Winnipeg 2008

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					Organization of Military Museums of Canada/
L’Organisation des musées militaries du Canada

                                               Winnipeg 2008
                                             Conference Notes
         Memorial Service at Upper Fort Garry                            2
         The Military History of Winnipeg                                2

         National Film Board of Canada Presentation                      3

         Canadian Museum of Human Rights Presentation                    3

         Care and Use of the TBM-3 Survey Monitor within CF Museums      5

         CFAMS Nomenclature Update                                       5

         Canadian Military History Gateway                               6

         Strategic Fundraising for Cultural Heritage Organizations       6

         Promoting Your Museum and Attracting New Audiences              7

         Recruiting, Engaging, and Retaining Museum Volunteers           8

         Sketchup Software                                               9

         Museum Visits for School Audiences                              9

         Keeping Track of Your Collection                                11

         Firearms: Care, Handling, and Storage                           11
         Preventative Conservation                                       12
         The Impact of War: Interpreting the Experience of War in the    15
         Manitoba Museum’s Parkland Gallery
         Oral History, Memory, and the Military in Canada                16

         DHH Presentation                                                17

         Regiment du Voltigeurs– Update on the Fire and the Regimental   17

         The Memorial Cross                                              18

         Directory of Presenters                                         18

         Museum Visits                                                   19
                                                        OMMC Winnipeg 2008                          Page 2

Memorial Service at Upper Fort Garry Gate

The chaplain of HMCS        task. He made the anal-
Chippawa spoke of the       ogy of including per-
importance of protecting    sonal belongings at a
and preserving artifacts    memorial   service,   in
not only as a way of pre-   which the objects act as
serving the past but also   a physical reminder of
as a way to honour the      the person’s life and
people associated with      their interests, work,
those objects, the job      and the impact they
they had to do, and         made on the world.
their dedication to their

The Military History of Winnipeg

Gord Crossley of the Fort Garry      teers and the arrival of British      ing Plan; changes in the post-war
Horse gave a very comprehensive      troops in 1846; heightened ten-       military in the city up until the
military history of Winnipeg in a    sion involving Indians, Métis, set-   present day, with Winnipeg hav-
short but information-filled lec-    tlers, and American troops sta-       ing the 38 Brigade Group head-
ture. There has been a continu-      tioned near the border circa          quarters, which consists of all
ous military presence, either full   1860; the 1870 transfer of            reserve units.
or part time, in Winnipeg since      Rupert’s Land from the HBC to
1870. Some of the highlights of      Canada; Manitoba joining Can-
the lecture are listed here:         ada in 1870; the threat of Fenian
                                     invasion a year later; construc-
The early history of tribal con-     tion of Fort Osborne in 1873; the
flicts in the area, primarily in-    growth of the militia in the late
volving Cree and Assiniboine         1870s-80s; the involvement of
warriors; the arrival of Europe-     Winnipeggers in overseas service,
ans with traders from the Hud-       beginning with the 1884 Nile Ex-
son’s Bay Company and French         pedition; the participation of
explorers exploring the areas        Winnipeg units in the 1885
west of Montreal; expansion of       North West Rebellion; the addi-
trade forts with the North West      tion of infantry units, develop-
Company and the Hudson’s Bay         ment of camps and training, and
Co.; the settlement of the Red       the construction of new armour-
River area around 1812; the Bat-     ies in the early 1900s; the raising
tle of Seven Oaks over the pem-      of 24 Battalions in Winnipeg in
mican trade in 1816; the arrival     the First World War; the addition
of Lord Selkirk’s troops; the        of new services and army re-
amalgamation of the NWC and          structuring in the post-war era;
HBC by Nicholas Garry (hence         Winnipeg’s involvement in the
the name Fort Garry); the organi-    Second World War effort, includ-
zation of the Red River Volun-       ing the Commonwealth Air Train-
                                                         OMMC Winnipeg 2008                            Page 3

National Film Board of Canada

Claude Guilmain       and   Anne-     archives and letters. (The footage    •   With assistance from Michel
Marie Rocher                          from which the film draws is              Litalien, the Citadel in Que-
                                      available on the NFB website).            bec, and the Canadian War
The National Film Board’s On-         The intention of the film was to          Museum.
tario and West Studio has pro-        tell a general story of the war ex-
duced a documentary on the            perience. He chose individuals        What is the core message of the
subject of the 90th anniversary of    whom he could follow from their       film?
the signing of the Armistice that     enlistment through training to
ended the First World War. The        the trenches and so on. This ap-      •   The film puts into perspective
film is based on original docu-       proach shows the evolution of             that the soldiers participating
ments and letters, as well as         the writer’s feelings throughout          are individuals, each number
original footage from the time. In    the war. The script uses entirely         in the statistics is a person;
preparing the script, Guilman         the words of the letters- no addi-        an individual with a family.
used only letters- no other text      tional text was added.
was added. Letters used in the                                              Could a similar project be done
film were sourced from private        Questions:                            for the Second World War of even
families and museums. The film                                              Afghanistan?
is 33 minutes and available in        Are there plans to broadcast the
                                      film on television?                   •   Certainly—there are lots of
English and French, and a dvd
and poster are to be made avail-                                                resources. It would be inter-
able in early November. In addi-      •   Not at this time.                     esting with more current con-
tion, several short films were pro-                                             flicts, with the technological
                                      Is there curriculum developed to
duced with topics such as At the      accompany the film?                       advances in communication
Front, Officers, Trenches, Faith                                                (ie. faster communication
and Hope, and Life of a Soldier.      •   Yes, there are eight short            from the battlefield).
These films will be distributed to        films for educational pro-
schools and museums.                      grams.
The footage is based on 14 hours      How did you collect the letters?
of footage from the NFB’s film

Canadian Human Rights Museum

Ginette Levack Walters                tory; and capture Canada’s hu-        and other visitors. Visitors will be
                                      man rights essence. It is also to     given a “key card” to gather infor-
The idea for the Museum of Hu-        be an action centre to equip Ca-      mation they are interested in,
man Rights is rooted in the Asper     nadians to be steadfast.              which can then be used on a
Foundation’s educational pro-                                               home computer by entering a
gram for Grade 9 students on          The project is a unique commu-        serial number into the museum’s
human rights and the Holo-            nity/public partnership, with pri-    website.
caust—it is such a successful         vate sector support from the out-
program that they wanted to ex-       set and a credible advisory           The content is divided into four
pand on the story of Canada’s         board.                                themes: Attitudes, Knowledge,
human rights history.                                                       Skills, and Action.
                                      The experience will attempt to
The museum will be focussed on        engage all the senses, with video,    The museum will be located in
education. It will be a centre for    holographic images and heavy          Winnipeg because of the city’s
people to learn about Canadian        use of technology, allowing the       central location, and the history
human rights; celebrate our his-      visitor interaction with exhibits     of human rights in Manitoba
                                                          OMMC Winnipeg 2008                           Page 4

(such as the General Strike,           sign and leave comments. The intention is to remind people to share
Louis Riel, Nellie McClung). The       what they have learned.
location of the Forks, a gathering
place for centuries, is especially     The museum will also host temporary exhibits from other museums,
appropriate.                           and will create travelling exhibits for outreach.

Areas of the Museum:                   The museum will benefit Canada as well as Manitoba, which will par-
                                       ticularly benefit from the employment, tourism, and tax revenues it will
Touch Stone: This area will pro-       generate. They have looked at the Guggenheim museum in Bilboa,
vide an introduction to human          Spain as an example of a success story.
                                       Currently the museum has raised over $94.5 million in its private sec-
Aboriginal communities in Can-         tor campaign, leaving $10.5 million to be raised. Federal funding
ada: with live people sharing sto-     amounts to $100 million, and the museum will also receive status as a
ries                                   national museum, making it the first new national museum in 41
                                       years and the first outside the national capital region.
Canadian Human Rights Jour-
ney:       Activities,      actors/    Questions:
interpreters, story telling alcoves,
telling about residential schools,     Will you be receiving annual funding?
internment of the Japanese, the
Famous Five                            •   The federal government will provide $22 million.

A Hall of Hope connects the gal-       What is the timeline for opening?
leries.                                •   We hope to be open in the spring of 2012
The Canadian Challenge: focuses        How will you accommodate visually impaired people?
on the Charter of Rights
                                       •   All levels and types of abilities are being considered.
Genocides: What have we done
wrong? How can we avoid geno-
cides in the future? Also there
will be reminders of good things
that are happening too—it won’t
all be bad. It will call on visitors
to dig deeper and not always be-
lieve the surface.

Crimes Against Humanity: This
area focuses on the Ukrainian

The Modern Human Rights
Movement: the Universal Decla-
ration of Human Rights.

The Human Rights Forum: This
area allows role playing with
other visitors, to engage people
and help them realize the impact
of their actions.

Eye on the World: Current issues
in other parts of the world will be
highlighted, with media from all
over the world and interactive

Hall of Commitment: Visitors will
                                                          OMMC Winnipeg 2008                             Page 5

Care and Use of the TBM-3 Survey Meter Within CF Museums

Sean Hunter, DHH                       Visual inspection- Mica screen         touching it (don’t puncture the
                                       behind mesh- it is very thin and       screen!)
Every CF Museum will be receiv-        fragile. Do a visual check to en-
ing a TBM-3.                           sure that the mica is not broken.      Contamination Detection: Con-
                                       Do a battery check – turn the          tamination can be either fixed or
Radium comes from uranium,             large knob to “BAT” position to        loose. It can only be measured
and is a natural isotope discov-       check that the battery has             directly on items that do not con-
ered by Marie and Pierre Curie in                                             tain the sources, since the radia-
1898. Its discovery was key to                                                tion from the source is much
changing the basic understand-                                                more intense.
ing of matter and energy. Radium                 “Don’t
emits three different kinds of ra-                                            Swipe Testing: To test for con-
diation: alpha, beta, and gamma.              puncture the                    tamination on a source such as a
In its early days (prior to 1920s)                                            compass, one must perform a
radium was used for health pur-                 screen!”                      swipe test. Swipe the suspected
poses.                                                                        object, use TBM3 to measure the
                                                                              swipe. You may need to move
Artifacts that are likely to contain                                          away from any other radiation
radium include compasses and                                                  sources to measure the swipe.
                                       enough charge. The needle
aircraft panels from just before
                                       should move over to the green          Calibration: The TBM3 requires
the Second World War to the
                                       zone. When changing the battery,       annual calibration. Calibration is
early 1970s. Some serving air-
                                       remember to check the new bat-         performed by Patlon Aircraft In-
craft still have radium dials, but
                                       tery.                                  dustries located outside Toronto.
not enough to pose a risk to pi-
lots or aircrew. By the time these                                            There are currently not enough
                                       Operation: Turn dial fully clock-
items get to museums, they are                                                meters for seamless calibration,
                                       wise until it is in the “x1” posi-
end of their life spans and the                                               so while your machine is being
                                       tion- this is the most sensitive
rubber seals have dried out, or                                               calibrated, your museum will be
                                       setting, and should always be
the glass could be broken. Any-                                               without a meter for about six
                                       used when surveying. The TBM
one handling these objects                                                    weeks.
                                       will periodically chirp, as it de-
should wear a protective dust          tects natural background radia-
mask and gloves.                                                              Questions:
Operation of the TBM-3                                                        What is the point of identifying a
                                       Survey Techniques: In the “x1”         radioactive artifact?
                                       position ensure that the volume
The TBM is a pancake GM tube
                                       is on to a level where you can         •   Artifacts can be identified as
which is sensitive to gamma,
                                       hear the natural chirping of the           radioactive in CFAMS so it
beta, and alpha radiation; it is
                                       TBM. Bring the unit as close to            will be flagged and inspected
very sensitive at detecting radia-
                                       the artifact as possible, without
tion.                                                                             by the RadSO.

CFAMS Nomenclature Update

Rafael Sandoval, Directorate of History and Heritage

The Radiation Safety Officer has his own account in CFAMS. You can generate a list of the items flagged as
radioactive. Items can only be removed from the list by the RadSO.

There is a new field in CFAMS: “crown asset”. This field is purely for statistical purposes.

Parks Canada is now allowing additions for classifications. The “Add Term” feature is to suggest new classifi-
cations. Please add as much information as possible.
                                                          OMMC Winnipeg 2008                             Page 6

Canadian Military History Gateway:
Carl Kletke, Directorate of His-       ing institutions responsible for      presentation of the three volume
tory and Heritage                      the collection and digitization of    Canadian Military Heritage series
                                       cultural resources related to         (by Bernier and Chartrand).
The Canadian Military History          Canada’s military heritage have
Gateway is an online service pro-      formed a partnership to work to-      Site visitors can access:
viding access to Websites and          gether in building and maintain-
digitized resources about Can-                                                  * Images and narrative of the
                                       ing this story of Canada. These
ada’s military history. The Gate-                                            three volume Canadian Military
                                       institutions    are:    Canadian
way was developed by the De-                                                 Heritage reference set, enriched
                                       Broadcasting Corporation; Cana-
partment of National Defence                                                 with animation clips.
                                       dian War Museum; Department
(DND) as an initiative supported       of National Defence; Library and         * More than 7000 unique links
by the National Defence On-Line        Archives Canada; National Film        to military history resources on
(NDOL) programme and the De-           Board of Canada; Parks Canada;        Gateway partner sites, including
partment of Canadian Heritage’s        University of Calgary Libraries       animation, art, artefacts, film,
Canadian Culture Online Pro-           and Cultural Resources; and           interactive games, music, narra-
gram.                                  Veterans Affairs Canada               tives, personal anecdotes, photos
The goal of the Gateway is to                                                and scholarly research.
                                       The Gateway is designed to be
"provide the public with free ac-      the authoritative source for qual-       * Links to partner databases
cess to the collective military his-   ity-controlled   information    on    that contain nearly 900,000 ad-
tory resources of Canadian mu-         Canada’s military history. It pro-    ditional resources specific to Ca-
seums, libraries, archives and         vides several ways to discover,       nadian military history.
other    heritage     organizations    access and exploit online military
through a single, dynamic and          history resources, including a           * Links to an array of grade
intuitive gateway". In drawing         graphical interactive timeline,       specific and curriculum based
the sources of Canada’s military       enhanced search and guided            learning resources, educational
heritage together, the gateway         navigation.                           aids and lesson plans.
provides an opportunity for all
Canadians to learn about a his-        It also provides a concise military   More partners will be engaged
tory that has shaped their coun-       history of Canada from 1000-          over time to enrich and expand
try. To realize this goal, the lead-   2000 A.D. through the online          the story further.

Strategic Fundraising for Cultural Heritage Organizations
Jim Robinson, Director of Devel-       tions, target this industry. Sports   donors giving higher amounts.
opment, Manitoba Museum                and recreation receives the ma-       More     people    give   smaller
                                       jority of corporate sector dona-      amounts      to     health-related
There are 98,000 registered            tions (33.3%), vs arts and culture    causes. Think about how to get
charities in Canada, meaning           which receives about 10%, and         lots of smaller donations rather
there is more competition than         4.9% for education and research,      than a few very large ones.
ever before; however, giving con-      so in order to tap into the largest
tinues to grow amongst individu-       market share, package your mu-        Position yourself to stand out
als, corporations, and founda-         seum as recreation. However, be       from the crowd. Let your mission
tions.                                 cautious of prostituting your in-     drive your fundraising, and bring
                                       stitution to the “almighty dollar.”   value to the donor. Stand out
Within the corporate sector, the                                             from the crowd by highlighting
finance and insurance industries       Most of the money donated by          your content or programming,
are the most generous, so if you       individuals (45%) goes to religion,   the age of your museum (ie. es-
are soliciting corporate dona-         but it is an area that has fewer      tablished in 1907), current is-
                                                        OMMC Winnipeg 2008                              Page 7

sues (including knowing what to      ways exceed your ability to raise      •   November for campaigns
avoid), and your people. Let your    money. Schedule your solicita-
mission drive your fundraising       tions, and remember that your          • Special events are a good
by identifying a need, demon-        volunteers might get burned out.       time to ask for money
strating to donors how they can      When it comes time to make “the
help, and having a tangible re-      pitch”- ask yourself: who’s mak-       •   Tax season is a bad time
sult. For example, take a stand-     ing the ask? Make sure this per-
out item in your collection and      son is comfortable doing it if it is   What are the pros and cons of
attach a need to it, then base       to be done in person. Identify         hiring a professional fundraiser?
your appeal on this. Bring value     your key messages, and have no
to the donor by thinking of the      more than three. Use tangible,         •   Can be very expensive
donor/museum relationship as a       results oriented reasons to give.
partnership. Recognize your do-      Explain what will be done with         • There is much that can be
nors’ contributions publicly as      the money.                             done without one
well as thanking them person-
ally.                                Questions:                             • Depends on the campaign—if
                                                                            it is very significant or requires
Before undertaking a fundraising     What is the best time to fund-         special treatment (such as direct
project, list your needs and then    raise?                                 mailings to large numbers), fund-
list what you can do. Consider                                              raisers can have the specific soft-
your resources and recognize         • May and October are best for         ware and tools required.
that your needs will almost al-      direct mailings.

Promoting Your Museum and Attracting New Audiences

Javier Schwersensky, Director of     The importance of research:            proceeding according to the
Marketing, Sales, and Programs,                                             plan?)
Manitoba Museum                      Understand who is coming to
                                     your museum now. Then, see             Each goal requires specific
Key definitions:                     who could be a good match              strategies, and each strategy re-
                                     based on content and location.         quires tactics. For example, say
Marketing: Matching a product
                                     Types of research: intercept stud-     the goal is to increase school
or service with the people who
                                     ies (surveys); focus groups;           group visits by 10%. One strat-
need or want that product or ser-
                                     online surveys; postal code ex-        egy would be to establish contact
                                     trapolation- ask visitors for the      with teachers. The tactics to do
Advertising: Information that is     first three characters of their        so could be to participate in
useful to consumers                  postal code, and then obtain           teacher conferences; provide free
                                     neighbourhood stats available          admission for teachers, and place
Public Relations: Assisting media    from Statistics Canada.                ads in teacher newsletters. The
to understand relevant topics;                                              results might be that you
providing information to media to    Drafting a plan:                       reached 200 teachers, twenty of
disseminate)                                                                which visited in April, and five
                                     • Rationale and objectives-            new bookings were made. Note
Mapping your audience:               make them measurable, realistic,       that the outcomes are measur-
                                     and very specific goals                able.
Group the public into groups
likely to be interested. For exam-                                          Evaluation and Refinement
ple, the primary audience for a      •   Strategy (overall direction)
military museum might consist                                               • Are individual results adding
of teachers, active military mem-    •   Implementation         (specific
                                     tools)                                 up to desired outcome?
bers, veterans. The secondary
audience might be military buffs,                                           •  If yes, are all the actions
                                     Evaluation (What and where are
war simulation players.                                                     working? Should one or more be
                                     the checkpoints to ensure we are
                                                         OMMC Winnipeg 2008                          Page 8

modified?                             or broadcasted                        tion, social, economic develop-
                                                                            ment aspects of your city or
If not, proceed in order: is the      • The relative low cost of pro-       town?
execution being carried out prop-     ducing media-worthy stories
erly? Is the strategy flawed? Is                                            Media Kit: Why is your museum
the goal divorced from reality?       The general goodwill from jour-       worth visiting?
The role of PR                                                              The New Media
                                      PR Toolkit
Public Relations and Communi-                                               Web 2.0: The evolution of the
cations offer important advan-        Press releases: Does the potential    world wide web. Younger genera-
tages for non-profits.                story have broad appeal? Is it        tions are using social networking
                                      different?                            portals to communicate. Is this
•  The ‘public authority’ effect                                            media right for your museum?
when a positive story is printed      Backgrounder: What is the role
                                      of your museum in the educa-

Recruiting, Engaging, and Retaining Museum Volunteers

Warren Reeves, Director, Human        who will train them, who will su-     Employers: some employers have
Resources, Manitoba Museum            pervise them.                         volunteer programs for staff.

Volunteers are critically impor-      Recruiting: The organization can      Unemployed people:        Employ-
tant to any organization. This        offer: a challenge/ new skill de-     ment offices; employment transi-
presentation will show how the        velopment; variety and options of     tion or training programs
Manitoba Museum runs their            many jobs; a social environment;
volunteer program (this doesn’t       recognition.   Volunteers    have     Promote Internally: Post notices,
mean this is the only way to do       time, energy, skills, and ideas to    email existing volunteers, news-
it! Take from this what would be      offer.                                letters, volunteer information
useful to your organization.)                                               centre, phone calls.
                                      Target Potential Volunteers: Look
Looking for Volunteers: Identify a    at who would be the best fit for      Placement: Putting volunteers in
need. Work with staff, board,         the position                          the right position is critical to
senior management, and clients                                              retaining volunteers for the long
to determine need. Sample ques-       Youth Volunteers: Youth need to       term. Look at their past work
tions: what is the purpose of         be recruited differently. The         and volunteer experience, educa-
your organization? What services      internet, high school programs/       tion and training, and interests.
do we provide? What jobs could        guidance counsellors, current         Understanding the volunteers’
volunteers do? What benefits          volunteers, and university/ col-      reason for being there will help
would a volunteer program pro-        lege career fairs are all potential   get them in the right position.
vide- to the organization/ our        routes.                               Keep options open for volunteers
customers/ the volunteers? What                                             to try a new job if they are not
                                      Retired Professionals/ Stay-at-       enjoying the area they have been
skills will the volunteers need?
                                      homes: Professional associations,     placed in.
What staff support is available?
                                      leisure groups, church groups,
Job design/ description: Let vol-     newspaper or radio public service     Recognition is important! Provide
unteers know expectations, re-        announcement, local volunteer         benefits such as parking, bus
sponsibilities, skill set required,   centre.                               tickets, free admission, museum

                     Volunteer motivation + Satisfaction = Commitment
                                                          OMMC Winnipeg 2008                             Page 9

shop discounts. Reference let-         Opportunity to play an advisory       •   Basically, treat the person
ters, applications for bursaries,      role                                      with respect and discuss the
school credit for volunteer hours                                                issue. Failing a successful
are also motivating. Host formal       Provision of adequate resources           attempt at change, explain
and informal recognition events.       including: space to work, materi-         you have to terminate the
Nominate volunteers for commu-         als to work with, secure place for        relationship with the volun-
nity awards.                           personal belongings, training,            teer. Do it in a professional
                                       consultation, supervision, lounge         way, without anger. Keep
Volunteer motivation + Satisfac-       area.                                     documentation on the termi-
tion = Commitment                                                                nation.
                                       Recognition for their contribu-
Responsibilities   to   our   volun-   tions                                 What background screening do
teers:                                                                       you suggest for volunteers?
                                       The opportunity to apply        for
A trained administrator to man-        posted paid staff positions
                                                                             •   A reference check
age the program
A safe work environment                                                      •   A police records check for
                                       How do you terminate a volun-             child offenders

Acryl Design– Sketchup Software


                                                      Google SketchUp is software that you can use to create
                                                      3D models of anything you like.

                                                      Most people get rolling with SketchUp in just a few min-
                                                      utes. Dozens of video tutorials, an extensive Help Center
                                                      and a worldwide user community mean that anyone
                                                      who wants to make 3D models with SketchUp, can.
There's no limit to what you can create with SketchUp. Get models online for free: You can build models
from scratch, or you can download what you need. People all over the world share what they've made on the
Google 3D Warehouse. It's a huge, searchable repository of models, and it's free. An example of a model of
Winnipeg’s Upper Fort Garry Gate is shown.

Museum Visits for School Audiences
Nancy Anderson, Program                A way to engage the audience          could be interested in the same
Department, Manitoba Museum                                                  object for many reasons.
                                       Encourages community involve-
Assessing the situation: Formu-        ment                                  What resources do you have?
lating goals and objectives, se-
lecting activities, implementing       Gives people a reason to come         •   Collection/ reproductions
the program, evaluating the pro-
                                       Encourages life long learning
gram, looking toward the future.                                             •   Reference material
                                       Encourages object literacy/ vis-
What do you have, what are you                                               •   Staff/ volunteers
                                       ual literacy (reading message
doing now? Why bother?
                                       from an object). Objects tell a
                                       different kind of history. Objects    •   Facility and services
Part of museum’s mandate
                                       are not age-specific- all ages
                                                           OMMC Winnipeg 2008                             Page 10

•   Computers                          new ideas, other peoples’ way of       Health and safety concerns
                                       doing things; want to know why
•   Financial resources/ labour                                               Insurance
    in kind                            High schools (14-18) : often don’t
                                       take field trips; capable of ab-       Safety of the artifacts
Goals and Objectives                   stract thought, able to make con-
                                                                              How will teachers find out about
                                       nections between concepts; di-
Objectives describe what the visi-                                            your programs?
                                       vergent questions do not appeal
tor will have learned at the end of    unless they feel their ideas are       Contact schools and school
their program. A goal might be         well considered; can discuss con-      boards/ Department of Educa-
bringing in new audiences. Both        cepts, cautious of peers, are          tion
should be measurable.                  thinking of school as a means to
                                       an end; emphasize school subject       In-services and conferences for
School audiences: What do they         matter or concepts                     teachers
want out of it? Schools are usu-
ally looking for something cur-        Activities                             Visit schools, present at staff
riculum-based.        Curriculum                                              meetings
documents are available online.        •   Should provoke curiosity
Look at what they want and see                                                Evaluating the Program
how your museum fits. Be crea-         •   Be fun and engaging
tive in how your program could                                                • Ask teachers        for    written
fit into the curriculum—for ex-        •   Relate to the student              evaluations
ample, don’t limit yourself to the
history or social studies curricu-     •   Age appropriate                    • Ask volunteers what worked,
lum.                                                                          and for recommendations for
                                       •   Apply to both sexes                change
Think about what other audi-
ences need, such as badge re-          Include a variety of learning          Formal written evaluations are
quirements for Scouts or Guides.       styles (cognitive, motor, affective    important!
Be careful of stereotyping groups.                                            Evaluate programs and revise
That being said:                       Some techniques are more pas-          them when necessary. This en-
                                       sive (such as viewing exhibits)        sures that the client’s needs are
Young Children 6-7 year olds:                                                 being met, and that the mu-
                                       whereas others are more active
Strong imagination; moving from                                               seum’s resources are not being
                                       (such as role playing, artwork,
egocentric; enjoy role-playing,                                               wasted.
                                       question and answers, discus-
identification of objects, similari-
ties and differences; learn ac-                                               Education and Public Program
tively through their senses,           Implementing     the        program:   Policy: Every institution should
hands-on, touchables                   Things to consider:                    have an Education and Public
                                                                              Program Policy. It sets goals and
Older Children 8-11 year olds:         Are pre-visit kits required to pre-    standards for programs; and is a
More socialized, interactive; eager    pare the class for their visit?        public statement that creates
to explore; seeking approval; lit-                                            credibility with the community,
eral minded; beginning to under-       Where will the program take            audiences, and funders. Compo-
stand cause and effect; can inter-     place? (at museum, at the              nents of the policy are: Program
act, imagine, discuss possibili-       school, kits sent out to schools)      Goal (philosophy and vision for
ties; knowledge still limited, need                                           education); Program Priorities
to relate concepts and experi-         Costs?
                                                                              (types of program, target audi-
ences to things they know, intro-                                             ences);     Program     Objectives
                                       Do you have the equipment re-
duce vocabulary                                                               (commitment to formulated ob-
                                                                              jectives);             Evaluation
Early adolescents (12-14) : varied
                                       Is there a lunch room?                 (commitment and criteria); Fund-
levels of maturity, getting self-
                                                                              ing; Program Approval; and
conscious, need structured pro-        Where will the buses park?             Training.
grams; acquiring the ability to
deal with abstract concepts; like      Who will implement the pro-
participating in the discovery of      gram?
                                                            OMMC Winnipeg 2008                          Page 11

Keeping Track of Your Collection

Ann Hindley, Collections Man-         ferent styles of numbering.            After an item is accessioned, an
ager of Social History, Manitoba                                             accession card is produced.
Museum                                Paperwork: Some museums use            Cataloguing information is re-
                                      a Temporary Receipt. Others go         corded.
There are 60 000 artifacts in the     right to the Donor Receipt- which
social history collection at the      states that the donor has the le-      Deaccessioning: Removing from
Manitoba Museum.                      gal right to donate the object to      the collection. Reasons would
                                      the museum, etc.                       include duplicates, damaged be-
Collections Policy: a basic docu-                                            yond use, doesn’t fit into collec-
ment all museums should have.         Income tax receipts can be is-         tions policy. Physically remove
Many examples are available on        sued by the museum for values          the number from the artifact. All
the internet.                         up    to  $1000—beyond    that         the information/ paperwork on
                                      amount an independent      ap-         that artifact are put together into
Organic artifacts coming in have      praisal is required by Canada          a deaccession file. A deaccession
to be fumigated—uniforms put in       Revenue Agency rules.                  form must be filled out.
garbage bag, sealed, and put in
freezer for two weeks; or, isolated   Accession Record for donor file—       Loans: Put the duration of the
from the collection to ensure         one copy goes in donor file and        loan on the form. It’s a good idea
there are no bugs in it.              one in insurance file.                 to do a condition report before
                                                                             and after loaning.
Accessioning: Everything should       Artifacts    should     be    photo-
have a unique number physically       graphed.
put on the object. There are dif-

Firearms Care, Handling, and Storage

Lisa May, Conservator, Manitoba       Examination                            Materials: Metals (iron, brass,
Museum                                                                       silver and lead); wood, leather,
                                      Muzzle loading                         rubber, bone, ivory, associated
Safety                                                                       materials
                                      Breech loading
Assume every firearm is loaded                                               Determine original parts
until proven otherwise                Flint lock
Keep muzzle pointed in a safe         Percussion lock
direction                                                                    Particulates can hold moisture
                                                                             and cause corrosion
Never cock or work the action of
a firearm unnecessarily                                                      Physical damage: scratches and
                                                                             dents, broken ram-rod holders
Handling                                   “Assume every firearm
                                           is loaded until proven
                                                                             Pests: wood boring insects, ro-
Keep finger off trigger                                                      dents can cause staining
Always wear gloves                                                           Relative humidity fluctuations
                                                                             can split or crack wood and
Choose the best method of trans-
                                                                             cause metal corrosion.
port                                  Documentation
                                                                             Light damage: fading or darken-
Support with both hands (barrel       Written and photographic docu-         ing of organic components
with one hand and butt with the       mentation: note any maker’s
other)                                marks, ordnance marks, ar-             Pollutants: organic acids from
                                      moury marks)                           leather cases, acidic wood cases
                                                          OMMC Winnipeg 2008                                 Page 12

Storage                               zontally—vertical is better for fre-   be required, but be aware of the
                                      quent handling.                        potential for damage.
45-50% RH with minimal fluc-
tuation                               Conservation                           Exhibits

Low light levels                      The goal is to stabilize artifacts     There are different rules in differ-
                                                                             ent places regarding security
Don’t use materials that off-gas      Basic cleaning using soft
                                      brushes, wooden picks (nothing         At minimum, firearms should be
Pest monitoring programs—no           harder than wood!)                     behind acrylic, locked in place
eating/drinking around collec-                                               (with padding between the fire-
tion                                  Advanced cleaning methods: Sol-        arm and the locking device)
                                      vents are best used by profes-
Security and restriction of access    sional conservators with knowl-
should be the #1 priority. Should     edge of firearms. When oiling
be kept locked at all times. Thick                                           Reference: Care and Preservation of Firearms
                                      moving parts wipe off as much as       by Philip R. White. Canadian Conservation
walls. Limited access.                possible after application.            Institute Technical Bulletin No. 16, 1995.

Can be stored vertically or hori-     Partial or full disassembly may

Preventative Conservation

Kathy Nanowin, Manager, Collections and Conser-           ship. High temperatures can lead to shrinking and
vation, Manitoba Museum                                   embrittlement. Conservators often refer to RH,
                                                          which is a measure of the air’s capacity to hold wa-
Definition: Preventative conservation is protecting       ter vapour. Air can hold different amounts of mois-
the collection from damage. Preventative conserva-        ture at different temperatures. Low RH will dry
tion includes controlling light, temperature and hu-      things out, leading to cracking, shrinking, and em-
midity, handling, storage, and display methods, and       brittlement. High RH leads to swelling, corrosion of
dealing with pests, pollution, and disasters. It does-    metals, and mold.
n’t alter the object, only the conditions around it.
Preventative conservation can also include the de-        Dirt, dust, and pollution: Dust can be abrasive,
velopment of policies and procedures.                     breaking textile fibres and scratching paint sur-
                                                          faces. It’s also hygroscopic, meaning it absorbs
Conservation Policy                                       moisture. Outdoor sources of pollution include
The commitment in writing to the museum’s preser-         mines, mills, and car exhaust; indoor sources such
vation function is the Conservation Policy. The pol-      as paint, lumber, and carpets can give off acetic
icy should be comprehensive, but should not in-           acid and formaldehyde, especially in an enclosed
clude detailed procedures, and should be under-           space like an exhibit case.
standable by all staff and board members, and re-         Gravity: It is the nature of three-dimensional objects
viewed regularly.                                         to sag if they don’t have proper support.
Causes of Deterioration                                   Pests: Pests include rats, mice, squirrels, and espe-
Light: Light is energy which can penetrate objects        cially insects, particularly some species of moths
and break molecular bonds. It includes visible, ul-       and beetles. Insects that don’t directly attack collec-
traviolet (UV) and infrared (IR) radiation. UV and IR     tions materials can attract and be food for museum
are more energetic and therefore more damaging.           pest insects. Insects leave behind excreted waste
Light causes fading and embrittlement. High light         called frass. Damage from pests can range from mi-
levels often also mean high heat.                         nor soiling to complete destruction of the artifact or
Temperature and humidity: Temperature and hu-             specimen.
midity are linked—generally, it’s an inverse relation-
                                                         OMMC Winnipeg 2008                            Page 13

Handling: People can also be considered pests! Im-       50 lux: paper, colour photos, coloured textiles,
proper handling can cause great damage, mainly           feathers
because people are unaware of the fragility of ob-
jects.                                                   150 lux: paintings, books, furniture.

Improper methods and materials: Using improper           300+ lux: ceramics, stone, metal, glass
methods and materials can cause significant dam-         As a comparison, a typical office is 700 lux, and
age in both storage and exhibits. Any material in        bright sunlight is up to 60 000 lux. You should also
contact with an object can react with it chemically.     be aware of the ultraviolet component of the light.
Theft and vandalism: Intentional damage includes         The common recommendation is to keep the UV at
theft, breakage, and graffiti.                           less that 75 microwatts/ lumen.

Inherent vice: This is a conservation term that refers   Monitoring methods: Every institution should have
to the inherent instability of some objects, due to      an environmental monitoring program. Its purpose
unstable or poor quality manufacturing methods           is to discover what the conditions are at your mu-
and materials, or poor design. Some common exam-         seum—in all seasons, in all weather. It’s helpful to
ples of this are deteriorating glass beads, some plas-   note outside conditions as well. Try to take meas-
tics and rubbers, and newspapers, which are only         urements at the same time of day for consistent re-
meant to last for one day.                               sults. Being aware of the internal environment
                                                         means you can take measures to improve it.
Disasters: Include fire, flood, wind, hail, and torna-
does                                                     Using your building to control the environment:
                                                         This is really basic to improving conservation at
Biodeterioration: Includes mold and fungus. An ex-       your museum. The building is the most inexpensive
ample is dry rot in wood. Mould is commonly found        and practical environmental control “equipment.”
on paper, leather, and textiles, but can grow on vir-    Make sure it is in good repair.
tually any surface if conditions are right. Mold is
very common in flood situations and can cause            Preservation in Storage
staining, embrittlement, and loss of surface mate-       Planning a Storage Area: Consider size- large
rial.                                                    enough to hold current collection, plus room to
                                                         grow, accessibility (easy to get in and out, move ob-
Preventing deterioration
                                                         jects around; security), restricted access, location,
Climate and Light Control Norms: Stability is your       an interior room is best, avoid attics and basements
goal- avoid sudden sharp swings in temperature or        if possible, environment (no furnace, hot water tank
humidity. Temperatures are usually set for people’s      or pipes, as they will heat or cool the space too
comfort, but generally, cooler is better for collec-     much.)
tions. Try to keep RH between 35% and 60% year
round. This can be difficult to do. In published rec-    Filling a Storage Area: Use appropriate shelving-
ommendations, 50 lux is recommended for sensitive        there are many possibilities. Use shelving and pal-
materials, but this can be hard to achieve and 100       lets to keep everything off the ground. Keep it or-
lux is more reasonable. There should be a ceiling on     derly and clean, so objects are easy to locate. It’s
light levels in exhibit areas, eg. 500 lux. Avoid ex-    helpful to keep like objects together. Provide proper
tremes, bright spots, and sudden changes, as it can      support for the artifacts.
be hard for the eyes to adjust. Light damage is cu-
                                                         Materials Used in Storage and Display
mulative and irreversible; if you have light, you
eventually will have damage. Think about how many        Any materials in contact with an artifact can react
hours per year the lights are on in your museum.         chemically with it, so it’s best to use inert materials.
                                                         There are many materials that have been tested by
Recommended Light Levels:                                conservation scientists that we know are safe to
Based on 50 hours per week                               use.
                                                          OMMC Winnipeg 2008                          Page 14

Preservation in Exhibits                                  for 4 weeks. If there is no insect activity, remove it
                                                          from the bag and vacuum it thoroughly (discard the
Lighting: There are many kinds of lights, including       vacuum bag afterward). Low-oxygen fumigation
incandescent, fluorescent, fibre optic, and LED. Try      usually uses carbon dioxide or nitrogen canisters
to make sure the lights are outside of the exhibit        pumped into a sealed container. It’s easy to build a
cases. There are ways to reduce light levels, such as     “solar tent” to put outdoors on a sunny day.
using lower wattage bulbs, drawing curtains over
cases, using motion sensing lights or having objects      Handling Artifacts
in pull-out drawers.
                                                          Handle artifacts as little as possible. Cleanliness is
Case Design: You should consider security- the case       essential; wear cotton gloves or wash your hands.
should be lockable or screwed closed; allow access        Handle each artifact as if it were the most precious
for cleaning, consider environmental controls (silica     thing in the museum. Examine the object to deter-
gel can help control RH; proper construction materi-      mine its strengths and weaknesses. Except for very
als; ventilation). If there is a light inside the case    small objects, use both hands and never lift an arti-
should be vented to prevent heat buildup. Provide         fact by its handles.
proper support for artifacts.
                                                          Moving Artifacts: Plan your movements ahead of
Pest Control                                              time, making sure you have a place to put the arti-
                                                          fact. Use both hands, or use a box or cart. Get help
The two most common insect pests are the clothes          with large objects. Have someone open doors for
moth and the carpet beetle. Insects will attack any       you, and avoid walking backwards.
organic material, including fur, feathers, wool,
leather, wood, other insects, and dirt or coatings on     Housekeeping: The best care you can give to a mu-
objects.                                                  seum collection is to keep it clean. Have a written
                                                          cleaning schedule for both display and storage ar-
Preventing an insect infestation: Assign someone to       eas. Make sure the museum has a good vacuum
be responsible for pest control. Good housekeeping        cleaner with adjustable suction. Cleaning artifacts
ensures that dirt, dust, garbage, dead (non-pest)         must be done with care and caution.
insects and debris are not present as food for pest
insects. Keep food and drink away from the collec-        Disaster Prevention and Response: Disasters can be
tions. Seal your building as well as you can; keep        avoided or their impact lessened to a great extent by
collections in storage and on display in sealed cabi-     prevention and planning. There are training courses
nets and cases, whenever possible. Implement a            available, and a lot of information is available on
quarantine policy, and inspect and monitor your           how to how to deal with disasters.
                                                          Prevention: Conduct regular building inspections
Identifying an insect infestation: Perform regular        and maintenance; keep collections out from under
inspections, focusing on the most vulnerable ob-          pipes and washrooms, covering with polyethylene
jects. Look for flying and crawling insects, larvae,      where leaks are a possibility; practice basic fire
shed skins, cocoons, and frass.                           safety and call the local fire department for an in-
                                                          spection and advice; prepare an emergency list of
Reacting to an insect infestation: Deal with the          phone numbers, including board members, utilities
problem immediately. Determine the extent of the          companies, trades people, etc.; giving a copy to each
infestation by checking all around the area of the        person responsible for collections care. Make up a
affected object. Put infested objects in sealed plastic   disaster kit with supplies such as towels, rubber
bags and move them away to a safe temporary loca-         boots, shop vac, etc.; ideally every institution
tion. Then clean the area thoroughly. Objects can be      should have a disaster plan which includes all of
treated by freezing, low-oxygen fumigation, or heat.      the above.
To freeze, put objects in plastic bags, into a chest
freezer for two weeks or longer. After removing from
the freezer, keep it in the bag and check it every day
                                                             OMMC Winnipeg 2008                             Page 15

Condition Reporting                                          Preserving My Heritage

A condition report is a snapshot of an object’s cur-
rent state. It is a permanent record which can be
compared to a later report to track changes in con-          Smithsonian Museum Conservation Institute
dition, which can point out problems in the environ-
ment. A condition report can protect against accu-
sations of damage when an artifact is loaned. It             American Institute for Conservation of Historic and
should consist of a detailed written description of          Artistic Works
condition, and can include photographs or draw-

Conservation Websites                                        Library of Congress

Canadian Conservation Institute                                                                Archives of Ontario

Canadian Association for the Conservation of Cul-  
tural Property                                               preservation/index.html

The Impact of War: Interpreting the Experience of War in
the Manitoba Museum’s Parkland Gallery
Sharon Reilly, Curator of History        community who enlisted, represent-      the First World War, sports teams
and Technology, Manitoba Museum          ing eleven different cultural groups.   of military units, women’s military
                                         Japanese Canadians in Manitoba in       groups such as the Winnipeg
It is important to look at controver-    the Second World War were seen as       Women’s Volunteer Reserve, fami-
sial history, subjects that might be     a threat and treated accordingly.       lies farming, knitting groups, Red
painful but there are important sto-     The Impact of War alcove shows          Cross work, comfort bags, anti-
ries to be told. Museums need to be      more of what was going on in Mani-      strike veterans opposing the Winni-
relevant to the communities they         toba. Artifacts from German P.O.W.      peg General Strike, pro-strike
serve, and include present issues        camps in Manitoba are displayed,        groups, Air Force training in Eng-
as well as the past.                     as are items showing the support-       land, women aviation mechanics,
                                         ing role that women played, such as     women and aboriginals hired into
The Manitoba Museum includes             knitted items. There are pull-out       industries they had not previously
natural history and human history,       panels on the Winnipeg Grenadiers       worked in, munitions factory in
but it doesn’t have a military histo-    experience in Hong Kong. A cura-        Winnipeg, Victory Bonds posters
rian. Military history falls under the   torial notebook tells more stories of   from both wars, loan certificates
responsibility of the social histo-      wartime in Manitoba.                    and pins, mock Nazi invasion on
rian. The Parklands Gallery in-                                                  Winnipeg designed to boost war
cludes the impact of war, since          In the 1970s the museum did a           bond sales, imitation Reich marks
there has been an impact on the          project on the Winnipeg Grenadiers      with “Buy Bonds” message on re-
area. Some artifacts in the exhibit      in Hong Kong, including oral histo-     verse, German POW camp at Riding
already existed in the collection but    ries and such. Veterans and their       Mountain National Park, Mennonite
others had to be sought out. The         families made donations of arti-        conscientious objectors, Ukrainians
display case on the Red River Expe-      facts, and the collection continues     imprisoned/ interned during the
dition was done in the 1970s and         to grow.                                war, Japanese Canadian intern-
reflects the traditional approach to                                             ment, booklet for British war
exhibits of that time. The Tommy         The Curatorial Notebook includes        brides, pictures of war brides arriv-
Prince display was added later as        both world wars, but most of its        ing.
part of the aboriginal community’s       contents pertain to the Second
story. The Sprague Community             World War. Items include photos of      Museum should reflect more that
Quilt from south of Steinbeck            people; recruitment posters and         just official histories, and include
shows the names of people from the       ads, training at Camp Hughes in         the broader experience as well.
                                                             OMMC Winnipeg 2008                               Page 16

Oral History, Memory, and the Military in Canada

Nolan Reilly, Chair of the University   people may be emotionally affected        Audio vs video: Video takes up
                                                                                  much more storage space than au-
of Winnipeg History Department          by the interview.
                                                                                  dio, plus it requires more expensive
Oral History Centre at the Univer-      -Equipment- cassettes are not a           and complicated equipment, and it
sity of Winnipeg:                       good choice. Digital recorders are        requires more people (someone to                  preferred because data can be easily      run the camera plus the inter-
                                        transferred to a hard drive. A sec-       viewer). Video recordings of inter-
Music associated with the military      ond copy of the interview should be       views are also not interesting to
tends to be band music such as          kept somewhere else (not on the           watch. If video is something you
marches, etc., but there is also the    hard drive) and in as many formats        really want, it is better to do an au-
type that the soldiers sang amongst     as possible (wav file, MP3 file). Be      dio interview first, and then ask the
themselves- a side of war we don’t      aware that compact discs deterio-         person to tell one or two of the sto-
know as much about- the experi-         rate over time and should also be         ries on video, rather than the whole
ence of the regular soldier—this the    avoided.                                  thing.
value of oral history.
                                        - Do a pre-interview about a week         Use it! There are many ways to use
How do you do a good oral history       before the actual interview. Don’t        the interviews- on websites, as part
project? Good oral history is creat-    give a list of questions, but pictures,   of exhibits for example.
ing artefacts for future generations,   articles, or other similar documents
ie. the story of the young men and      you have on the person/topic that         The variety of topics that could be
women, the lower ranks, in Afghani-     may get them thinking about the           used is endless. Even controversial
stan. It provides the opportunity to    topic of the interview. This also         topics can be good for oral history
capture the stories of peoples’ ex-     helps by giving the person an idea of     interviews because it helps the
periences. Often these are stories      what you want to talk about so            whole story get told.
that will otherwise be lost. The        there are no surprises.
problem with oral history is that                                                 Ethics- while it is legally unclear
many projects are not well done. It     No person is insignificant- everyone      who has the rights to the interview
is important to have the story (of a                                              (the interviewer/museum or the
                                        has a story to tell.
particular event, for example) told                                               interviewee), ethically it is very im-
from different perspectives—think       Don’t go in with a list of questions,     portant to treat stories with great
broadly. If you are interviewing        instead, work with question areas.        care.
someone about their war experi-         Allow the interviewee to tell their
                                        story. Take notes as well as record       Always    have the interviewee sign a
ence, for example, don’t just ask                                                 release   of some kind when you in-
questions about their actual time in    the interview, so you can refer back
                                                                                  terview   them, outlining what will or
war, but also include questions         to a point the person made.
                                                                                  may be    done with the material.
about the rest of their lives, and
how this experience affected it. If     Be prepared for something to go
there is controversial content, re-     wrong. Try to create a controlled
member that records can be sealed       environment, and eliminate noise          Books referred to in the presenta-
for a number of years. It is impor-     such as fans. Don’t panic if some-
tant to create a long term record.      thing does go wrong- such as if the
                                        person changes their mind about           Philip Lagrandeur, We Flew, We
How to do a good oral history pro-      being interviewed. Don’t try to           Fell, We Lived: Stories from RCAF
ject:                                   change their mind, accept the per-        Prisoners of War and Evaders
                                        son’s decision.
- pick a subject, don’t be overly am-                                             Christian G. Appy, The Working
bitious                                 After the interview is over, listen to    Class War: America’s Combat Sol-
                                        the recording right away. You may         diers and Vietnam
- do background research—this is        want to do a follow up interview.
an important step that is often         Verbatim transcripts are great, but       Paula Hamilton and Linda Shopes,
skipped. Researching the topic of       they are expensive to do (about 8         eds., Oral History and Public Memo-
discussion will give the interviewer    hours of transcription is required        ries
an idea of who the interviewee is,      for every hour of interview). Instead,
the context of the person’s life, and   do a subject index for the interview.     Robert Perks and Alistair Thomson,
the topic of the interview.             However, if you do a transcription,       eds., The Oral History Reader, 2nd
                                        don’t throw away the recording. It is     Edition
- think about how you are going to      a valuable artifact in and of itself.
interview the person. Be aware that
                                                                  OMMC Winnipeg 2008                                  Page 17

Directorate of History and Heritage Presentation
Michel Litalien, DHH, Manager of           tary History Gateway; publication             CF museums complete inventory;
CF Museums                                 of pertinent heritage publication             will also cover historical/ unit
                                           such as Customs and Traditions                collections; use of CFAMS.
Directorate of History and Heri-           Vol.1- Insignia and Lineages of
tage- Direction Histoire et Patri-         CF Infantry Regiments; provides               Tri-Annual Staff Assistance Vis-
moine- mandated to safeguard               advice on heritage matters; main-             its- just to see what you are do-
and promulgate Canada’s mili-              tains National Inventory of Mili-             ing and what areas you need
tary history.                              tary Memorials.                               help with.

DHH 2- History and Archives                DHH 7- Music                                  Staffing: DHH 5 (PM-06) Manager
                                                                                         of CF Museums (Michel Litalien)
Produces official histories in both        The role of the CF Music is to
official languages; deployment of          provide musical support to the                DHH 5-2 (PM -04) SO Museums
DHH historians and war diary               Canadian Forces in order to fos-              – will be made into a civilian po-
staff; production of a popular             ter high morale, esprit de corps,             sition
history of Canada’s war in                 and thus operational effective-
Southwest Asia 2001 to the end                                                           DHH 5-3 (AS-05) CF Museums
of campaign; maintains CF Op-                                                            Radiation Safety Officer (Sean
erations database on DWAN and              DHH5- CF Museums                              Hunter)
internet; responding to archives,
                                           Strategic plan for future of CF               DHH 5-2-2 (Class B Cpl) Clerk
CF Artist’s Program
                                           museums. April 7/07: two tiered
                                                                                         DHH 5-4 (CS-02) Programmer
DHH 3- Customs and Traditions              system- CF Museums Committee
                                           agreed to support its submission
Provides ceremonial and dress              to H & H Board. The proposed                  Pending approval from H&H
expertise; coordinates CF sup-             plan now has to go through CMP                Board: DHH 5-4 (PM or AS?):
port to VAC for commemorative              before it goes to the H & H                   Conservation Officer/ Museolo-
events; interment.                         Board.                                        gist
DHH 6- Heritage                            National Inventory of Heritage- if            Co-op Student
                                           approved by H&H Board – help
Responsible for Canadian Mili-

Les Voltigeurs de Québec- Update on the Fire and
the Regimental Museum
Michel Litalien                            On the morning 5 April the Voltigeurs         play at the Musée Nationale des Beaux-
                                           negotiated with the firefighters to go in     arts. Artifacts have been moved from
The Armoury was built in 1885 and was      and save as many artifacts as possible-       Quali-Net to another suitable location.
an architectural gem of Quebec City.       they were given one hour. The museum’s
Several units and regiments have been      disaster plan was put into place, a refrig-   Lessons learned:
housed in it. The museum was located in    erator truck was rented and help was
the west end of the building. In January   provided by local organizations. Many         Heritage is at risk.
and February of 2006 the director, cura-   Voltigeurs ‘historians’ showed up, as did
tor, and senior archivist had all passed   the disaster team from the National Ar-       There was great support from Canadi-
away. In mid 2006 a new team came in       chives of Canada. Artifacts have been         ans, the military museum community,
and revamped the museum.                   stored in a temporary location. Art has       and there was lots of media coverage.
                                           been moved to Quali-Net for restoration.
On 4 April 2008, a fire began at around    Most of the damage is smoke and water         It is important to have a good disaster
21:30. A call was made to 911, but there   related. One hundred percent of the regi-     plan and an updated inventory
were delays as the fire department ini-    mental archives has been saved, along
tially went to the wrong location. The     with 95% of the artifacts. The North West     Data must be kept in another location,
DCO and another officer went in and        Rebellion collection suffered the most        off site (this was the case here)
rescued the drums and other significant    loss and damage, but some of the dam-
objects. The west end of the building,     aged items can still be displayed.            The location of the future museum is
though damaged, was saved from de-                                                       unclear at this point.
struction.                                 Part of the collection is currently on dis-
                                                                OMMC Winnipeg 2008                                  Page 18

The Memorial Cross
André Levesque, Directorate of            widowers, as was the case with            the early years and now includes
Honours and Recognition                   the death of Capt. Nichola God-           a card with the following text:
                                          dard.                                     “This Memorial Cross is pre-
The Directorate of Honours and                                                      sented to you on behalf of Her
Recognition was established on            After 31 December 2006- The               Majesty’s Canadian Government
29 August 2006. It is the military        cross is awarded to up to three           in memory of one who died in
secretariat for individual and col-       recipients previously identified by       service of Canada- Lest We For-
lective honours and awards (less          the member whose death is the             get.” It is now presented in a
Canadian Battle Honours and               result of an injury or disease re-        black box similar to the original.
Honorary Distinctions), and pro-          lated to military service, regard-        It is not an actual honour—it is a
vides for the development of Ca-          less of location. It applies to all       memento.
nadian Forces honours policy.             CF members, including regular
                                          force, primary reserve, Cadet In-         The cross itself has been
The Memorial Cross started in             structor Cadre, or Canadian               changed back to a shiny silver
1919, and was worn by mothers             Rangers.                                  finish, as it originally was. (For
and widows who had lost sons                                                        the past couple of decades it had
and husbands in the war. Today            The Minister of National Defence          a pewter-like finish).
it is recognized as a well-               is responsible for the award if a
established symbol of sacrifice.          member dies; Veterans Affairs is          The Directorate is working to im-
More than 116 000 Canadians               responsible for the award when a          prove the quality by having it
have received it. Originally, re-         former member dies. DND and               produced by the Royal Canadian
cipients were limited to mothers          VAC continue to review the regu-          Mint rather than the lowest bid-
and widows of soldiers who had            lations.                                  der (this change was made in
died in special duty areas (SDAs).                                                  July 2008), to ensure a consis-
Regulations have since changed            The presentation box has been             tent high quality product deliv-
and it now can be awarded to              changed since 2008. DH&R has              ered in a timely manner.)
                                          returned to a format used during

                                                                                    Please note that only those presenters
Directory of Presenters                                                             who included their contact information as
                                                                                    part of their presentation are listed here.

Noreen Hees                               LS Fred Laberge                           Warren Reeves, Director, Human Re-
                                                                                    sources, Manitoba Museum
Volunteer Resources Manager, Manitoba     DHH Assistant Radiation Safety Officer
Museum                                                                              (204) 988-0667
                                          (613) 949-3810

                                          Kathy Nanowin, Manager, Collections and
Sean Hunter, DHH Radiation Safety Offi-   Conservation, Manitoba Museum             Rafael Sandoval, DHH– CFAMS
                                          (204) 988-0694                            (613) 316)-8794
(613) 277-6358

Carl Kletke, Canadian Military History    Ontario and West Studio,
Gateway                                                                             Javier   Schwersensky,   Director  of
                                          National Film Board of Canada             Marketing,   Sales,  and    Programs,
(613) 998-7828                                                                      Manitoba Museum
                                          150 John Street, 3rd Floor                                                    
                                          Toronto, ON M5V 3C3

                                                          OMMC Winnipeg 2008                         Page 19

Museum Visits
The Brandon Armouries                                     US declared war), the United Kingdom, Australia,
                                                          New Zealand, Free French, Czechoslovakia, Norway,
The Brandon Armoury is home to the 26 Field Regi-         Poland, the Netherlands, and Belgium. A particu-
ment/ Manitoba Dragoons museum, housed in the             larly notable feature of the museum is the canteen
former Junior Ranks Mess. Ross Neale began the            building, which was restored to its Second World
museum in 1978 and continues to be the curator            War state entirely by volunteers- a most impressive
today. Currently the museum is in the midst of a          achievement.
three year revamp project to tell the story of the 26th
Field Regiment and the 12th Manitoba Dragoons,  
both regiments from the Brandon area of Manitoba.
The museum has a number of scrapbooks created
by soldiers in the Second World War, and has un-
dertaken a project to scan each of the 518 pages. In
digital form, these scrapbooks will be a very useful
tool for researchers.

                                                          Royal Canadian Artillery Museum at CFB Shilo

                                                          The RCA Museum holds a collection of weapons
                                                          ranging from the period of New France to the pre-
                                                          sent involvement in Afghanistan. In the temporary
                                                          exhibits area right now there is an exhibit on Can-
                                                          ada’s involvement in Afghanistan. Other notable
                                                          features of this museum include a CF gallery, a Hall
                                                          of Honour, and a collection of weapons that encir-
                                                          cles the exterior of the building.


Commonwealth Air Training Plan Museum

This museum represents one of the 231 training
schools that were spread across Canada to train
pilots and aircrew during the Second World War.
‘Students’ at these schools came from all over the
world, including Canadians, Americans (before the
                                                         OMMC Winnipeg 2008                        Page 20

Legion House Museum                                     Fort Garry Horse Museum

This museum holds a comprehensive collection tell-      The group visited the McGregor Armouries, home of
ing depicting the history of Manitoba's military past   the Fort Garry Horse Museum. The group also en-
from 1697 to today.                                     joyed the hospitality of the mess.                       

Minto Armouries

This magnificent armouries houses the museums of
the Queen’s Own Cameron Highlanders of Canada,
the 17 (Winnipeg) Service Battalion, and the Royal
Winnipeg Rifles.

Royal   Winnipeg Rifles:

                                                        Manitoba Museum

                                                        The Manitoba Museum is the province’s largest
                                                        heritage centre renowned for its combined human
                                                        and natural heritage themes. The institution shares
                                                        knowledge about Manitoba, the world and the uni-
                                                        verse through its collections, exhibitions, publica-
                                                        tions, on-site and outreach programs, Planetarium
                                                        shows and Science Gallery exhibits.

                                                      OMMC Winnipeg 2008   Page 21

                                                      Museum Workshop

Winnipeg Police Museum

This is one of only about a dozen registered police
museums in Canada, and is located in the Police
Training Academy. Highlights of the Museum in-
clude a display honouring all Canadian Police Offi-
cers who have been murdered on duty since 1950; a
jail-cell display; and the Reo Patrol Wagon.

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