUR IS CREAM WITH BROWN DAPPLING. THE TULIPS ARE WHITE INLAID WITH GREEN RHINESTONES. LEAF-SHAPED DESIGNS ON THE BASE (TWO PER FLOWER) ARE BLACK INLAID WITH PALE BLUE RHINESTONES. FINE LINES ARE ETCHED INTO THE BLACK OF LEAVES AND AROUND THE FLOWER HEADS. CONDITION: DESIGNS ARE SLIGHTLY FADED WITH SLIGHT DIRT ACCUMULATION ON WHITE AREAS OF FLOWERS. TWO GREEN RHINESTONS AND ONE BLUE RHINESTONE MISSING. CLOSING MECHANISM AT BACK IS MISSING. SLIGHT SCUFFS ON OVERALL SURFACE.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS HAIR ORNAMENT AND A MATCHING ONE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S COMB AND A VASE ALSO DONATED WITH THE HAIR ORNAMENTS (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY] CAME WITH HER WHEN SHE GOT MARRIED… SHE CAME OVER AS A VERY YOUNG BRIDE… [THESE] TWO PIECES ARE HER HAIR ORNAMENTS, AND I’M GUESSING THAT THEY ARE BONE… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT…” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042004
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
PERPETUAL MEMORY TABLET
Material Type
Artifact
Materials
WOOD, INK
Catalogue Number
P20160042005
  2 images  
Material Type
Artifact
Other Name
PERPETUAL MEMORY TABLET
Date
1949
Materials
WOOD, INK
No. Pieces
1
Height
60.5
Length
12.6
Width
0.6
Description
ONLINE RESEARCH INDICATES THE NAMES FOR THIS TABLET INCLUDE SHIRAKI-IHAI TABLET, MEMORIAL TABLET, OR ANCESTRAL TABLET. THIS TABLET IS MADE UP OF A FINISHED WOODEN BOARD WITH JAPANESE CALLIGRAPHY IN BLACK INK WRITTEN VERTICALLY ON BOTH SIDES OF THE BOARD. HOLE DRILLED THROUGH TOP CENTER OF THE BOARD FOR HANGING. ONE SIDE CONTAINS FOUR VERTICAL ROWS OF CHARACTERS, WHOSE HEIGHT RANGES FROM 1-3 CM. "15" IS MARKED IN PENCIL AT THE BOTTOM LEFT CORNER. THE OPPOSING SIDE CONTAINS 2 VERTICAL ROWS OF CHARACTERS WITH A SINGLE CHARACTER AT THE TOP. CHARACTERS ON THIS SIDE RANGE FROM 3 TO 7 CM IN HEIGHT. CONDITION: THE BOARD HAS SLIGHT SCRATCHING AND SOME MISSING VARNISH OVERALL.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ETHNOGRAPHIC
RELIGION
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED, “WE BROUGHT [THIS BOARD] FROM RAYMOND AS A MEMORY FOR MAC’S DAD, [KOHEI NISHIYAMA]. IN RAYMOND, AT THE BUDDHIST CHURCH, THERE WAS A YEARLY PERPETUAL MEMORIAL SERVICE FOR ALL THE MEMBERS WHO HAD DIED.” THIS BOARD WAS PART OF THAT SERVICE, MRS. NISHIYAMA CONTINUED, “… [IT] IS LIKE THE DONATION THINGS YOU SEE ON THE WALLS [IN CHURCHES]... [THERE] IS AN OLD JAPANESE CUSTOM TO PUT [THE RECORD OF A MEMORIAL DONATION] ON A BOARD, WITH THE NAME [OF THE DONOR] ON THE BACK, AND WE HONOR THEIR MEMORY EACH YEAR, REGARDLESS OF WHAT YEAR THEY PASSED AWAY. SO WHEN YOUR FAMILY MEMBER DIES, AND YOU WANT TO MAKE SURE THAT THE CHURCH CARRIES ON WITH THE PERPETUAL MEMORY SERVICE, THIS WENT UP AS A SORT OF A RECEIPT… WE HAVE A SPECIAL SERVICE IN DECEMBER ALWAYS… MOST OF THE MEMBERS MAKE A DONATION TOWARDS THAT…" MR. NISHIYAMA EXPLAINED FURTHER, “THEY HAD [THE BOARDS] ON THE CHURCH WALL FOR THE PERPETUAL MEMORY.” AFTER THE INTERVIEW, MRS. NISHIYAMA CLARIFIED THAT MR. NISHIYAMA’S DAD, KOHEI, MADE THE DONATION IN SOMEBODY’S MEMORY IN 1949. IT IS UNKNOWN IN WHOSE MEMORY THIS DONATION WAS MADE. THERE IS JAPANESE CALLIGRAPHY ON BOTH SIDES OF THE BOARD. “IT SAYS HIS DAD CAME FROM NEW WESTMINSTER, SO THIS IS ‘NEW’ ‘WEST’,” MRS. NISHIYAMA EXPLAINED THE JAPANESE CHARACTERS, “… IT MUST SAY THAT HE CAME FROM THE NEW WESTMINSTER BUDDHIST CHURCH (ON THE SIDE WITH THE WORDS IN LARGER SCRIPT)… HE WAS AN ORIGINAL MEMBER THERE, AND THIS WOULD BE HIS NAME RIGHT THERE – KOHEI NISHIYAMA – [ON THE SIDE WITH SMALLER CHARACTERS].” SHE EXPLAINS FURTHER, “THE DATE IS RIGHT HERE – 1949. 1949, JANUARY IS THE DATE THEY RECEIVED THE DONATION…” THE GALT MUSEUM REACHED OUT TO A TRANSLATOR TO INTERPRET THE BOARD. THE INFORMATION PROVIDED STATES THAT THE SIDE OF THE BOARD WITH FOUR LINES OF CHARACTERS BEGINS WITH “MONEY 400 DOLLARS” AT THE TOP. AT THE BOTTOM THE FIRST LEFT LINE INCLUDES THE DONOR NAME. THE MIDDLE LINE INCLUDES THE NAME OF RAYMOND BUDDHIST TEMPLE AMONG OTHER INFORMATION. THE FAR RIGHT ROW SAYS, “1949 FEBRUARY.” ON THE OPPOSITE SIDE IT INCLUDES “ORGANIZE FUNERAL,” THE NAME OF THE TEMPLE, AND “SHOW RESPECT.” IN RESPONSE TO THE QUESTION OF WHO MADE THE BOARD, MR. NISHIYAMA REPLIED, “I WOULD SAY SOMEBODY… AT THE RAYMOND CHURCH [MADE THE BOARD].” MRS. NISHIYAMA ELABORATED ON THAT: “…I KNOW MAC’S DAD DID A LOT OF THE CALLIGRAPHY BECAUSE HE WAS GOOD AT IT. I’M NOT SURE WHO DID THIS.” THEY EXPLAINED THAT IN THE RAYMOND CHURCH, THESE MEMORIAL DONATION BOARDS WOULD BE DISPLAYED “ON THE WALL OF THE CHURCH, INSIDE [AND] UP HIGHER. BUT WHEN THE CHURCH GOT SOLD, I THINK MOST OF IT WENT INTO THE GARBAGE.” THIS BOARD WAS HANGING ON THE WALL OF THE RAYMOND BUDDHIST CHURCH FROM 1949 TO THE TIME THE CHURCH WAS CLOSED IN 2006. MRS. NISHIYAMA EXPLAINED THE ACT OF REMEMBERING AS IT EXISTS TODAY: “FOR INSTANCE, RIGHT NOW THE TEMPLE DOESN’T KEEP TRACK… THE FAMILY HAS TO REMEMBER. SO THIS COMING SUNDAY IS THE FIRST SUNDAY IN DECEMBER, WE CALL SHOTSUKI HOYO, WHICH IS A MEMORIAL DAY, WHICH IS OBSERVED FIRST OF THE MONTH, EVERY MONTH EXCEPT AUGUST, AND SO TECHNICALLY I WOULD BE AT THE TEMPLE TO ATTEND THE MEMORIAL SERVICE. MY DAD DIED IN DECEMBER…” MR. NISHIYAMA ELABORATED ON THE IMPORTANCE OF REMEMBERING, “YOU MUST REMEMBER. IT’S NOT JUST TO REMEMBER; IT’S OUT OF GRATITUDE THAT’S WHAT’S BEHIND IT. YOU ARE GRATEFUL NO MATTER HOW MANY YEARS AGO. HERE WE ARE TODAY BECAUSE OF [THE PEOPLE WHO CAME BEFORE]… IT’S TO SAY, ‘THANK YOU, THANK YOU, THANK YOU’…NONE OF THE CHURCHES DO THIS ANYMORE… IF YOU MAKE A DONATION, THAT’S THAT. IT GOES TO THE TEMPLE, AND THAT’S IT, AND IT’S FORGOTTEN” MRS. NISHIYAMA SAID, “BUT RAYMOND USED TO DO THE PERPETUAL MEMORY SERVICE EVERY YEAR IN DECEMBER, AND IT WAS JUST PART OF THE ROUTINE THAT WE EXPECTED…IT’S TO KEEP THE MEMORY ALIVE. IT’S JUST A PART OF OUR CULTURE.” MRS. NISHIYAMA EXPLAINED THAT OUT OF ALL THE ITEMS THEY COLLECTED FROM THE RAYMOND BUDDHIST CHURCH, THIS MEMORIAL DONATION BOARD HOLDS THE MOST PERSONAL IMPORTANCE: “WHEN YOUR NAME’S ON SOMETHING, WELL, THAT’S MINE, OR OURS.” SPEAKING OF THE CHURCH’S CLOSURE, MRS. NISHIYAMA REMEMBERED, “IT WAS VERY EMOTIONAL. I TELL YOU. I HAVE… A FULL CD OF THE LAST DAY OF THE CHURCH, AND IT WAS LIKE A FUNERAL. WHEN ALL THE SHRINE… WAS DONE – EVERYTHING WAS LOADED ON THE FLAT DECK… AND GOING DOWN THE HIGHWAY, AND WE ALL HAD TEARS IN OUR EYES.: “THIS IS ALL HAPPENING,” MR. NISHIYAMA SAID ABOUT WITNESSING THE CHURCH'S CLOSURE, “IT’S BECAUSE WE LIVE SO LONG [AND WERE ABLE TO SEE IT CLOSE]. WE’RE HEALTHY. IF WE [WERE] GONE 20 YEARS AGO, IT WOULD HAVE ALL BEEN DONE [WITHOUT US SEEING]. WE WOULDN’T HAVE ALL [THESE MEMORIES]. BUT HERE WE ARE. WE HAVE TO BE GRATEFUL EVEN FOR THE ACHES AND PAINS OF OLD AGE. WE’RE HERE.” MRS. NISHIYAMA FINISHED BY SAYING, "FOR ME, IT’S A VALUABLE MEMORY – BOTH CHURCH AND DAD – AND ALL THE WORK – AND HIS DAD - BEAUTIFUL CALLIGRAPHY. SOME OF THE OTHER BOARDS, HE DID THE WRITING ON IT.” A FAMILY HISTORY WAS SUBMITTED TO THE BOOK “NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS” (PUBLISHED 2001) BY MAC AND REYKO NISHIYAMA. ACCORDING TO THAT HISTORY MAC’S FATHER, KOHEI NISHIYAMA, WAS BORN IN KUMAMOTO-KEN, JAPAN ON 10 MAY 1895. HE CAME TO CANADA IN 1915 AND SETTLED IN SAPPERTON, BRITISH COLUMBIA. HE “WORKED FOR THE GREAT NORTHERN RAILWAY FOR 29 YEARS BEFORE BEING EVACUATED FIRST TO A ROAD CAMP AND LATER TO THE TASHME RELOCATION CAMP. IN 1946, AFTER THE WAR ENDED, HE AND HIS FAMILY MOVED TO WELLING, ALBERTA TO WORK ON THE FLOYD WILDE FARM.” THE BOOK CONTINUES: “HE MARRIED HIDE MURAKAMI IN 1918. HIDE WAS ALSO BORN IN KUMAMOTO-KEN, JAPAN ON 16 SEPTEMBER 1898. THEY RAISED A FAMILY OF TWO BOYS AND THREE GIRLS: KAORU BETTY, JACK NOBORU, FUMI ROCY, MAKIO (MAC), AND MAY MISAO…” “AFTER RAISING SUGAR BEETS FOR SEVERAL YEARS WITH HIS FAMILY, KOHEI AND HIDE RETIRED TO THE TOWN OF RAYMOND… KOHEI… AND HIDE WERE BOTH VERY ACTIVE MEMBERS OF THE RAYMOND BUDDHIST CHURCH,” IT STATES IN THE BOOK. AS STATED IN THE BOOK, HIDE PASSED AWAY IN 1968 AND KOHEI PASSED AWAY IN 1983 AT THE AGE OF 88. HIDE’S OBITUARY IN THE LETHBRIDGE HERALD STATES THAT SHE WAS 69 YEARS OLD AT THE TIME OF HER PASSING. THE OBITUARY STATES THAT SHE WAS MARRIED TO MR. NISHIYAMA ON 20 DECEMBER 1918 IN KUMAMOTO CITY. THEY WENT TO NEW WESTMINISTER, BRITISH COLUMBIA TOGETHER IN APRIL 1919. THE OBITUARY OF MAC NISHIYAMA STATES THAT HE WAS BORN IN SAPPERTON, NEW WESTMINISTER, BRITISH COLUMBIA, ON 23 AUGUST 1927 TO KOHEI AND HIDE NISHIYAMA. THE FAMILY WAS INTERNED IN TASHME, BRITISH COLUMBIA DURING THE WAR. THE FAMILY RELOCATED TO SOUTHERN ALBERTA WHEN THE WAR ENDED. IT WAS AT THE RAYMOND BUDDHIST CHURCH WHERE HE MET REYKO KARAKI AND THE COUPLE WAS MARRIED IN 1953. TOGETHER THEY HAD SIX CHILDREN. HE PASSED AWAY ON 28 MAY 2017. PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, COPIES OF THE NIKKEI FAMILY HISTORY, AND BOARD TRANSLATION. FOR ADDITIONAL INFORMATION PLEASE REFERENCE P20030040000, FOR AN INTERVIEW WITH MAC NISHIYAMA REGARDING A CRATE HE DONATED.
Catalogue Number
P20160042005
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Material Type
Artifact
Materials
FELT, THREAD, PLASTIC
Catalogue Number
P20160044001
  2 images  
Material Type
Artifact
Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Materials
FELT, THREAD, PLASTIC
No. Pieces
1
Height
11
Length
30
Width
1.7
Description
BLACK FELT WEDGE CAP WITH RED ACCENTS STITCHING. TWO RED AND GOLD PLASTIC BEADS ON THE FRONT EDGE. CURSIVE “ANDERSON SISTERS” EMBROIDERED IN RED ON ONE SIDE AND “ALICE” ON THE OTHER. VERY GOOD CONDITION: MAKEUP STAINS PRESENT OF THE INSIDE BRIM OF THE HAT.
Subjects
CLOTHING-HEADWEAR
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS WEDGE CAP WAS A COMPONENT OF THE UNIFORM THE SISTERS WORE WHEN THEY PERFORMED AT PLACES SUCH AS ARMY BASES AND DANCE HALLS. THIS CAP BELONGED TO ALICE, THE SECOND YOUNGEST OF THE SISTERS. IN 16 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH STATES, “THE HAT WOULD BE AT LEAST FROM 1940 - ’41… ALL OF THE SISTERS HAD [A CAP AND] THEY WERE SPECIAL MADE FOR THEM. ‘ANDERSON SISTERS’ WAS EMBROIDERED ON ONE SIDE AND THEN THEIR NAMES ON THE OTHER. THEY WERE MADE TO GO WITH THESE MILITARY LOOKING DRESSES THAT THEY HAD. THEY TYPICALLY ALWAYS DRESSED ALIKE FOR THE PERFORMANCES. THE HATS WERE MADE TO GO ALONG WITH THEM WHEN THEY WERE DOING PERFORMANCES AT THE MILITARY BASES.” “[THE SISTERS] USUALLY CAME UP WITH [THE UNIFORM] COLLECTIVELY,” RUTH EXPLAINED, “AND THEY WORKED WITH A TAILOR IN TOWN WHO ACTUALLY DID SOME OF THEIR SUITS. THERE MIGHT BE A LABEL THAT I COULD FIND WITH REGARDS TO WHAT THAT COMPANY WAS….THERE WERE USUALLY ALWAYS TAILORS INVOLVED, AND WHEN THEY CAME UP WITH AN IDEA OR CONCEPT, THEY’D HAVE IT DONE AT THE SAME PLACE, BUT I DON’T HAVE THE DETAILS ON THAT.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS CAP, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE WEDGE CAP CAME TO THE MUSEUM ENCLOSED IN A SHADOW BOX COMPLETE WITH ARTICLE CLIPPINGS AND PHOTOGRAPHS, WHICH WAS ASSEMBLED FOR A COMMUNITY DISPLAY. PERMISSION WAS GRANTED BY THE DONOR TO REMOVE THE CAP FROM THE BOX. SEE PERMANENT FILE FOR PHOTOGRAPH OF THE BOX. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
2015
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20170007007
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
2015
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
2
Height
5.5
Diameter
19
Description
A. PURPLE ROUND CAP WITH PURPLE AND WHITE TASSEL ATTACHED TO CENTER BUTTON. INSIDE OF CAP HAS BLACK VELCRO STRIP STAPLED TO BROWN LEATHER LINING, AND BLACK DOUBLE-ELASTIC STRAP ATTACHED. WHITE TAG INSIDE CAP READS “LOT. MEDIUM” WITH HANDWRITTEN INSCRIPTION IN BLUE INK “D. TAYLOR”. HAT HAS TWO PINS ON FRONT, ONE DIAMOND-SHAPED WITH RHINESTONE EDGING AND A STAG WITH PURPLE EYES IN THE CENTER, OVERALL EXCELLENT CONDITION; SECOND PIN COMPRISED OF FOURTEEN RHINESTONES ATTACHED WITH METAL CASINGS WITH TWO PIN ENDS AND PIN BACKINGS ATTACHED, OVERALL VERY GOOD CONDITION. BOTH PINS HAS SILVER-COLOURED FINISHING; RHINESTONE-CHAIN PIN HAS TARNISHING ON PIN ENDS. INSIDE OF CAP HAS STAINS ALONG BACK EDGE AND ON INSIDE LINING; OVERALL VERY GOOD CONDITION. B. HAT BAG, 33CM LONG X 22.5CM WIDE X 6.4CM DEEP, GREY EXTERIOR WITH BLACK, VINYL INTERIOR; HANDLE STITCHED TO TOP OF BAG. TOP FLAP ON BAG SECURES WITH BLACK AND SILVER SNAP BUTTON. INSIDE OF BAG HAS PAPER CARD INSERTED IN PLASTIC SLEEVE THAT READS “NAME DOROTHY TAYLOR, STREET 403 515-6 ST. S, TOWN LETHBRIDGE, PROV. ALTA, PHONE 8-9867, O.O.R.P. LODGE NO. 32”. RIGHT SIDE OF BAG INSIDE HAS GOLD “O.O.R.P.” DIAMOND SEAL WITH ELK IN CENTER. BAG HAS ROUNDED BASE; UPPER FLAP IS CURLED OUT AND BENT, AND TORN AT LOWER RIGHT AND LEFT CORNERS WHERE ATTACHED TO THE BAG; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-HEADWEAR
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 HAT AND HAT BAG, MCDONALD ELABORATED, “WHEN YOU JOIN THE LODGE, THIS IS THE HAT YOU GET. THIS IS STANDARD. ALL THE LADIES GET THIS. WHEN YOU JOIN THE LODGE, YOUR TASSEL IS JUST PURPLE. WHEN YOU ARE HONORABLE ROYAL LADY, YOU TAKE YOUR TASSEL OFF, AND YOU PUT THIS [PURPLE AND CREAM] TASSEL ON.” “[THE BAG] MUST BE FROM BRANDON. OUR HAT BOXES ARE WHITE, AND THEY ARE HARD, AND YOU PUT YOUR HAT IN. [THEN] YOU TIP YOUR HAT UP, AND YOU PUT YOUR GLOVES AND ANYTHING THAT YOU WANT TO STORE IN THE HAT BOX. THE HAT BOXES ARE QUITE A BIT BIGGER…THEY HAVE A HANDLE ON THEM SO YOU CAN…CARRY THEM. EVERYBODY USED TO KEEP THEIR GLOVES IN THEIR HAT BOX.” 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
P20170007007
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
BYCOCKET
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
FELT, COTTON, PLASTIC
Catalogue Number
P20120045005
  2 images  
Material Type
Artifact
Other Name
BYCOCKET
Date Range From
1960
Date Range To
1970
Materials
FELT, COTTON, PLASTIC
No. Pieces
1
Height
17
Length
29
Description
GREEN FELT BYCOCKET (ARCHER’S CAP) WITH RED FELT TRIM ALONG BOTTOM AND FOLD BETWEEN RED TRIM AND GREEN CAP; FRONT SIDE OF CAP HAS THREE SYNTHETIC FEATHERS TUCKED INTO FOLD, ONE YELLOW, ONE RED, AND ONE GREEN. FRONT SIDE OF CAP HAS GOLDEN GLITTER-GLUE HANDWRITTEN TEXT “LETHBRIDGE 562”; BACK SIDE OF CAP HAS GOLDEN GLITTER-GLUE HANDWRITTEN TEXT SEWN ONTO GREEN PATCH ON CAP “GINNY”. GLITTER-GLUE IS PEELING IN SPOTS ON FRONT AND BACK TEXT; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. “THAT ONE WAS ALMOST AHEAD OF ME IN THE FORESTERS BECAUSE IT WASN’T REALLY SOMETHING THAT WE USED. IN EARLY DAYS, WHEN THEY HAD SOMETHING OFFICIAL, THEY WORE THE CAP, AND THEY WORE A GOWN. IT ALL GOES BACK TO ROBIN HOOD DAYS BECAUSE THE FORESTERS WERE DEVELOPED IN THAT TIME SPAN OF YEARS.” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID. IF YOU HAD AN OPEN PARTY BEFORE ‘70 AND YOU WERE WEARING ONE OF THOSE…PEOPLE RECOGNIZED YOU AS BEING ONE OF THE WORKERS…OTHER THAN THAT IT WASN’T SOMETHING THAT I REALLY WANTED TO WEAR, PARTICULARLY…THE RITUAL…I’D SAY IT HAS DISAPPEARED. “MY WIFE [RUTH] AND A NEIGHBOUR WHO WAS ALSO A MEMBER [MADE THE HATS]. THEY MADE A GROUP OF THEM FOR US. THIS ONE WAS GINNY; SHE WAS PAST-PRESIDENT…IT’S NOT MINE.” “[THE RITUAL WAS] A SPILL-OVER FROM WHAT WAS HAPPENING IN ENGLAND. THE FORESTERS WERE SUCCESSFUL, [SO] THEY CARRIED ON WITH SOME OF THE ORIGINAL RITUALS. IT’S SOMETHING THAT HAD MADE THEM STRONG OR HELPED TO MAKE THEM STRONG. [THE RITUAL AND REGALIA] ALSO MADE THEM NOTABLE, NOTED.” “THE RITUAL WAS…FROM ENGLAND...IF YOU TALK TO THE PRESIDENT THEN IT WAS ‘THE CHIEF RANGER’ AND THE LANGUAGE THAT WENT WITH THE RITUAL IN THOSE YEARS GONE BY – AND WE USE SOME OF THAT LANGUAGE…AS A PREFERENCE IN STARTING OUR MEETINGS. ESPECIALLY IF IT WAS…A SPECIAL MEETING WHERE WE WERE GOING TO GIVE FIVE THOUSAND DOLLARS TO THIS OR TWO THOUSAND DOLLARS TO THAT. [THE RITUAL WAS PERFORMED IN ADVANCE OF] SOMETHING A LITTLE BIT NOTABLE WITHIN OUR GROUP.” “THE CLOTHES WERE…GIVEN TO US BY THE PREVIOUS MEMBERSHIP. THAT’S HOW WE WOUND UP WITH A HAT AND ONE OF THE CLOAKS THAT WE WORE.” “[THIS HAT] WOULD HAVE BEEN [MADE] ABOUT THE ‘80S…THOSE ARE THE LAST OF THE HATS THAT WE MADE. [WE STOPPED PERFORMING THE RITUAL] BEFORE 1990.” “WE USED THE IOOF HALL [ODD FELLOWS HALL], UPSTAIRS…WE USED THE GYM AT OUR SCHOOL, AT LAKEVIEW SCHOOL. WE RENTED PLACES…FOR OUR MEETINGS AND FOR OUR RITUALS. THE LEGION, WHEN IT WAS OVER FACING THE RAILROAD TRACK IS THE FIRST ONES I REMEMBER.” WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045005
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Date Range From
1880
Date Range To
1890
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20170002000
  2 images  
Material Type
Artifact
Date Range From
1880
Date Range To
1890
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
103.2
Width
5
Description
BEADED BELT WITH A GEOMETRIC PATTERN SET AGAINST A GREEN BEADED BACKGROUND. PATTERN ALTERNATES BETWEEN TWO MIRRORED BLACK, YELLOW, BLUE TRIANGLES WITH THEIR BASES AT EITHER WIDTH END OF THE BELT MEETING IN THE CENTER AT THEIR POINTS AND LARGE RED AND BLUE WITH A GREEN CENTERED TRIANGLES WITH THEIR BASE AT ONE WIDTH END AND THEIR POINTS EXTENDED TO THE OPPOSING END. BEADS ARE SEWN INTO A COTTON, CANVAS FABRIC. TWO ANIMAL HIDE TIES (EACH A DIFFERENT LENGTH FROM 6.2 TO 11.8) ON EACH END AT EACH CORNER OF BELT. BACK SIDE IS RAW FABRIC WITH SEAM AT CENTER CONNECTING THE TWO HALVES. ENDS ARE HEMMED WITH TIES SEWN TO THE OUTSIDE. CONDITION: SEVERE DISCOLOURATION TO FABRIC BACKING AND SEVERE WEAR TO ANIMAL HIDE TIES. MANY LOSS THREADS OVER ENTIRE SURFACE OF BACK. BEADS AND BEADING IN EXCELLENT CONDITION OVERALL.
Subjects
INDIGENOUS
Historical Association
ETHNOGRAPHIC
History
UPON THE DONATION OF THIS BELT TO THE GALT MUSEUM, THE DONOR – PATRICIA LYNCH-STAUNTON – EXPLAINED THAT THIS BELT BELONGED TO ALFRED HARDWICH LYNCH-STAUNTON, WHO SERVED IN THE ROYAL CANADIAN MOUNTED POLICE IN FORT MACLEOD. HE RANCHED IN THE LUNDBRECK AREA AND SUPPLIED HORSES TO THE MOUNTIES. THE DONOR SAID THAT SHE HAD “NO KNOWLEDGE OF HOW [ALFRED HARDWICK] CAME INTO POSSESSION OF THE BELT. A NOTE ON THE INITIAL DOCUMENTATION ATTRIBUTES THE DATE OF THIS BELT TO CA. 1880-1890. THE ACTING CURATOR OF THE NATIVE NORTH AMERICAN DEPARTMENT OF THE GLENBOW, JOANNE SCHMIDT, AGREED WITH THE DONOR’S BELIEF THAT THE BELT WAS BLACKFOOT. THROUGH THE COMPARISON OF THE BEADED MOCCASINS AND BELTS IN THE GLENBOW’S COLLECTION WITH THIS BELT, SCHMIDT EXPLAINED THAT THE DESIGN ON THE BELT WAS MOSTLY FOUND ON THOSE FROM SIKSIKA, BUT SHE HAS ALSO SEEN THE DESIGN IN PIIKANI AND KAINAI BEADWORK THOUGH THERE ARE NOT MANY EXAMPLES IN THE COLLECTION. ALSO BY USING THE GLENBOW’S COLLECTION AS A POINT OF REFERENCE, THE CURATOR BELIEVES THAT THE BELT IS SIMILAR IN APPEARANCE TO THOSE OF THE 19TH CENTURY TO EARLY 20TH-CENTURY MUSEUM HOLDINGS. SCHMIDT ALSO PROVIDED AN EXPLANATION OF THE DESIGN FROM THE CANADIAN MUSEUM OF HISTORY. IT STATES, “ONE OF THE EARLIEST DESIGNS USED WAS ‘MIISTA-TSIKA-TUKSIIN,’ OR MOUNTAIN DESIGN. OTHER DESIGNS INCLUDED SQUARES, DIAMONDS, BARS, SLOTTED BARS AND STRIPES… TODAY SUCH DESIGNS ARE CALLED ‘MAAH-TOOHM-MOOWA-KA-NA-SKSIN,’ OR FIRST DESIGNS.” IT WAS FURTHER EXPLAINED THAT A COMPLICATING FACTOR IN IDENTIFYING THE BELT’S ORIGINS IS THE FACT THAT THE BLACKFOOT TENDED TO USE WHITE OR BLUE AS THE BACKGROUND COLOUR, NOT GREEN AS IS PRESENTED IN THE LYNCH-STAUNTON DONATION. ON 19 JANUARY 2017, MUSEUM STAFF FURTHER CONSULTED WITH RYAN HEAVY HEAD, FORMER DIRECTOR OF KAINAI STUDIES AT RED CROW COMMUNITY COLLEGE, REGARDING THE BELT’S DESIGN. HE EXPLAINED, “THE GREEN BACKGROUND IS ATYPICAL OF BLACKFOOT BEADWORK, WHICH IS NORMALLY BLUE. THE ‘MOUNTAIN DESIGN’ [DISPLAYED ON THE BELT] IS A COMMON MOTIF IN BLACKFOOT BEADWORK, BUT AGAIN THE COLOURS ARE NOT TYPICAL IN THIS EXAMPLE.” RYAN SPECULATED THAT DURING THE TIME OF DISEASE (WHEN THIS BELT APPEARS TO HAVE ORIGINATED) THERE WAS SOME DISRUPTION IN TRADITIONAL LIFE AND THAT COULD BE REFLECTED IN THE COLOUR CHOICES. ALTERNATIVELY, THE BELT MAY HAVE BEEN MADE BY THE GROS VENTRES FROM NORTHEAST MONTANA. THE DONOR, PATRICIA LYNCH-STAUNTON, IS THE GREAT-GRANDDAUGHTER OF ALFRED HARDWICK LYNCH-STAUNTON. THIS BELT WAS PASSED DOWN THROUGH THE FAMILY, FIRST FROM A. H. LYNCH-STAUNTON, THEN TO THE DONOR’S GRANDFATHER, F. C. LYNCH-STAUNTON, THEN TO HER FATHER, A. G. LYNCH-STAUNTON, FINALLY TO THE DONOR WHO BROUGHT IT TO THE MUSEUM. THE FOLLOWING INFORMATION COMES FROM THE “A. H. LYNCH-STAUNTON FAMILY HISTORY” WRITTEN FOR THE MUSEUM USING ONLINE SOURCES, THE GLENBOW ARCHIVES, AND THE BOOK TITLED “HISTORY OF THE EARLY DAYS OF PINCHER CREEK AND SOUTHERN MOUNTAINS OF ALBERTA.” “ALFRED HARDWICK LYNCH-STAUNTON (1860-1932) WAS BORN IN HAMILTON, ON AND CAME TO FORT MACLEOD IN 1877 TO JOIN THE NWMP. ACCORDING TO THE PINCHER CREEK HISTORICAL SOCIETY, HE WAS SENT TO ESTABLISH A HORSE BREEDING FARM AT PINCHER CREEK IN 1878. AFTER RETIRING FROM THE NWMP IN 1880, LYNCH-STAUNTON STATED THE FIRST CATTLE RANCH IN THE PINCHER CREEK AREA WITH JAMES BRUNEAU AND ISSAC MAY, AND LATER HOMESTEADED WEST OF TOWN. ALONG WITH HIS RANCH, LYNCH-STAUNTON MARRIED SARAH MARY BLAKE (1864-1933) IN 1890 AND THEY HAVE FIVE CHILDREN: VICTORIA, FRANDA, FRANCIS, JOHN, AND D’ARCY… A.H.’S BROTHER RICHARD LYNCH-STAUNTON (1867-1961) CAME AS FAR WEST AS MEDICINE HAT IN 1883 WITH HIS FATHER, F. H. LYNCH-STAUNTON, WHO WAS IN CHARGE OF THE SURVEY PARTY. RICHARD CAME WEST AGAIN, TO PINCHER CREEK, IN 1885 OR 1886. IN ABOUT 1900, HE ACQUIRED LAND NORTH OF LUNDBRECK, ON TODD CREEEK, WHICH BECAME THE ANTELOPE BUTTE RANCH. RICHARD AND A. H. WERE IN PARTNERSHIP FOR A NUMBER OF YEARS IN CATTLE-RANCHING AND, ACCORDING TO THE DONOR, WITH THE BUTCHER SHOP. IN 1901, RICHARD MARRIED ISABELLE MARY WILSON (1868-1971), AND THEIR SON FRANK LYNCH-STAUNTON (1905-1990), ALBERTA’S 11TH LIEUTENANT GOVERNOR FROM 1979 TO 1985. LYNCH-STAUNTON DESCENDANTS CONTINUE TO RANCH IN THE LUNDBRECK/PINCHER CREEK AREA.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING CORRESPONDENCE WITH DONOR AND PEOPLE CITED IN ABOVE HISTORY.
Catalogue Number
P20170002000
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
MAHJONG SET
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20150028000
  2 images  
Material Type
Artifact
Other Name
MAHJONG SET
Date
1987
Materials
PLASTIC
No. Pieces
159
Height
9.6
Length
23
Width
23
Description
A – G: 7 STANDARD 6-SIDED DICE. 6 OF THE DICE HAVE BLACK DOTS ON A WHITE BACKGROUND, EXCEPT RED DOTS FOR THE ONE AND THE FOUR ON ALL DICE. THE SEVENTH DIE IS THE SAME AS THE FIRST SIX BUT WITH BROWN DOTS INSTEAD OF BLACK. THE DICE ARE 1.4 CM CUBED WITH ROUNDED EDGES. GOOD CONDITION: NORMAL WEAR FROM USE. H-I: A DIRECTIONAL PIECE CUBE (LIKE A DIE) AND A HOLDER. THERE ARE RED CHINESE CHARACTERS ON 4 OF THE 6 SIDES OF THE WHITE CUBE. THE DIE IS 1.2 CM CUBED. THE PIECE’S CIRCULAR HOLDER HAS A RED TOP AND A WHITE BASE WITH A CUBE INSERT IN THE CENTER OF THE TOP THAT FITS THE DIRECTIONAL PIECE. THE HOLDER IS IN FAIR TO GOOD CONDITION. IT IS WELL WORN AND THE EDGES ARE YELLOWING. FAIR TO GOOD CONDITION WITH SOME WEAR TO THE CHARACTERS AND THE CORNERS OF THE DIE. J-BBBBBBB: MAHJONG GAME SET. 144 TILES PLUS 4 BLANK SPARES (148 TILES TOTAL). THERE ARE 108 SIMPLE TILES (OF THE 3 SUITS: DOTS, BAMBOO, AND CHARACTERS), THERE ARE 28 HONOURS TILES (16 WINDS AND 16 DRAGONS), AND THERE ARE TWO SETS OF BONUS TILES (FLOWERS AND SEASONS) EACH WITH 4 TILES IN THE SET. EACH TILE IS 3.5 X 2.8 X 2.1 CM. VERY GOOD TO EXCELLENT CONDITION WITH SLIGHT SCUFFING ON THE TILES. CCCCCCC – DDDDDDD: GREEN RUBBERMAID PLASTIC CONTAINER WITH A WHITE PLASTIC LID FOR THE MAHJONG SET’S CASE. THE BOTTOM OF THE CONTAINER READS “RUBBERMAID 4 QUARTS” “J-3204”. THE DIMENSIONS OF THE CONTAINER ARE 23 X 23 X 9.6 CM. THE DIMENSIONS OF THE LID ARE 23 X 24.5 X 1.5 CM. GOOD CONDITION. THE OVERALL SURFACE OF BOTH THE CONTAINER AND THE LID ARE SCRATCHED. ON THE LID, THE TOP COATING OF PLASTIC IS PEELING OFF. THERE IS ADHESIVE TAPE RESIDUE IN ONE CORNER.
Subjects
GAME
Historical Association
ETHNOGRAPHIC
LEISURE
History
ON NOVEMBER 10, 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RICHARD LOO AT THE GALT MUSEUM REGARDING A MAHJONG SET HE WAS DONATING TO THE MUSEUM. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MAHJONG IS A TILE-BASED GAME THAT ORIGINATED IN CHINA. LOO RECALLS ACQUIRING THE SET APPROXIMATELY 30 OR 40 YEARS AGO. HE SAID HE GOT THEM, “WHEN I WENT BACK TO HONG KONG. LET’S SEE – ’87. I WENT TO HONG KONG IN ’87. I BOUGHT SEVERAL [MAHJONG] SETS… TO GIVE TO THE KIDS IF THEY WERE INTERESTED. HERE, THEY ARE NOT AVAILABLE – NOT IN THIS CITY. YOU CAN GET IT IN CALGARY, BUT, IF I BROUGHT IT BACK FROM CHINA, IT’S A BETTER DEAL FOR ME… I STILL HAVE A COUPLE OF SETS AT HOME. I GIVE SOME TO MY FRIENDS; SOME TO THE KIDS.” WHEN ASKED ABOUT HIS USE OF GAME SET, LOO EXPLAINED, “I USE IT NOT TOO MANY TIMES… THEY COME IN A CASE – LIKE A BRIEFCASE - JUST FLIMSY STUFF. IF IT WAS USED SO LONG, IT WOULD JUST GO IN PIECES. SO I PUT IT INTO CONTAINERS – KEEPS A BETTER SHAPE, THAT’S ALL.” HE EXPLAINS THAT THE GAME IS PLAYED, “MOSTLY AT HOME. TO FOOL AROUND; JUST TO KILL TIME,” AND THAT THE SET DONATED WAS A PERSONAL SET THAT HAS ALWAYS BEEN AT LOO’S HOUSE. “THERE ARE SO MANY DIFFERENT STYLES OF PLAY. WHEN I CAME, IN THOSE DAYS, WE PLAYED A DIFFERENT WAY, AND AFTER YOU STAYED FOR A LITTLE WHILE, THEY PLAYED A DIFFERENT WAY… YOU PLAY THIS GAME MORE GENERALLY FOR ENTERTAINMENT, KILLING TIME; THE PURPOSE IS NOT TO MAKE MONEY… SEE, I REMEMBER THOSE DAYS, WHEN I WAS YOUNG – JUST A KID THOSE DAYS, IN THE OLD COUNTRY, OLD DAYS. IN THE NEW YEAR, I SAW FOUR OLDER GENTLEMEN PLAY THESE GAMES, BUT I DON’T UNDERSTAND…. WE CALL IT OLD STYLE. NOBODY IS INTERESTED IN PLAYING OLD STYLE ANYMORE. [IT IS] QUITE COMPLICATED... THEY PLAY THIS ONE, JUST LIKE YOU PLAY RUMMY, BUT YOU HAVE TO USE YOUR HEAD A LITTLE BIT. SOMETIMES YOU’VE GOT LUCK TOO." LOO SAYS HE DOES NOT MISS PLAYING THE GAME, “FOR MY AGE, NO. RIGHT NOW, NOT INTERESTED - [I'VE] GOT OTHER THINGS TO DO. YOU PLAY FOR SO LONG, AND THEN, [YOU ARE] NOT INTERESTED ANYMORE. WE USED TO PLAY THIS ON NEW YEAR’S EVE, TILL THE NEXT MORNING. [WE WOULD] START ON NEW YEAR’S EVE TILL TOMORROW MORNING, 6 OR 7 O’CLOCK. NOT ANYMORE. WE PLAYED AT ALBERT’S PLACE, BOW ON TONG…” THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT RICHARD LOO HAS BEEN TAKEN FROM THE ARTIFACT RECORDS P20110031*: LOO ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. LOO'S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO LOO, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). LOO’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED LOO TO MOVE TO LETHBRIDGE AS WELL. LOO LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT LOO WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, LOO RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY [ANYTHING]. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL I COULD SAY, JUST HOW TO SAY ‘HELLO.' IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” LOO INITIALLY LIVED IN THE NATIONAL LEAGUE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. LOO RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION
Catalogue Number
P20150028000
Acquisition Date
2015-11
Collection
Museum
Images
Less detail
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
Date Range From
1907
Date Range To
1995
Material Type
Artifact
Materials
WOOD, METAL, VARNISH
Catalogue Number
P20160003008
  2 images  
Material Type
Artifact
Date Range From
1907
Date Range To
1995
Materials
WOOD, METAL, VARNISH
No. Pieces
1
Height
107
Diameter
54.5
Description
WOODEN SPINNING WHEEL COATED WITH RED WOOD VARNISH. THE BOBBIN IS APPROX. 11.5CM IN LENGTH AND APPROX. 9CM IN DIAMETER. THERE IS SOME HANDSPUN, WHITE YARN REMAINING ON THE BOBBIN, IN ADDITION TO A SMALL AMOUNT OF GREEN YARN. THE SPINNING WHEEL IS FULLY ASSEMBLED. ON EITHER SIDE OF THE FLYER THERE ARE 10 METAL HOOKS. ON THE LEFT SIDE ONE OF THE 10 HOOKS IS PARTIALLY BROKEN OFF. ON THE FRONT MAIDEN, A WHITE STRING IS TIED AROUND A FRONT KNOB WITH A METAL WIRE BENT LIKE A HOOK (POSSIBLY TO PULL YARN THROUGH THE METAL ORIFICE ATTACHED TO FLYER). LONG SECTION OF RED YARN LOOPED AROUND THE SPINNING WHEEL (MAY BE DRIVE BAND). TREADLE IS TIED TO THE FOOTMAN WITH A DARK GREY, FLAT STRING THAT IS 5MM IN WIDTH. GOOD CONDITION. TREADLE IS WELL WORN WITH VARNISH WORN OFF AND METAL NAIL HEADS EXPOSED.
Subjects
TEXTILEWORKING T&E
Historical Association
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. MORRIS ACQUIRED THIS SPINNING WHEEL FROM HER MOTHER AT THE SAME TIME SHE ACQUIRED THE RUG (P20160003006-GA). SHE EXPLAINS: “I ASKED HER IF I COULD USE THE SPINNING WHEEL – SHE TAUGHT ME HOW TO SPIN. AND SHE ALSO TAUGHT ME HOW TO WEAVE, ACTUALLY MY GRANDMOTHER DID THAT MORE SO THAN MY MOTHER. AND I BELONG TO THE WEAVERS’ GUILD, SO I THOUGHT THAT I BETTER DO SOME SPINNING. AND I DID SOME, SO THAT’S WHY I’VE GOT IT HERE AND MOTHER SAID NOT TO BOTHER BRINGING IT BECAUSE SHE WASN’T GOING TO DO ANYMORE SPINNING. SHE HAD LOTS AND LOTS OF YARN THAT SHE DID. SO IT’S BEEN SITTING HERE; IT WAS IN THE BASEMENT.” THE WHEEL WAS MADE FOR ELIZABETH KONKIN WHEN SHE WAS A CHILD IN BRITISH COLUMBIA. MORRIS EXPLAINED THAT: “… [THE SPINNING WHEEL] WAS MADE ESPECIALLY FOR HER. SHE WAS VERY YOUNG. AND THAT IS THE CADILLAC OF SPINNING WHEELS… BECAUSE SHE KNEW WHO THE SPINNERS WERE, WHO THE SPINNING WHEEL CARPENTERS WERE. AND THERE WAS ONE PARTICULAR MAN AND HER MOTHER SAID, ‘WE’LL GO TO THAT ONE.’ AND THEN IN TURN, IN PAYMENT, SHE WOVE HIM ENOUGH MATERIAL TO MAKE A SUIT – A LINEN ONE… [T]HEY DIDN’T LIVE IN CASTELLAR, THEY LIVED IN ANOTHER PLACE. IT’S CALLED - IN RUSSIAN IT IS CALLED OOTISCHENIA. IT’S WHERE THE BIG – ONE OF THE BIG DAMS IS. IF YOU EVER GO ON THAT ROAD, THERE’LL BE DAMS – I THINK ABOUT 3 HUGE ONES… NEAR CASTELLAR, YEAH.” WHEN ASKED ABOUT THE TIME THE WHEEL WAS BUILT FOR HER MOTHER, MORRIS ANSWERED: “… [S]HE GOT IT LONG BEFORE [HER MARRIAGE].” SHE EXPLAINED THAT PRIOR TO MARRYING, GIRLS WOULD PUT TOGETHER TROUSSEAUS “AND THEY MAKE ALL KINDS OF FANCY THINGS WHICH THEY NEVER USE.” MORRIS RECALLS THE SPINNING WHEEL BEING USED WITHIN HER FAMILY’S HOME IN SHOULDICE AND IN THE LEAN-TO AREA IN THEIR HOME AT VAUXHALL: ‘WELL I THINK [THE SKILL IS] IN THE GENES ACTUALLY. BECAUSE MOST FAMILIES WOVE, AND THEY CERTAINLY SPUN, AS FAR AS I REMEMBER. I KNOW EVERY FALL THE LOOM WOULD COME OUT AND WE WERE LIVING WITH MY GRANDPARENTS ON MY DAD’S [SIDE]. WE LIVED UPSTAIRS, AND EVERY WINTER THEY’D HAUL THAT HUGE LOOM INTO THE BATHHOUSE – THE STEAM BATHHOUSE – BECAUSE THERE WAS NO ROOM ANYWHERE ELSE. AND THEY – THE LADIES SET IT UP AND IN THE SUMMERTIME. THEY TORE THE RAGS FOR THE RUGS, OR SPUN THEM. [FOR] WHATEVER THEY WERE GOING TO MAKE. MY MOM WAS SPINNING WHEN I WAS OLD. [S]HE USED MAKE MITTENS AND SOCKS FOR THE KIDS FOR MY CHILDREN AND SO WHEN SHE DIED THERE WAS A WHOLE STACK OF THESE MITTENS AND SOCKS AND I’VE BEEN GIVING IT TO MY GRAND[KIDS AND] MY GREAT GRANDKIDS” MORRIS ALSO USED THIS SPINNING WHEEL MANY TIMES HERSELF. SHE SAID, “IT WAS VERY EASY TO SPIN AND WHEN YOU TRY SOMEBODY ELSE’S SPINNING WHEEL YOU KNOW THE DIFFERENCE RIGHT AWAY. IT’S LIKE DRIVING A CADILLAC AND THEN DRIVING AN OLD FORD. IT’S JUST, IT’S SMOOTH. OUR SON, I TOLD YOU HE WAS VERY CLEVER, HE TRIED SPINNING AND HE SAID IT WAS JUST A VERY, VERY GOOD SPINNING WHEEL. WHEN I WAS IN THE GUILD I TRIED DOING [WHAT] MY MOTHER TAUGHT ME HOW TO SPIN FINE THREAD AND I WANTED HEAVY THREAD BECAUSE NOW [THEY'RE] MAKING THESE WALL HANGINGS. THEY USE THREAD AS THICK AS TWO FINGERS SO I DID THAT AND I DYED IT. I WENT OUT AND CREATED MY OWN DYES. THAT WAS FUN AND THEN I HAVE A SAMPLER OF ALL THE DYES I MADE… I STOPPED SPINNING SHORTLY BEFORE I STOPPED WEAVING… I LOVED WEAVING. FIRST OF ALL I LEARNED HOW TO EMBROIDER. I LIKED THAT THEN I LEARNED HOW CROCHET, I LIKED THAT. THEN I LEARNED HOW TO KNIT AND THAT WAS TOPS. THEN ONE DAY I WAS VISITING MY FRIEND, FRANCES, AND SHE WAS GOING TO THE BOWMAN AND I SAID, 'WHERE ARE YOU GOING?' SHE SAID 'I’M GOING THERE TO WEAVE.' I SAID, 'I DIDN’T KNOW YOU COULD WEAVE?' SHE SAID, 'OH YES,' AND I SAID ‘IS IT HARD?' SHE SAID, ‘NO,” SO I WENT THERE AND I SAW THE THINGS SHE WOVE. THEY WERE BEAUTIFUL AND SO I JOINED THE GROUP AND THEN OF COURSE I WANTED TO HAVE SOME OF THE STUFF I HAD SPUN MYSELF AND DYED MYSELF AND NOBODY ELSE WANTED. THEN I DECIDED, ‘ALRIGHT, I’VE WOVEN ALL THESE THINGS, WOVE MYSELF A SUIT, LONG SKIRT YOU NAME IT. PLACE MATS GALORE. THIS LITTLE RUNNER,’ AND I THOUGHT, ‘WELL, WHAT AM I GOING TO DO WITH THE REST BECAUSE NOBODY WANTS HOMESPUN STUFF. THEY WANT TO GO TO WALMART OR SOME PLACE AND BUY SOMETHING READYMADE,’ SO I GAVE UP SPINNING AND WEAVING… I STOPPED AFTER I MADE MY SUIT. THAT MUST HAVE BEEN ABOUT TWENTY YEARS AGO, EASILY.” MORRIS’ MOTHER WOULD WEAVE IN SHOULDICE, BUT “[I]N VAUXHALL, NO, SHE WASN’T [WEAVING]. SHE DIDN’T HAVE A LOOM.” MORRIS SAID IN SHOULDICE, “I LEARNED HOW TO THROW THE SHUTTLE BACK AND FORTH TO WEAVE RUGS BECAUSE I USED TO SIT THERE WATCHING MY GRANDMOTHER AND SHE LET ME DO THAT, AND THEN YOU SEE WHEN I GOT SO INTERESTED IN WEAVING THAT I BOUGHT A LOOM, SITTING DOWN IN THE BASEMENT. I’VE BEEN TRYING TO SELL IT EVER SINCE AND NOBODY WANTS IT. I OFFERED TO GIVE IT FOR FREE AND NOBODY WANTS IT BECAUSE THEY DON’T HAVE SPACE FOR IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003008
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1949
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003003
  1 image  
Material Type
Artifact
Date Range From
1940
Date Range To
1949
Materials
WOOD
No. Pieces
1
Length
26
Width
7.8
Description
HANDMADE, WOODEN SOUP LADLE. FINISHED WITH WOOD VARNISH. IT HAS A SKINNY HANDLE THAT IS APPROX. 1 CM IN WIDTH. A HOLE HAS BEEN DRILLED AT THE END OF THE HANDLE. GOOD CONDITION. SEVERE STAINING/DARKENING AT THE BOWL OF THE SPOON. WOOD VARNISH IS CHIPPING ON OVERALL SURFACE OF THE SPOON.
Subjects
FOOD SERVICE T&E
Historical Association
ETHNOGRAPHIC
DOMESTIC
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. A NOTE WRITTEN BY ELSIE MORRIS WAS ATTACHED TO THIS ARTIFACT AT THE TIME OF DONATION. IT EXPLAINED THAT THIS LADLE WAS HAND CARVED BY WILLIAM KONKIN C.1940. IN THE INTERVIEW MORRIS EXPLAINS: “OKAY THE LADLES ARE ALWAYS USED FOR LIFTING UP SOUP AND ANYTHING ELSE THAT HAPPENS TO BE A LIQUID. IT’S EASIER. THIS IS A SMALL ONE SO THEY WERE SMALLER HELPINGS OR WHATEVER IT WAS THAT YOU WERE DOING... THAT’S THE LAST ONE HE MADE.” OF THIS LADLE, MORRIS REMEMBERS: “OH JUST THAT WE ATE SOUP AND BORSCH WITH IT.” WILLIAM KONKIN MADE MANY ITEMS USED BY THE FAMILY AND CONSTRUCTED THE FAMILY HOMES OF VAUXHALL AND LETHBRIDGE. MORRIS STATES, ”SEE MY DAD WAS VERY GIFTED, I ONLY NOW APPRECIATING HIM.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003003
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Material Type
Artifact
Materials
CANVAS, FABRIC, THREAD
Catalogue Number
P20160003005
  1 image  
Material Type
Artifact
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Materials
CANVAS, FABRIC, THREAD
No. Pieces
1
Length
41
Width
36
Description
HANDMADE BAG MADE OF 3 SECTIONS OF STRIPS OF ABOUT 5 INCHES (APPROX. 13 CM) EACH. IT IS RED WITH BLUE, YELLOW, GREEN, AND RAW MATERIAL ACCENTS. THE TRIM AT THE TOP OF THE BAG IS BLUE WITH A HANDLE OF THE SAME FABRIC ON EITHER SIDE. THERE IS A STRIP OF RAW, NOT PATTERNED FABRIC AT THE BOTTOM OF THE BAG. BOTH SIDES OF THE BAG HAVE THE SAME ARRANGEMENT OF PATTERNED STRIPS. THERE IS ONE SEAM CONNECTING THE FRONT AND THE BACK OF THE BAG ON BOTH SIDES. THE INSIDE IS UNLINED. GOOD TO VERY GOOD CONDITION. THERE IS SOME STITCHING COMING LOOSE AT VARIOUS POINTS OF THE PATTERNING.
Subjects
CONTAINER
Historical Association
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. A STATEMENT WRITTEN BY MORRIS ATTACHED TO THE BAG STATES THAT THE MATERIAL OF THE BAG ORIGINATES FROM THE 1870S. THE STATEMENT READS: “THIS BAG WAS HAND WOVEN IN STRIPS [THAT WERE USED] TO SEW ON THE BOTTOM OF PETTICOATS. THE GIRLS AT THAT TIME HAD TO HAVE A TROUSEUA [SIC] TO LAST A LIFETIME BECAUSE AFTER MARRIAGE THERE WOULD BE NO TIME TO MAKE CLOTHES SO WHAT THEY MADE WAS STURDY. THEY STARTED ON THEIR TROUSEUS [SIC] AS SOON AS THEY COULD HOLD A NEEDLE. WHEN IT WAS HAYING TIME THE GIRLS WENT OUT INTO THE FIELD TO RAKE THE HAY. THEY WORE PETTICOATS OF LINEN TO WHICH THESE BANDS WERE SEWN. THE LONG SKIRTS WERE PICKED UP AT THE SIDES AND TUCKED INTO THE WAISTBANDS SO THAT THE BOTTOMS OF THE PETTICOATS WERE ON DISPLAY.” “THESE BANDS WERE ORIGINALLY MY GREAT GRANDMOTHER’S WHO CAME OUT OF RUSSIA WITH THE DOUKHOBOR SETTLEMENT IN 1899. THEY WERE PASSED ON TO MY MOTHER, ELIZABETH KONKIN, WHO MADE THEM INTO A BAG IN THE 1940S” THE STRIPS THAT MAKE UP THE BAG SERVED A UTILITARIAN PURPOSE WHEN SEWN TO THE BOTTOM OF THE PETTICOATS. IN THE INTERVIEW, MORRIS EXPLAINS: “… THESE STRIPS ARE VERY STRONG. THEY’RE LIKE CANVAS. THEY WERE SEWN ONTO THE BOTTOM OF THE LADY’S PETTICOATS AND THEY WORE A SKIRT ON TOP OF THE PETTICOATS. THESE STRIPS LASTED A LIFETIME, IN FACT MORE THAN ONE LIFETIME BECAUSE I’VE GOT THEM NOW. THEY WOULD TUCK THE SKIRTS INTO THEIR WAISTBAND ON THE SIDE SO THEIR PETTICOATS SHOWED AND THEY WERE TRYING TO PRESERVE THEIR SKIRTS NOT TO GET CAUGHT IN THE GRAIN. THE GIRLS LIKED TO WEAR THEM TO SHOW OFF BECAUSE THE BOYS WERE THERE AND THEY ALWAYS WORE THEIR VERY BEST SUNDAY CLOTHES WHEN THEY WENT CUTTING WHEAT OR GRAIN." “[THE FABRIC] CAME FROM RUSSIA. WITH THE AREA WHERE THEY CAME FROM IS NOW GEORGIA AND THEY LIVED ABOUT SEVEN MILES NORTH OF THE TURKISH BORDER, THE PRESENT DAY TURKISH BORDER… [THE DOUKHOBORS] CAME TO CANADA IN 1897 AND 1899.” MORRIS EXPLAINS THAT SURPLUS FABRIC WOULD HAVE BEEN BROUGHT TO CANADA FROM RUSSIA BY HER MATERNAL GRANDMOTHER FOR FUTURE USE AND TO AID THE GIRLS IN MAKING THEIR TROUSSEAUS: “THE TROUSSEAU THE GIRLS MADE HAD TO LAST THEM A LIFETIME BECAUSE THEY WOULDN’T HAVE TIME BUT RAISING CHILDREN TO SEWING THINGS. SEWING MACHINES WERE UNKNOWN THEN.” THE BANDS OF FABRIC THAT MAKE UP THE BAG WOULD HAVE BEEN REMAINS NEVER USED FROM ELIZABETH KONKIN’S TROUSSEAU. SHE HAND WOVE THE BAG WHILE SHE WAS LIVING IN SHOULDICE. THE BAG WAS USED BY MORRIS’ MOTHER TO STORE HER KNITTING SUPPLIES. WHEN MORRIS ACQUIRED THE BAG IN THE 1990S, IT MAINTAINED A SIMILAR PURPOSE: “WELL I USED TO CARRY MY STUFF FOR THE WEAVER’S GUILD BUT NOW I DON’T USE IT FOR ANYTHING. IT’S VERY HANDY YOU KNOW IT DOESN’T WEAR OUT.” THERE WAS ONLY ONE BAG MADE OUT OF THESE REMNANTS BY MORRIS’ MOTHER. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003005
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOL, DYE
Catalogue Number
P20160003006
  2 images  
Material Type
Artifact
Date
1929
Materials
WOOL, DYE
No. Pieces
1
Length
182.5
Width
117.5
Description
HAND-WOVEN RUG MADE FROM HAND-DYED, HANDSPUN WOOL. THERE IS A 3-4 CM WIDE BLACK BORDER AROUND ALL LENGTHS OF THE RUG, WITH FRINGE ON THE SHORT ENDS. INSIDE THE BLACK BORDER IS A SINGLE WOVEN BORDER OF LIGHT BLUE WOOL. INSIDE OF THIS BORDER IS A PATTERN SET ON A DARK BURGUNDY-COLOURED BACKGROUND. THERE IS A BLUE FLOWER IN THE CENTER OF THE RUG. ON ONE END THE DATE “1924” IS WOVEN IN RAW-COLOURED WOOL. THE “9” HAS BEEN WOVEN UPSIDE DOWN. ON THE OPPOSITE END OF THE RUG, THE INITIALS “ ” FOR THE NAME LISAVETA PETROVNA WISHLOW, ARE WOVEN IN LIGHT BLUE. THERE ARE 20 HARPS COLOURED EITHER BLUE, ORANGE, PINK, OR YELLOW AROUND ALL LENGTHS OF THE RUG. UNDER THE HARPS IS A GREEN VINE PATTERN AND A RED DECORATIVE BORDER. THE DESIGN ELEMENTS ARE LAID OUT SYMMETRICALLY OVER THE RUG AND CONSIST OF FLOWERS, DUCKS, AND BUTTERFLIES. VERY GOOD TO EXCELLENT CONDITION. SLIGHT WEAR TO THE WOOL FROM USE.
Subjects
FLOOR COVERING
Historical Association
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. THIS RUG WAS HAND-WOVEN BY ELIZABETH KONKIN IN 1924. THE RUG WAS USED AS A WALL COVER IN THE WINTER AND ACTED AS AN INSULATOR. LATER IT WAS USED ON THE FLOOR AT CHRISTMASTIME. IT WAS INHERITED BY MORRIS PRIOR TO THE PASSING OF HER MOTHER: “I CAME INTO POSSESSION [OF IT] FROM MY MOTHER. SHE DIED IN 2003 AND I GOT THE RUG SLIGHTLY BEFORE THEN AND YES THAT WOULD BE ABOUT THE TIME… I HAVE NO OTHER SIBLINGS AND SO OBVIOUSLY EVERYTHING SHE MADE WOULD GO TO ME. MY SON SAID HE WOULD LIKE TO HAVE THE RUG, BUT CHANGED HIS MIND. HIS WIFE WAS NOT KEEN ON HAVING IT, SO I HAD TO DO SOMETHING WITH IT. TO ME IT IS A VERY BEAUTIFUL RUG AND I WANTED IT SOME PLACE WHERE IT WON’T GET TRASHED BY DOGS OR ANIMALS.” AFTER ACQUIRING THE RUG, MORRIS PLACED IT ON THE FLOOR OF HER HOME IN LETHBRIDGE: “THE LINO [ON THE FLOOR] STARTED TO WEAR OUT AND I THOUGHT YOU CAN’T PUT A RUG LIKE THAT ON ANOTHER LINO. IT JUST DOESN’T GO. BUT I DO LIKE HARDWOOD SO WE HAD HARDWOOD PUT THROUGHOUT THE BEDROOMS. THE LAST ROOM IS MY OFFICE, FIRST OF ALL, I HAD THE RUG IN THIS BEDROOM AND THEN IT WASN’T VERY CONVENIENT TO CLEAN BECAUSE THERE WASN’T THAT MUCH SPACE SO I PUT IT IN MY OFFICE WHERE I LOVED IT, BUT I KEPT STUMBLING OVER IT. I THOUGHT I MIGHT BREAK A LEG IF I DO THIS SO I BETTER GET RID OF IT… THE HARDWOOD WAS PUT IN BEFORE THE GST WENT IN. I DIDN’T HAVE THE RUG THEN BUT I THOUGHT THAT I WOULD BE GETTING THE RUG AND SO I WOULD HAVE IT HARDWOOD… WAS IT 1995? ANYWAY BEFORE GST WENT IN.” THE RUG HAD BEEN PRESENT THROUGHOUT MORRIS’ LIFE – FROM TIME SPENT ON THE DOUKHOBOR COLONY IN SHOULDICE, ALBERTA TO LIFE ON A FARM OUTSIDE OF VAUXHALL, ALBERTA: “I CAN REMEMBER WHEN I WAS BORN. THE RUG WAS IN MY PARENT’S HOME. WE LIVED ON A DOUKHOBOR COLONY, WE HAD MUD PLASTERED WALLS AND OUR HOUSE WAS WELL BUILT. MY DAD BUILT IT. SOME OF THE HOUSES ONLY HAD ONE LAYER OF WOOD AND THEY WERE VERY COLD, HOWEVER OUR BEDROOMS HAD WALLS ON THE NORTH SIDE. IN WINTER THEY GOT CHILLY, SO EVERY WINTER THEY WOULD NAIL UP THIS RUG UP AGAINST THE WALL. IT STAYED THERE FOR THE WINTER. FOR SUMMER IT CAME DOWN, I DON’T [KNOW] WHERE SHE STORED IT, I THINK POSSIBLY IN ONE OF THE BIGGER TRUNKS AND THEN TOOK IT OUT… THIS HOME [WHERE THE RUG WAS PLACED], IT’S OUTSIDE OF VAUXHALL. WE LEFT THE COLONY, MOVED TO VAUXHALL AND MOVED THE HOUSE. THE HOUSE WAS EXPANDED AND THEN WE LIVED IN THAT HOUSE. I LEFT HOME AND MY PARENTS HAD A HOUSE IN LETHBRIDGE WHICH DAD BUILT ALSO AND HE SOLD THE FARM. THEY ASKED IF WE WANTED TO GO AND WE DIDN’T. SO THEY SOLD THE FARM AND THERE WAS A BEAUTIFUL POND WHERE WE SWAM AND BOATED AND WE HAD LOTS OF TREES AROUND THE HOUSE. IT WAS ABOUT AN ACREAGE IF NOT MORE AND WHEN HE SOLD IT THE NEW OWNERS, VERY FRUGAL PEOPLE, [THEY] BURNT DOWN THE HOUSE, THE STEAM BATHROOM, THE GARAGE, THE WORKS. NOW MIND THEY WERE OLD STATE BY NOW AND THEY PLOWED [IT ALL INTO] IN THE POND BECAUSE THEY WANTED TO MAKE MONEY FROM THE GRAIN [FIELDS], SO WHEN I WENT THERE A COUPLE OF YEARS LATER, [I WAS] SURPRISED EVERYTHING WAS GONE, SO THAT WAS THAT." THE RUG MAY HAVE BEEN WOVEN BY MORRIS’ MOTHER ON THE DOUKHOBOR COLONY IN SHOULDICE OR DURING THE WINTER SPENT IN COWLEY: “… IT COULD HAVE BEEN WOVEN IN COWLEY BECAUSE THEY STAYED IN COWLEY FOR THE WINTER BUT I CAN’T BE TOO SURE. IT ALSO COULD HAVE BEEN MADE ON THE COLONY… TWENTY MILES EAST OF MOSSLEIGH.” ELIZABETH KONKIN WAS MARRIED IN 1927, SO THE INITIALS WOVEN ON THE RUG ARE OF HER MAIDEN NAME: “THAT’S AN “L” [ ] THAT’S LISAVETA (SIC.) BUT HER NAME IS YALALISAVETA (SIC.) BUT SHE PUT DOWN LISAVETA. PETROVNA THAT’S A “P” [ ] THAT’S DAUGHTER OF PETRO AND WISHLOW [ ] THAT WAS HER MAIDEN NAME. ... [AFTER MAKING THE RUG] THERE WAS SOME WARP LEFT OVER. … WARP IS THE STUFF THAT RUNS DOWN AND WEFT IS WHAT YOU PUT IN BETWEEN WITH A SHUTTLE BUT THIS WASN’T PUT IN WITH A SHUTTLE. EACH INDIVIDUAL THREAD WAS KNOTTED. IT’S LIKE DIFFAGHAN (SIC.) - A SWEDISH METHOD - AND THAT’S HOW IT WAS DONE. IF THERE WAS SOME LEFT OVER AND HER MOM INSISTED THAT SHE DO ANOTHER RUG. WELL SHE DIDN’T WANT TO DO IT. SHE SAYS “YOU MAKE IT FOR YOUR BROTHER.” SHE FELT HIS WIFE SHOULD DO HER OWN HOPE CHEST BUT SHE DID AND THE INTERESTING THING IS THAT HIS RUG THEY USED IT ON THE FLOOR. MY MOTHER DIDN’T USE THIS ONE ON THE FLOOR EXCEPT AT CHRISTMAS TIME SO THE WISHLOW FAMILY WHO HAD THE OTHER RUG, THE MOTHER WASN’T TOO KEENLY INTERESTED IN IT. THEY HAD IT IN THE LIVING ROOM AND THEN IT WENT UP FOR SALE TO A PLACE THAT WAS OWNED BY A MAN NAMED, HIS LAST NAME WAS EWASHEN (SIC.) …THAT’S [THE RUG’S] TWIN, YES.” MORRIS THEN GOES ON TO DESCRIBE SOME OF THE OTHER PATTERNING FOUND ON THE RUG: “OKAY THOSE ARE HARPS. SHE HAD PATTERNS TO GET THEM FROM OTHER WEAVERS AND THEN SHE’D TRACE THEM OUT. I DON’T KNOW WHAT SHE USED TO TRACE THEM ON THE WARP [WITH] AND THEN SHE’D WEAVE AWAY WITH THE THREAD THAT WERE THE WEFT. SHE PUT THE DESIGNS HERSELF ONTO THE RUG” THE RUG WAS BROUGHT TO LETHBRIDGE WHEN ELIZABETH AND WILLIAM KONKIN RETIRED THERE: “I WAS TEACHING SCHOOL IN COALDALE WHEN THEY MOVED AND DAD MADE THE HOUSE IN NORTH LETHBRIDGE… THE HOUSE IS NICELY BUILT AND IT’S WARM, IT’S COMFORTABLE SO THERE’S NO USE PUTTING IT UP ON THE WALL. EVERY CHRISTMAS SHE’D TAKE IT OUT AND WE’D ROLL AROUND ON THIS RUG AND SHE WOULD HANG IT UP AFTER THE NEW YEAR SO I SAID TO HER ‘WHY DON’T YOU PUT IT ON THE FLOOR?’ AND SHE SAID, 'WELL I DON’T WANT TO MESS IT UP.' HOWEVER, I SAID, 'WELL I’M GOING TO PUT IT ON THE FLOOR,' SO THAT’S WHERE IT WAS UNTIL I STARTED STUMBLING OVER IT.” AMONG THE OTHER ARTIFACTS DONATED BY MORRIS THAT WERE OWNED BY HER MOTHER, THE RUG WAS A SIGNIFIER OF THE HARD WORK REQUIRED WITHIN THE DOUKHOBOR LIFESTYLE: “[THE BLANKET AND THE SPINNING WHEEL] MEANT A LOT WELL AFTER THE WAR AND THINGS WERE CHEAP. THEY DIDN’T HAVE TO WEAVE THEIR OWN STUFF. PRIOR TO THAT, NOT IN MY MOTHER’S TIME EVEN BEFORE THAT MY GRANDMOTHER’S TIME, EVERY GIRL HAD TO WEAVE A TROUSSEAU FOR HERSELF TO LAST A LIFETIME BECAUSE SHE STARTED HAVING CHILDREN AND SHE WOULDN’T HAVE THE TIME TO DO IT. THERE WERE THINGS THAT WERE ANCIENT THAT WERE USED AND USED UNTIL THEY DIED HOWEVER, IN MY MOTHER’S DAY THEY KNITTED THEIR OWN SOCKS, THEY MADE THEIR OWN QUILTS. THE MEN DID THE BUILDING AND THEY LIVED OFF THE GARDENS BECAUSE THEY WERE VEGETARIANS SO THEY DIDN’T HAVE TO WORRY ABOUT MEAT. THEY BOUGHT EGGS FROM THE NEIGHBOURS WHO WERE FARMERS. THE INTERESTING THING THERE WAS THAT THEY WEREN’T SUPPOSED TO EAT MEAT AND I ATE MEAT WHEN I WAS CLOSE TO TWENTY. WHEN I TELL MY VEGETARIAN RELATIVES WHAT ABOUT YOUR SHOES AND YOU’VE GOT LEATHER, COWHIDE WHATEVER AND THEY COULDN’T COME UP WITH AN ANSWER SO… THEY REPRESENTED HARD WORK THAT’S, THIS TAKES A LONG TIME WHEN YOU THINK OF EVERY KNOT THAT HAD TO BE TIED AND IT WAS PART OF HER TROUSSEAU. THE SPINNING WHEEL MEANT A LOT BECAUSE YOU HAD TO SPIN THE WOOL SO.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003006
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
WEDDING HEADPIECE
Material Type
Artifact
Materials
TULLE, METAL, SYNTHETIC FABRIC
Catalogue Number
P20150016004
  1 image  
Material Type
Artifact
Other Name
WEDDING HEADPIECE
Date
1949
Materials
TULLE, METAL, SYNTHETIC FABRIC
No. Pieces
1
Length
47.5
Width
20
Description
LAVENDER-COLOURED HEADPIECE AND VEIL WITH LACE. THE METAL FRAMED HEADPIECE INCLUDES SYNTHETIC BOW AND FAUX MINIATURE FLOWERS. PURPLE BAND TRIMS TULLE VEIL (ALSO LAVENDER IN COLOUR). FAIR TO GOOD CONDITION. THE TULLE IS SLIGHTLY BRITTLE. THE HEADBAND AND THE BOW ON IT ARE MISSHAPEN. THE VEIL IS WRINKLED. THERE IS A RED STAIN ON THE BACK HEM OF THE VEIL. THERE IS SLIGHT FRAYING ALONG THE BOTTOM AND MINOR LOSS OF THREAD AT THE HEM.
Subjects
CLOTHING-HEADWEAR
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 HEADPIECE WAS PART OF THE OUTFIT EVERAL HORHOZER WORE ON THE DAY OF HER MARRIAGE TO JOE HORHOZER. EVERAL MET JOE 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 HEADPIECE, AS WELL AS A VEIL 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
P20150016004
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160042001
  2 images  
Material Type
Artifact
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Materials
CERAMIC
No. Pieces
1
Height
32.5
Length
17.5
Diameter
17.5
Description
BLACK AND SILVER GLAZED, CERAMIC VASE WITH RED AND GOLD DESIGNS PAINTED ON OPPOSITE SIDES OF THE VASE. ONE DESIGN SHOWCASES A CRANE FLYING TOWARDS A TREE BRANCH, WHILE THE OTHER SHOWCASES TWO CRANES PERCHED ON A LARGE TREE BRANCH BENEATH A RED DISC/MOON. “MADE IN JAPAN” IS STAMPED INTO BASE OF VASE. CONDITION: THE LIP OF THE VASE HAS A 4.3 CM CHIP AND IS MISSING 7.6 CM ALONG TOP EDGE. LOOSE OF PAINT AND OVERALL FINISH OF DESIGN. SLIGHT CHIPPING AROUND BASE.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
FURNISHINGS
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THAT THIS VASE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” THIS VASE WAS VISIBLE THROUGHOUT MRS. NISHIYAMA’S CHILDHOOD. SHE EXPLAINED, “[THE VASE] WAS MORE AN EVERYDAY THING.” IT WAS PLACED BY THE DOOR OF THE FARM HOUSE. AND “[THE] ONLY THING THAT WAS IN THERE WAS [MY MOTHER’S] UMBRELLA.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S HAIR ORNAMENTS AND COMB ALSO DONATED WITH THE VASE (P20160042002-004). THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
COTTON, LEATHER, METAL
Catalogue Number
P20160017006
  2 images  
Material Type
Artifact
Date
1952
Materials
COTTON, LEATHER, METAL
No. Pieces
1
Height
3
Diameter
26.5
Description
BLACK BERET WITH RED PATCH ON FRONT WITH ATTACHED GOLD CANADIAN ARTILLERY BADGE DEPICTING A CROWN ABOVE AN ARTILLERY FIELD GUN, WITH TEXT ON BANNER BELOW CROWN “UBIQUE” AND TEXT ON BANNER BELOW GUN “QUO FAS ET GLORIA DUCUNT”. BERET HAS TWO HOLES IN RIGHT SIDE LINED WITH PLASTIC. BERET HAS LEATHER RIM AROUND BASE OPENING; BERET IS LINED WITH BLACK COTTON WITH A PRINTED WHITE STAMP OF A DIAMOND, WITH A SMALL DIAMOND INSIDE AND TEXT, “GENUINE, FLEUR DE LIS, BASQUE BERET, 7 1/8 – 1952, DOROTHEA KNITTING MILLS, LIMITED, TORONTO”. INSIDE FRONT OF BERET HAS BRASS BAR FOR SECURING BADGE, WITH WHITE PAPER TAG WITH RED BORDERS AND BLACK HANDWRITTEN TEXT “107” SLID UNDER BAR. BERET TOP AND FRONT ARE LIGHTLY FADED, WITH MINOR SOILING; OVERALL LEXCELLENT CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
MILITARY
PERSONAL CARE
History
ON SEPTEMBER 16, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CHRIS AINSCOUGH REGARDING HIS DONATION OF A COLLECTION OF MILITARY OBJECTS. THE OBJECTS BELONGED TO AISNCOUGH’S GRANDFATHER AND FATHER, WILLIAM GEORGE AINSCOUGH (FIRST WORLD WAR) AND REED WILSON AINSCOUGH (SECOND WORLD WAR AND POST-WAR). THE DONOR’S GREAT GRANDFATHER, WILLIAM THOMAS AINSCOUGH, MARRIED MARGARET A. AINSCOUGH IN 1878 AND EMIGRATED FROM SMITHFIELD, UTAH TO CANADA IN 1898, BRINGING SIX CHILDREN, AGED 1 TO 18, WITH THEM. WILLIAM GEORGE AINSCOUGH, THE DONOR’S GRANDFATHER, WAS AMONG THE CHILDREN (BORN 1885). THE AINSCOUGHS INITIALLY SETTLED IN WHISKEY GAP, ALBERTA, BEFORE RELOCATING TO WOOLFORD, ALBERTA. ACCORDING A RESUME FOR REED W. AINSCOUGH INCLUDED IN THE PERMANENT FILE, REED WILSON AINSCOUGH WAS BORN ON JUNE 21, 1918 IN CARDSTON, ALBERTA. IN 1940, REED AINSCOUGH JOINED THE 93RD BATTERY OF THE ROYAL CANADIAN ARTILLERY [RCA] STATIONED AT FORT MACLEOD, ALBERTA, AND WAS PROMOTED TO A SECOND LIEUTENANT. REED AINSCOUGH WAS POSTED OVERSEAS IN 1942 AND SERVED UNTIL HIS DISCHARGE ON JANUARY 8, 1946. LETHBRIDGE HERALD ARTICLES REPORTED REED AINSCOUGH AS BEING IN THE THICK OF THE FIGHTING IN FRANCE, NOTABLY AT CAEN. IT WAS REPORTED IN THE LETHBRIDGE HERALD IN 1944 THAT REED AINSCOUGH WAS PROMOTED TO CAPTAIN, AND WAS WOUNDED IN HIS LEG IN OCTOBER 1944. REED AINSCOUGH WAS SENT TO BELGIUM FOR SURGERY AND TO BE HOSPITALIZED, AND WAS RETURNED TO CANADA ON THE HOSPITAL SHIP H.M.C.S. LADY NELSON IN 1945. IN 1947, REED AINSCOUGH BECAME THE BATTERY COMMANDER OF THE 93RD BATTERY RCA, AND SERVED AS THE COMMANDER UNTIL 1959, BEING PROMOTED TO MAJOR IN 1951. IN 1959, UPON A TRANSFER WITH HIS EMPLOYMENT AT CANADA LIFE, HE MOVED TO MEDICINE HAT, ALBERTA, AND JOINED THE SOUTH ALBERTA LIGHT HORSE AS A SQUADRON COMMANDER IN 1961. IN 1964, HE WAS PROMOTED TO LIEUTENANT COLONEL AND COMMANDER OF THE SOUTH ALBERTA LIGHT HORSE, AND WAS APPOINTED AIDE-DE-CAMP TO LIEUTENANT GOVERNOR GRANT MACEWAN UNTIL HIS RETIREMENT. ON HIS FATHER’S, REED WILSON AINSCOUGH’S, MILITARY SERVICE, CHRIS AINSCOUGH RECALLED, “I THINK THAT THE WAR WAS PROBABLY ONE OF THE BEST THINGS THAT HAPPENED TO MY DAD. HE NEVER SPOKE ABOUT IT MUCH, BUT THE FRIENDSHIPS THAT HE DEVELOPED THROUGH HIS CONTACTS IN THE WAR WENT ON RIGHT UNTIL HIS DEATH…IT’S PROBABLY LIKE BEING ON A TEAM, YOU KNOW, AND I THINK IT’S THAT FELLOWSHIP YOU GET FROM RELYING ON PEOPLE, AND TRAINING WITH PEOPLE, AND GETTING THEIR KNOWLEDGE AND UNDERSTANDING. I THINK THAT’S SORT OF A BIG PART OF IT.” AINSCOUGH ELABORATED ON HIS MOTIVES FOR DONATING THE COLLECTION, STATING, “I THINK [THE OBJECTS ARE] A BIG PART OF SOUTH ALBERTA’S HISTORY. DAD WAS VERY ACTIVE IN THE MILITARY AND THE MILITIA FOR MANY YEARS. I THINK THAT’S THE BIGGEST PART [OF WANTING TO DONATE THE OBJECTS]…IT’S DIVESTING, BECAUSE AFTER MY DAD DIED [IN 1992], MY MOTHER STAYED IN THE HOUSE FOR ABOUT 5 YEARS, AND THEN SHE MOVED OUT TO THE COAST. IT WAS AT THAT TIME, WHEN WE WERE GOING THROUGH THE STUFF IN THE HOUSE, THAT WE THOUGHT THIS IS A GOOD TIME TO GET IT DOWN TO SOMEPLACE LIKE THE GALT THAT WOULD LOOK AFTER IT.” FOR MORE INFORMATION INCLUDING FAMILY MILITARY SERVICE FILES, NEWSPAPER CLIPPINGS ON WILLIAM GEORGE AND REED AINSCOUGH, A RESUME FOR REED AINSCOUGH, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20160017001-GA.
Catalogue Number
P20160017006
Acquisition Date
2016-06
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
Other Name
"BOY SCOUTS"
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
FELT, COTTON, METAL
Catalogue Number
P20180028001
  2 images  
Material Type
Artifact
Other Name
"BOY SCOUTS"
Date Range From
1950
Date Range To
1960
Materials
FELT, COTTON, METAL
No. Pieces
1
Length
20
Width
21.5
Description
GREEN FELT CAP WITH BRIM ON FRONT. CAP HAS GOLD CORD TRIM AROUND EDGE AND ABOVE BRIM, WITH GOLD CORD TRIM STITCHED UP SIDES OF CAP FROM EDGE TO TOP, FORMING SIX SECTIONS. TOP OF CAP HAS GREEN BEAD IN THE CENTER. FRONT OF THE CAP HAS RED EMBROIDERY OF A WOLF FACE WITH BLACK DETAILING ON THE EYES, NOSE, AND CENTERS OF EARS, AND RED EMBROIDERED TEXT “BOY SCOUTS”. FRONT HAS TWO METAL SIX-POINT STARS FIXED ON BOTH SIDES OF EMBROIDERED TEXT. INSIDE OF CAP HAS GREEN COTTON LINING, WITH STITCHED GREEN CIRCLE IN THE CENTER AND WHITE COTTON STRIPE ACROSS STITCHED CIRCLE. INSIDE OF CAP HAS TWO METAL BARS TO FIX STARS TO THE FRONT. LINING FABRIC AROUND METAL BARS IS STAINED BROWN AND RED, AND METAL BARS ARE RUSTED. LINING INSIDE IS DISCOLORED AND FADED; CAP IS FOLDED AT BACK. CAP EXTERIOR IS SOILED AND STAINED BROWN ON BRIM AND SIDES. OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
ASSOCIATIONS
History
ON DECEMBER 13, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BILL LINGARD REGARDING HIS DONATION OF BOY SCOUTS AND WOLF CUBS REGALIA. LINGARD WAS A MEMBER OF THE LETHBRIDGE WOLF CUB AND BOY SCOUT TROUPES AS A YOUTH. ON THE BOY SCOUTS CAP, LINGARD ELABORATED, “THIS WAS INHERITED FROM WHEN MY MOTHER PASSED AWAY [IN 2007]. THAT’S PROBABLY WHERE IT WAS FIRST SO THAT’S ALL I CAN REMEMBER…[THE] LAST TIME I SAW IT…WAS PROBABLY A NUMBER OF YEARS [AGO].” LINGARD RECALLED HIS TIME IN THE BOY SCOUTS AND WOLF CUBS, “YOU HAD TO BE EIGHT YEARS OLD [TO ENROLL IN WOLF CUBS]. THERE MIGHT HAVE BEEN ONE OR TWO OTHER KIDS THAT I KNEW FROM SCHOOL THAT HAD GOTTEN INTERESTED IN IT. I CAN’T REALLY SAY THERE WAS ONE DEFINING MOMENT THAT I [WANTED TO JOIN]-–I OBVIOUSLY TRIED IT OUT AND LIKED IT BECAUSE I WAS IN IT FOR ABOUT 3 YEARS. [I WAS] ABOUT 10 OR 11 WHEN THEY BOOSTED [ME] UP TO BOY SCOUTS BECAUSE I WENT TO SCOUTS AFTER THAT. WHEN I STARTED OUT, I GOT TO BE A SIXER AND THEN I GOT TO BE WHAT WAS CALLED A SENIOR SIXER, THAT’S LIKE A SERGEANT [WHERE] YOU GET THREE STRIPES. I DID [THE] THINGS YOU DID IN CUBS.” “[I REMEMBER] GOING TO MEETINGS, I JUST WALKED. IT WOULD HAVE BEEN [AT] 14TH STREET AND ST. AUGUSTINE’S CHURCH, ON 11TH AND 4TH AVENUE. IT’S A MATTER OF 6 BLOCKS. YOU WALKED EVERYWHERE THEN. I THINK WE HAD A TRUCK [THEN]. THAT’S ABOUT THE FIRST THING I REMEMBER [ABOUT] JOINING, AND I ENJOYED IT. I KNEW VERA SHIRLEY UP UNTIL THE TIME SHE PASSED AWAY, A NICE LADY.” “[WE MET] TUESDAY OR THURSDAY EVENINGS. IT WAS ABOUT 6:30 OR 7, PROBABLY 6:30 TILL ABOUT 7:30. I REMEMBER IN THE SUMMER TIME WE GENERALLY MET OUTSIDE A LOT ON THE FRONT LAWN OF THE MANSE AT ST. AUGUSTINE’S CHURCH WHICH IS WHERE THE NEW CHURCH SITS. THAT WAS FRONT LAWN THEN AND WE USED TO MEET OUTSIDE A LOT. IN THE WINTER IT WAS DOWN IN THE BASEMENT IN THE CHURCH AND WE USED TO DO [A] CERTAIN AMOUNT OF ACTIVITIES OVER IN THE RCMP GROUNDS.” “WE PROBABLY PLAYED GAMES. IT SEEMS AT A CUBS' MEETING WE HAD AN OPENING AND THEN WE DID…TYING KNOTS. I THINK THERE WERE A CERTAIN NUMBER OF CUB-LIKE ACTIVITIES, TEACHING YOU HOW TO FOLLOW DIRECTIONS AND STUFF LIKE THAT. THERE WAS USUALLY TIME TO BURN OFF A BIT OF ENERGY AND A CLOSING THING. I CAN IMAGINE THAT CUB MEETINGS WERE ABOUT AN HOUR AT THAT AGE. IT SEEMED LIKE A LONG TIME THEN BUT THAT’S PROBABLY [ALL] IT WAS.” “[WE NEVER LEFT THE CITY] WITH CUBS. IN SCOUTS, I WENT TO CAMP ONCE BUT CUBS WAS IN TOWN…IN SCOUTS, THEY HAD A FATHER AND SON BANQUET ONCE A YEAR…IT WAS JUST RIGHT AFTER THE WAR AND THERE WEREN’T A WHOLE LOT OF THINGS THAT WE DID, THAT WERE EXTRACURRICULAR…THAT REQUIRED TRANSPORTATION AND MOVING AROUND A LOT. WE HAD BADGES.” “I’M SURE THERE WERE TROUPES ON THE NORTH SIDE OF THE CITY. PROBABLY AT THE CATHOLIC CHURCH AND PROBABLY AT THE MORMON CHURCH. WHEN I WENT TO SCOUTS, THE SCOUT TROUPE WAS AT SOUTHMINSTER CHURCH BUT I DON’T THINK THEY HAD CUBS AT SOUTHMINSTER. IT WAS AT ST. AUGUSTINE’S. I DON’T THINK THERE WERE THAT MANY CUB TROUPES BECAUSE THERE WERE ONLY ABOUT 15,000 PEOPLE IN LETHBRIDGE RIGHT AFTER THE WAR SO IT WASN’T THAT BIG OF A PLACE…WE WERE NUMBER 4 SO MAYBE THERE WERE 4 OR 5.” “SCOUTS WAS [THE] ADOLESCENT—PRETTY SOON [I WAS] LESS INTERESTED IN SCOUTS AND MORE INTERESTED IN GIRLS. I ENJOYED CUBS VERY MUCH AND VERA SHIRLEY WAS CERTAINLY A VERY POSITIVE PERSON. I WOULD SAY THAT THE OVERALL EFFECT, WHICH I DIDN’T REALLY REALIZE AT THE TIME, SINCE THEN THROUGHOUT MY LIFE, I HAVE BELONGED TO A LOT OF THINGS AND HAVE ENJOYED THEM. I THINK THAT [IT] PROBABLY HELPED TO [INFLUENCE] THAT FROM KIND OF A SHY KID TO BEING ABLE TO DO OTHER THINGS. I FEEL THAT THE CUB EXPERIENCE THERE WITH THAT GROUP OF PEOPLE…WAS POSITIVE.” “ONCE I GOT INTO JUNIOR HIGH AND THEN EVEN TOWARD HIGH SCHOOL THEN IT WAS CURLING AND THINGS LIKE THAT I WAS GETTING INTERESTED IN…I’M NOT SURE THAT I EVEN GOT ANY BADGES IN SCOUTS.” LINGARD EXPRESSED HIS MOTIVES FOR DONATING THE CAP AND JACKET, STATING, “WE’RE DOWNSIZING. I DON’T THINK WE EVEN KNEW THIS EXISTED TWO YEARS AGO, IT WAS PUT AWAY SOMEWHERE. IT WAS [TIME TO DECIDE] WHAT TO DO WITH THIS. WE DIDN’T REQUIRE IT ANYMORE SO I THOUGHT I WOULD CHECK WITH [THE MUSEUM] BEFORE IT WENT ELSEWHERE.” “I’D SAY IT’S VALUED BUT IT WAS A MATTER [OF] ONE DAY THIS IS GOING TO GO. IF IT HAS SOME VALUE [I’D LIKE TO SEE] THAT IT GOES SOMEWHERE WHERE IT CAN BE APPRECIATED, WHERE IT BRINGS BACK SOME MEMORIES.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20180028001-GA.
Catalogue Number
P20180028001
Acquisition Date
2018-12
Collection
Museum
Images
Less detail

25 records – page 1 of 2.