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Other Name
WHAT THE FRACK HAPPENED?
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20160014000
  2 images  
Material Type
Artifact
Other Name
WHAT THE FRACK HAPPENED?
Date
2014
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
3
Length
77.7
Width
86.8
Description
.1: VEST. PATCHWORK OF VARIETY OF MATERIALS AND TEXTURES. CLOSES AT FRONT WITH A LARGE BLUE, CIRCULAR, CONVEX BUTTON, WITH THREE SMALL STONES IN THE CENTRE OF THE BUTTON. A PIECE OF VELVET TRIM LOOPS AROUND THE BUTTON TO CLOSE. A WHITE PAPER TAG (P20160014000.2) HANGS FROM THIS BUTTON. FRONT DEPICTS A NATURE SCENE. ALONG TOP OF VEST, FABRIC IS PINK AND PURPLE, POSSIBLY DEPICTING A SUNRISE OR SUNSET. ON WEARER’S LEFT THERE IS A NATURE SCENE OF A PINE TREE AND ROCKS, WHICH HAS BEEN APPLIQUED AND EMBROIDERED ONTO VEST. LIGHT BROWN YARN DEPICTS THE TREE’S ROOTS, WHICH GO DOWN FROM THE TREE INTO A GREEN SECTION ON THE VEST. THERE ARE SEVERAL BUTTONS AND SMALL ROCKS OF VARIOUS COLOURS SEWN ONTO THIS GREEN SECTION. BELOW THIS IS A BLUE STRIPE, THEN A SECTION OF MULTIPLE SHADES OF BROWN, INCLUDING ONE SECTION THAT IS VERY TEXTURED AND IS LIKELY PAINTED/DYED TYVEK. THE WEARER’S LEFT SIDE DEPICTS A FARMING SCENE WITH MOUNTAINS IN THE BACKGROUND. BELOW THAT IS A CONTINUATION OF THE BLUE STRIPE FROM THE RIGHT SIDE. THEN THERE IS A SECTION OF MULTIPLE SHADES OF BROWN AND PURPLE. THERE IS ALSO ANOTHER SECTION OF PAINTED/DYED TYVEK ON THIS SIDE, WHICH IS PURPLE IN COLOUR AND THERE ARE SEQUINS, BUTTONS, AND SMALL ROCKS SEWN INTO AND ONTO THIS PURPLE SECTION. BACK OF VEST DEPICTS CONSEQUENCES OF FRACKING. TOP OF VEST ON BACK IS A SHADE OF PURPLE/PINK, WITH BLACK NETTING OVER IT. THERE ARE TWO BRIDGE TRUSSES ON THE WEARER’S RIGHT SIDE AND TWO GAS RIGS ON THE WEARER’S LEFT SIDE. BELOW THIS IS A STRIPE OF GOLD RIBBON, WITH 5 GOLD COLOURED KEYS AND FIVE SQUARE WOODEN BUTTONS ATTACHED HORIZONTALLY ACROSS THE VEST. BELOW GOLD STRIPE IS A PATCHWORK OF A VARIETY OF MATERIALS AND TEXTURES AND COLOURS INCLUDE VARIOUS SHADES OF PURPLE, GREEN, BLUE, RED, PINK, YELLOW, AND BROWN. MOST OF THE DIFFERENT PIECES OF MATERIAL ARE BORDERED WITH A RED FRINGE TRIM. ON WEARER’S LEFT SIDE, BELOW ARM HOLE, IS A SMALL SECTION OF BLUE FABRIC WITH THREE SMALL SEA SHELLS SEWN ON. BOTTOM RIGHT HAND CORNER OF THE BACK OF VEST HAS A MEDIUM SIZED WHITE AND RED BUTTON (P20160014000.3). INSIDE OF VEST LINED WITH BLACK NETTING ON THE FRONT AND WITH GOLD, BLACK, AND RED NETTING ON THE BACK. .2: TAG. WHITE, HEAVY PAPER. HANDWRITTEN IN BLUE INK “CREATED BY CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ.” REVERSE HAS HANDWRITTEN IN BLUE INK “ART VEST. $200.XX” WITH 26-14 TYPED IN BLACK INK. 3.8CM LONG X 6.5CM WIDE .3: BUTTON: ROUND BUTTON, WHITE BACKGROUND. DEPICTS A GAS RIG WITH A RED DIAGONAL LINE ACROSS THE RIG. TEXT OF BUTTON READS: “WWW.NODRILLINGLETHBRIDGE.CA”. 6.5CM DIAMETER
Subjects
CLOTHING-OUTERWEAR
Historical Association
DECORATIVE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH THE DONOR, CHERYL ATKINSON, CONDUCTED BY KEVIN MACLEAN IN MAY 2016. THIS VEST WAS CREATED AS PART OF AN ART GARMENT CHALLENGE PUT FORWARD BY THE TEXTILE SURFACE DESIGN GUILD. CHERYL WAS BOTH A PARTICIPANT AND AN ORGANIZER OF THIS ART CHALLENGE. CHERYL INDICATED THAT “PART OF THE CHALLENGE WAS TO WORK WITH OTHER MEMBERS OF THE GROUP WHO, MAYBE YOU HADN’T SPENT TIME TRYING TO WORK COLLABORATIVELY WITH.” IN JANUARY 2014 THE GUILD GOT TOGETHER TO DETERMINE THE WORKING GROUPS AND THE THEMES THAT WOULD BE WORKED ON, BASED ON “WHAT THEIR INTERESTS WERE IN LIFE. SO, SOME PEOPLE CHOSE GARDENING, ANOTHER GROUP DID ART, LIKE PURE ART, AND OUR GROUP CHOSE THE ENVIRONMENT. AND, AT THE TIME, THE ENVIRONMENT IN LETHBRIDGE WAS UNDER THREAT, IN QUESTION BECAUSE THERE WAS A COMPANY THAT WAS PLANNING TO DO DIRECTIONAL DRILLING, FRACKING, IN WEST LETHBRIDGE, AND ONE OF THE MEMBERS WHO JOINED OUR GROUP WAS PARTICULARLY CONCERNED ABOUT IT, SO WE THOUGHT THAT WOULD BE A GOOD SOURCE OF INSPIRATION FOR OUR ART GARMENT.” PART OF THE REASON THE GUILD WANTED TO DO A COLLABORATIVE PROJECT LIKE THIS IS BECAUSE THE GROUP HAD GROWN CONSIDERABLY IN SIZE: “OUR GROUP HAS EXPANDED A LOT. IN THE LAST NUMBER OF YEARS WE WENT FROM A GROUP OF ABOUT FIFTEEN PEOPLE TO A GROUP OF ABOUT FORTY PEOPLE, SO IT’S HARD TO GET TO KNOW FORTY PEOPLE INTIMATELY, SO WE WERE TRYING TO FIND A WAY TO CONNECT WITH EACH OTHER, LEARN MORE ABOUT OUR INTERESTS. AND SO, WE JUST, LIKE, HAD A CONVERSATION AND PEOPLE WERE TALKING ABOUT THINGS THEY WERE INTERESTED IN, AND THEN WE STARTED, I THINK WE PASSED AROUND A LIST OF, JUST LIKE A SHEET THAT PEOPLE WOULD WRITE DOWN KIND OF TOPICS OF THEIR INTEREST, AND THEN WE JUST STARTED MATCHING THEM UP, AND THEN WE PUT, WE DIDN’T WANT TO HAVE LIKE TEN PEOPLE ON ONE PROJECT AND ONE ON ANOTHER, SO WE TRIED TO SORT OF SPLIT THEM UP IF PEOPLE PUT DOWN MORE THAN ONE AREA OF INTEREST. SO, ENVIRONMENT JUST TURNED OUT TO BE FRANCES [SCHULTZ], BEV [HALL] AND I SO.” CHERYL INDICATED THAT THE ENVIRONMENT WAS ESPECIALLY IMPORTANT TO GROUP MEMBER BEV HALL: “I THINK THAT THE ISSUE ABOUT THE FRACKING CAME UP AS WE DISCUSSED, LIKE, WHAT WE WERE GOING TO DO ABOUT THE VEST … BEV FOR INSTANCE, LOVES TO HIKE IN THE MOUNTAINS AND THAT SHE FEELS CONNECTED TO THE NATURAL ENVIRONMENT IN SOUTHERN ALBERTA. AND I AM INTERESTED IN THINGS LIKE HERITAGE PLANTS AND NATIVE SPECIES AND THINGS LIKE THAT. I DON’T THINK ANY OF US HAD ANY, LIKE, WE’RE NOT TRAINED ENVIRONMENTALISTS IN ANY WAY. IT JUST SEEMED THAT THAT WAS AN AREA OF INTEREST THAT WE COULD USE AS A FOCUS FOR ART.” TO CREATE THE VEST, THE THREE WOMEN DIVIDED UP THE WORK: “WE DECIDED THAT TOGETHER WE WOULD MAKE A PATTERN AND CREATE THE SHAPE OF THE GARMENT. AND THEN, WE HAD A VERY TIGHT TIME PRESSURE, WE HAD SIX WEEKS TO FINISH IT … SO, WE DECIDED TO PARCEL IT OUT INTO PIECES. SO, FRANCES DID THE BACK, BEV DID THE SHOULDER AREA AT THE FRONT, AND I DID THE LOWER AREA AT THE FRONT. AND THEN BEV SEWED IT TOGETHER, AND THEN I EMBELLISHED IT AT THE END.” TO MAKE THE VEST, THE WOMEN USED FABRIC FROM THEIR COLLECTIONS: “WE KIND OF LOOKED AT THE MATERIALS THAT WE HAD, AND WE HAD QUITE A SELECTION! … AND TRIED TO DECIDE WHAT KINDS OF COLOURS OR TEXTURES, THINGS THAT WE COULD DRAW FROM ON OUR OWN PIECES, AND SOMETIMES WE SHARED THEM WITH THE OTHER PEOPLE THAT WERE – YOU KNOW, IF A PIECE OF MY FABRIC FIT BETTER IN BEV’S AREA, THEN I JUST GAVE HER, AND SHE COULD DECIDE WHETHER SHE’D USE IT OR NOT. AND THEN WE EACH TOOK OUR BITS HOME. BEV DID HER PART FIRST, AND THEN I ADDED MINE TO IT, SO SHE STARTED ON THE FRONT AND THEN I ADDED LATER, AND FRANCES DID THE BACK INDEPENDENTLY OF EACH OTHER. SO WE REALLY DIDN’T KNOW WHAT THE WHOLE PIECE WAS GOING TO LOOK LIKE UNTIL IT CAME TOGETHER AS ONE. AND THEN, ONCE THE PIECE WAS TOGETHER, IT WAS MEANT TO BE SHOWED AT THE TEXTILE GUILD MEETING IN MARCH, AND WE HAD A LITTLE FASHION SHOW, AND WE SHOWED IT OFF, AND RESULTING FROM THE PIECES THAT CAME TOGETHER AT THAT TIME, WE HAD A, WE WERE INVITED TO SHOW THE ARTWORK IN THE DISPLAY CASES AT CASA FOR SIX WEEKS.” CHERYL DESCRIBES THE PIECE: “SO THE IMAGERY IN THE PIECE, AT THE FRONT, WE HAVE THE NATURAL ENVIRONMENT OF SOUTHERN ALBERTA REPRESENTED ON THE TOP, THE SHOULDER AREAS. SO, THE MOUNTAINS, THE COULEES, THE TREES, THE VALLEY, THE WATER. AND THEN IT GOES DOWN TO THE LOWER, WHAT WE WOULD IMAGINE THE UNDERGROUND LAYERS LOOK LIKE IN THE EARTH, THE GEOLOGY, THE WATER TRAVELLING UNDERGROUND, THE ROCKS THE SOIL, THINGS LIKE THAT. AND THEN ON THE BACK SIDE OF THE VEST, WE SEE ALL OF THAT DISRUPTED DURING THE FRACKING PROCESS. WE SEE FRACTURING HAPPENING. THE WATER AND THE EARTH ARE GETTING ALL MIXED TOGETHER AND DAMAGED AND, THE BIG EMBELLISHMENT ACROSS THE BACK, THERE IS A SERIES OF GOLD KEYS RIGHT ACROSS THE BACK OF THE VEST, AND THEY ARE, ACTUALLY, WE HAD JUST MOVED OUT OF THE BOWMAN ARTS CENTRE AT THAT PERIOD IN TIME, AND WE HAD A LOT OF STUDIO KEYS LEFT OVER THAT WE DIDN’T KNOW WHAT TO DO WITH, SO WE JUST SEWED THEM ON THERE, AND THEY REPRESENT THE DRILLING COMPANY THAT WAS PROPOSING TO DO THE FRACKING IN WEST LETHBRIDGE. SO, IT’S SUBTLE, BUT THERE IS KIND OF A MESSAGE THERE. AND THERE’S ALSO A BUTTON ON THE BACK FROM THE ANTI-FRACKING CAMPAIGN.” CHERYL WAS MADE CUSTODIAN OF THE VEST BECAUSE SHE WAS “SORT OF THE PROJECT LEADER … IT WAS ALSO MEANT TO FIT ME, SO I THINK THAT’S ALSO WHY I AM THE ONE THAT HAS CUSTODY OF IT.” SHE IS PROUD OF HOW THE GROUP COLLABORATION TURNED OUT AND FINDS IT A LITTLE DIFFICULT TO PART WITH THE VEST: “IT IS HARD TO PART WITH IT, BUT I CAN’T, I MEAN IT’S SORT OF A SNAPSHOT IN TIME. I MEAN IT WAS SOMETHING THAT WAS VERY CURRENT AND IMPORTANT, AND I THINK WE ADDED SOMETHING TO THE CONVERSATION BY HAVING THIS ON DISPLAY AT THE TIME WHERE DECISION MAKING WAS HAPPENING. BUT I DON’T REALLY KNOW, LIKE I’M NOT GOING TO WEAR IT TO CHURCH ON SUNDAY OR SOMETHING, (LAUGHS) SO, I DON’T REALLY KNOW WHAT ELSE TO DO WITH IT SO.” INCLUDED IN THE DONATION PAPER WORK IS A SMALL DESCRIPTION OF THE VEST, FROM WHEN IT WAS DISPLAYED. THE TEXT READS AS FOLLOWS: “WHAT THE FRACK HAPPENED? CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ OUR WORLD IS A FRAGILE HOME. HOW WE EXPLOIT IT CAN HAVE DRASTIC EFFECTS FAR INTO THE FUTURE. THIS GARMENT IS AN ARTISTIC RESPONSE TO THE CURRENT, MAJOR ISSUE FACING THE CITY OF LETHBRIDGE. THE FRONT DEPICTS THE NATURAL GEO-LANDSCAPE OF THE CITY – PRISTINE SCENERY ABOVE GROUND AND THE MANY DIFFERENT GEOLOGIC LAYERS UNDERGROUND. THE BACK ATTEMPTS TO DEPICT WHAT FRACKING MIGHT DO TO THESE GEOLOGIC LAYERS, AS WELL AS THE THREAT TO THE SURFACE. HOUSES AND THE UNIVERSITY SIT AMONG OIL WELLS WITH THE GOLDEN KEYS SYMBOLIC OF THE SOURCE OF THE THREAT. MANY SURFACE DESIGN TECHNIQUES HAVE BEEN USED. THESE INCLUDE INDIGO DYEING, SHIBORI DYEING AND DISCHARGING, VEGETABLE PRINTING, TYVEK PAINTING WITH HEAT MOLDING, WAX BATIK, DYE PRINTING, BEADING, EMBROIDERY, COUCHING, MARBLING, ETC.” IN THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER THE EXHIBIT IS DESCRIBED: “VESTED INTERESTS IS A COLLECTION OF ART GARMENTS CREATED COLLABORATIVELY BY TSDG MEMBERS. EACH VEST LOBBIES PASSIONATELY FOR A PERSONAL INTEREST HELD BY THE CREATIVE TEAM BEHIND ITS DESIGN. ON DISPLAY IN THE 2ND FLOOR SHOWCASE AT CASA UNTIL APRIL 26.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT, THE EXHIBIT DISPLAY TEXT, AND THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER.
Catalogue Number
P20160014000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
SILK, INTERFACING, RAYON
Catalogue Number
P19800009000
  2 images  
Material Type
Artifact
Date
1955
Materials
SILK, INTERFACING, RAYON
No. Pieces
7
Height
129.6
Width
63.5 (SHOULDERS)
Description
.1 KOROMO (LARGE ROBE). ABOVE DIMENSIONS. SILK. BLACK. THE ROBE IS MADE FROM BLACK SILK. IT IS A LOOSE, DRAPING SQUARE CUT, WITH A PLEATED LAYER SEWN ON THE BOTTOM. THE SLEEVES ARE SQUARE AND OPEN ON THE INSIDE. THERE IS A BLACK TAG, OUTLINED IN RED IN THE NECK, WRITING IS IN JAPANESE. IT IS EMBROIDERED IN YELLOW THREAD. THE SUIT COMES WITH A BLACK SASH 220.9 CM LONG BY 7.6 CM WIDE. THE SASH IS MADE FROM SILK, ALSO. IT IS SEPARATE FROM THE ROBE. *UPDATE* SUMMER 2011 - SASH COULD NOT BE LOCATED. SASH NOT NOTED AS MISSING IN 2004 OR 2006 INVENTORIES. .2 GOJO KESA. 45.7 CM WTH. X 134.6 CM LTH. SILK. THE GOJO KESA, OR SASH, IS CONSTRUCTED FROM PATCHWORK PIECES OF PURPLE SILK WITH A DESIGN EMBROIDERED IN WHITE THREAD. THE DESIGN IS BASED ON TWO WISTERIA PLANTS. THE SASH IS LINED WITH PINK SILK. THERE ARE TIES AT BOTH ENDS OF THECLOTH, AND 2 WIDE STRAPS AT 1/4 AND 3/4 POSITIONS OF THE LENGTH OF THE CLOTH. THE STRAP IS SEWN ONTO THE CLOTH AT EITHER SIDE WITH BLACK THREAD AND DECORATED WITH WHITE CORD. ONE SIDE OF THE STRAP ATTACHES INSIDE THE SASH; THE OTHER IS ATTACHED ON THE OUTSIDE. THE PINK LINING IS SLIGHTLY SOILED. .3 WA KESA. 5.7 CM WTH. X 147.3 CM LTH. SILK & STIFF INTERFACING. THE SASH IS MADE FROM PURPLE SILK EMBROIDERED WITH GREEN THREAD. THE EMBROIDERY IS IN A LEAF PATTERN - SURROUNDED BY 2 DESIGNS (THE DESIGN IS INTERFACED). THE SASH WORN AROUND THE SHOULDER IS TIED TOGETHER BY SMALL TIES AT EACH END. THE SASH IS MADE FROM TWO PIECES OF SILK HELD TOGETHER BY A 30.5 CM WIDTH OF INTERFACING FADED 6 TIMES. (THE INTERFACING IS RIPPED AT BOTH ENDS). SILK STRIPS AND RIBBONS HOLD THE SASH TOGETHER AND KEEP IT FROM UNFOLDING. THESE ARE FOUND AT THE ENDS AND THE 1/3 & 2/3 POSITIONS ALONG THE SASH'S LENGTH. THERE ARE CRESTS EMBROIDERED IN WHITE THREAD BESIDE RIBBONS (4 PLACES). .4 FUHO ROBE. 116.8 CM HT. X 61 CM WT. SEMI-TRANSPARENT RAYON. THE FUHO ROBE IS MADE FROM BLACK, SEMI-TRANSPARENT RAYON. IT IS A SQUARE CUT STYLE WITH SQUARE SLEEVES AND DOUBLE PANEL IN THE BACK. UNDER THE ARM THE SIDE SEAMS ARE OPEN. FROM THE WAIST DOWN, THE SIDE SEAMS HAVE BEEN LACED TOGETHER. THERE ARE STRAPS, WAIST HEIGHT ON BOTH SIDES AND FRONT THAT TIE TOGETHER LIKE A BELT. IN THE NECK IS A BLACK LABEL OUTLINED IN RED, WITH JAPANESE CHARACTERS EMBROIDERED IN YELLOW. .5 CHU-KEI (FAN) 30.4 CM HT. X 0.6 CM WTH. PAINTED WOOD AND PAPER. THE FAN IS MADE FROM 15 PIECES OF RED COLOURED WOOD AND FOLDED, PAINTED HEAVY PAPER. ONE SIDE OF THE FAN IS SILVER COLOURED AND FEATURES FIVE DEEP BLUE FLOWERS, THREE PINK FLOWERS AND TWO GOLDEN GRASS-LIKE PLANTS. THE OTHER SIDE OF THE FAN HAS A GOLD BACKGROUND AND FEATURES A PROFUSION OF PINK, WHITE, YELLOW AND BLUE FLOWERS. THE WOOD EDGES OF THE FAN HAVE A DESIGN CUT INTO THEM. THE SILVER BACKGROUND IS A LITTLE WORN AS IS THE TOP EDGE OF THE PAPER. IT IS TIED SHUT BY A PURPLE CORD. .6 OZUZU (ROSARY) 96.5 CM LTH. (DOUBLE-FROM END OF TASSELS TO OTHER END OF TASSELS.) CLEAR & COLOURED GLASS BEADS, RAYON CORD. THE ROSARY IS COMPOSED OF A DOUBLE ROW OF BROWN BEADS MOTTLED WITH BLACK, STRUNG ON GREEN-BLUE CORD. AT EITHER END IS A LARGER, CLEAR BEAD. THERE ARE 57 BEADS ON EITHER SIDE OF THE MAIN, DOUBLED PART OF THE ROSARY; THE 8TH & 23RD BEADS ARE GREEN. AT BOTH ENDS THERE ARE TASSELS OF PURPLE CORD (6); ONE END HAS 11 BEADS OF A SMALLER DIAMETER THAN THE MAIN BODY BEADS AND 2 CLEAR BEADS. (THERE ARE 72 BEADS ALTOGETHER). .7 SANBU-KYO (PRAYER BOOK OR BIBLE) 2.5 CM HT. X 6.9 WTH. X 17.1 CM LTH. PAPER, INK, CLOTH COVER. THIS BOOK IS COMPOSED OF 208 JOINED, FOLDING PAGES. ON EACH PAGE ARE 4 ROWS OF JAPANESE CHARACTERS. THE BOOK IS BOUND BY 2 NAVY BLUE CLOTH COVERS, PROTECTED BY PLASTIC. ON THE FRONT IS A STRIP OF WHITE PAPER WITH TWO BLACK LINES AS A BORDER. THERE ARE JAPANESE CHARACTERS WRITTEN ON THIS PAPER. THE PAGES OF THE BOOK ARE FRAGILE WITH AGE. MANY HAVE BEEN REPAIRED WITH SCOTCH TAPE. SOME OF THE TAPE HAS DRIED UP AND FALLEN OFF, LEAVING GUMMY STAINS ON THE PAGES. THERE ARE TWO TABS TAPED ON THE BOTTOM OF PAGES APPROXIMATELY 1/4 AND 2/3 OF THE WAY THROUGH THE BOOK.
Subjects
PERSONAL SYMBOL
CLOTHING-OUTERWEAR
Historical Association
RELIGION
History
.1 THE KOROMO, OR LARGE ROBE IS USED FOR FUNERALS AND ORDINARY RELIGIOUS SERVICES. (A WHITE ROBE IS USED FOR MARRIAGES). .2 THE GOJO KESA IS USED IN IMPORTANT BUDDHIST CEREMONIES. THE PATCHWORK CONSTRUCTION IS TRADITIONAL BECAUSE IT REPRESENTS THRIFT - NEVER WASTING MATERIAL - IN THE OLD DAYS THESE GARMENTS WERE REMADE FROM OLD SASHES. THE WISTERIA DESIGN IS BASED ON THE FAMILY CREST OF FUJIWARA, WHO STARTED THE ROBE. (FUJI=WISTERIA). .3 THE WA-KESA, IS WORN OVER THE SHOULDERS AND USED IN ORDINARY SERVICE IN THE TEMPLE. .4 THE FUHO ROBE IS FOR EVERYDAY USE. ORDINARY SERVICES IN THE TEMPLE. .5 THE CHU-KEI OR FAN IS TO BE USED IN THE RIGHT HAND. ITS FUNCTION IS CEREMONIAL AT IMPORTANT EVENTS LIKE MARRIAGES AND FUNERALS. .6 THE OZUZU, OR ROSARY, IS USED AT IMPORTANT CEREMONIES LIKE MARRIAGES AND FUNERALS. .7 SEE FAMILY HISTORY ATTACHED. CONSERVATION REPORT ON FILE. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING THIS ROBE. THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT GOMPEI (ALSO SPELT GONPEI IN THE HERALD) FUKUNAGA HAS BEEN COMPILED USING A VARIETY OF ARTICLES FROM THE LETHBRIDGE HERALD. UNDER THE WAR MEASURES ACT, GOMPEI, HIS WIFE NAMIYE, AND THEIR SEVEN CHILDREN, WERE RELOCATED FROM THEIR HOME AND STRAWBERRY FARM IN SURREY, BC TO AN INTERNMENT CAMP IN TASHME, BC IN 1942. SHORTLY AFTERWARDS IN 1944, THE FAMILY MOVED TO SOUTHERN ALBERTA, TO WORK ON SUGAR BEET FARMS, AND EVENTUALLY SETTLED IN TABER. GOMPEI AND NAMIYE’S SEVEN CHILDREN INCLUDE THREE DAUGHTERS: COLEEN NORI SEKIYA, JOAN LAUTTOMUS, AND ELMA; AND FOUR SONS: ROBERT, ARTHUR SABURO, KAY, AND JIM MAMOUR. GOMPEI PASSED AWAY JULY 20, 1978. NAMIYE DIED ON OCTOBER 15, 1994, AT THE AGE OF 88 YEARS OLD. OBITUARIES FOR FOUR OF THEIR CHILDREN REVEAL THAT: “JIM” MAMOUR WAS BORN JANUARY 11, 1920 AND DIED JULY 24, 1983; ARTHUR “ARCHIE” WAS BORN MAY 27, 1935 AND DIED MAY 9, 1997; ROBERT TSUZUKI WAS BORN MAY 11, 1929 AND PASSED NOVEMBER 27, 2000; AND COLEEN, THE ELDEST CHILD, PASSED AWAY DECEMBER 26, 2012. IT IS LIKELY THAT GOMPEI USED THIS ROBE DURING SERVICES AT THE BUDDHIST TEMPLE: TWO OBITUARIES FROM 1950 AND 1968 LIST GOMPEI AS REV. G. FUKUNAGA AND A 1953 ARTICLE TITLED “BUDDHIST PRIESTS DEDICATE COLUMBARIUM AT RAYMOND” LISTS REV. G. FUKUNAGA AS PARTICIPATING IN THE DEDICATION SERVICE. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P19800009000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Other Name
JUDICIAL ROBE OR CHORAL GOWN
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Catalogue Number
P19990053034
  2 images  
Material Type
Artifact
Other Name
JUDICIAL ROBE OR CHORAL GOWN
Date Range From
1950
Date Range To
1970
No. Pieces
1
Height
5.0
Length
116.0
Width
49.0
Description
BACHELOR'S GOWN. BLACK, COLLARLESS. HAS AN OPENING IN THE FRONT WITH TWO WIDE BOX PLEATS EXTENDING TO THE HEM. HAS LARGE FLOWING, ANGEL SLEEVES ENDING IN POINTS. BACK AND SLEEVES ARE SET INTO A SQUARE YOKE WITH CARTRIDGE PLEATS. FRONT OF SQUARE YOKE CLOSES WITH A HOOK AND EYE. ON BACK INSIDE OF NECK IS STITCHING IN A RECTANGLE SHAPE WHERE TAG USED TO BE (TAG IS MISSING).
Subjects
PERSONAL SYMBOL
CLOTHING-OUTERWEAR
Historical Association
EDUCATION
RELIGION
History
MAY HAVE BEEN EITHER AN ACADEMIC OR CHORAL GOWN. DONOR USED AS A JUDICIAL ROBE FOR DRAMATIC PURPOSES. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “ACADEMIC GOWN/ JUDICIAL ROBE WORN BY THE CHARACTER PLAYING THE JUDGE IN LETHBRIDGE MUSICAL THEATRE’S PRODUCTION OF “HELLO DOLLY” 1986.”
Catalogue Number
P19990053034
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
CANADIAN PACIFIC RAILWAY "BACEDA"
Material Type
Artifact
Materials
COTTON, BRASS
Catalogue Number
P20110026000
  1 image  
Material Type
Artifact
Other Name
CANADIAN PACIFIC RAILWAY "BACEDA"
Date
1955
Materials
COTTON, BRASS
No. Pieces
1
Height
90
Length
56
Width
18.2
Description
SUIT JACKET, NAVY BLUE, DOUBLE BREASTED WITH EIGHT BRASS BUTTONS. EACH BOTTOM HAS EMBOSSED, “CANADIAN PACIFIC” WITH BEAVER MOTIF IN CENTER. EACH CUFF HAS TWO SMALL BRASS BUTTONS WITH SAME DECORATION. WIDE PEAKED LAPELS WITH ONE BUTTON HOLE ON EACH SIDE. POCKETS AT FRONT ON LEFT AND RIGHT WITH SQUARE CUT FLAPS. FRONT LEFT BREAST POCKET WITHOUT FLAP. PADDED SHOULDERS. INSIDE HAS BLACK POLYESTER LINING WITH SEAM AT BOTTOM DETACHED IN PLACES. RIGHT AND LEFT BREAST POCKETS. INSIDE RIGHT BREAST POCKET IS TAG THAT READS, “GORDON CAMPBELL LTD., VANCOUVER, CANADA, MR. B. BACEDA., DATE NOV/55, NO.3059-G 9955.” SPARE BLACK BUTTON UNDER LEFT BREAST POCKET. SLEEVES LINED WITH WHITE, BLUE AND GREY STRIPED COTTON. FABRIC LOOP AT INSIDE BACK COLLAR.
Subjects
CLOTHING-OUTERWEAR
PERSONAL SYMBOL
Historical Association
TRANSPORTATION
INDUSTRY
BUSINESS
History
ACCORDING TO INFORMATION PROVIDED BY DONOR DOUG HEGLAND AT THE TIME OF DONATION, THE JACKET WAS ACQUIRED IN 1983 FROM A LOCKER AT THE "OLD STATION" IN LETHBRIDGE WHEN STAFF MOVED TO A NEW TRAIN STATION AT KIPP YARD. THE DONOR FOUND THE JACKET AS A RESULT OF WANTING SOME OF THE STATION’S OLD LOCKERS. DONOR STARTED A CAREER WITH THE CPR IN 1978. ACCORDING TO INFORMATION SOLICITED FROM BRUNO BACEDA’S SON LONNIE IN FEBRUARY 2012, “BRUNO BACEDA LIVED IN THE LETHBRIDGE AREA HIS WHOLE LIFE. HE WAS A BAGGAGE MASTER WITH THE CANADIAN PACIFIC RAILWAY IN 1959 AND WORKED FOR A WHILE AS CONDUCTOR.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, “BRUNO JOHN BACEDA PASSED AWAY IN LETHBRIDGE ON DECEMBER 13, 2004 AT THE AGE OF 76. BACEDA WAS BORN IN COALHURST ON NOVEMBER 7, 1928 WHERE HE ATTENDED SCHOOL AND BEGAN HIS 38 YEAR CAREER WITH THE CPR.” FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20110026000
Acquisition Date
2011-07
Collection
Museum
Images
Less detail