Organization of Military Museums of Canada/
L’Organisation des musées militaries du Canada
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: www.cmhg-phmc.gc.ca
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
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-
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
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.
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
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-
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- www.preservation.gc.ca
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- www.si.edu/mci
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 www.loc.gov/preserv
www.cci-icc.gc.ca Archives of Ontario
Canadian Association for the Conservation of Cul- www.archives.gov.on.ca/english/exhibits/
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
www.ohc.freeculture.ca 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
- 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
Kathy Nanowin, Manager, Collections and
Sean Hunter, DHH Radiation Safety Offi- Conservation, Manitoba Museum Rafael Sandoval, DHH– CFAMS
(204) 988-0694 (613) 316)-8794
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
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, www.airmuseum.ca
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.
This magnificent armouries houses the museums of
the Queen’s Own Cameron Highlanders of Canada,
the 17 (Winnipeg) Service Battalion, and the Royal
Royal Winnipeg Rifles: http://www.mts.net/
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
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.