Seven things you didn't know about Cannabis

Seven things you didn’t know about Cannabis

With the potential legalization of recreational marijuana in Canada in the news, it is useful to know a little bit about the history of this unusual plant. So here is my list of things you (probably) didn’t know about marijuana aka Cannabis.

An open drawer with samples of natural fibres accompanied by text and photographs.

1. Marijuana and hemp are the same species.

Technically both these plants belong to the same species: Cannabis sativa.  However, industrial hemp is a cultivar that has been bred to produce good fibre while marijuana has been bred to maximize its tetrahydrocannabinol (THC) content. Hemp has little to no THC in it.

 

2. Cannabis sativa  means “cultivated fragrant cane”.

Cannabis sativa  is the scientific name of the plant. All species have a genus (Cannabis ) and a species epithet (sativa ). The name is derived from the ancient Greek word for the plant (kannabis ) which means “fragrant cane”. The term “sativa” means “cultivated” in Latin.

 

Image: A display drawer in the Parklands/Mixedwoods Gallery shows rope made from natural fibers like wood nettle (Laportea canadensis) and hemp dogbane (Apocynum cannabinum).

Close up on the dense green leaves of a Wood nettle plant.

3. Cannabis  was once thought to grow in the wilds of Canada.

The explorer Jacques Cartier reported seeing “wilde hempe” in Canada. However, he was probably referring to hemp dogbane (Apocynum cannabinum) or wood nettle (Laportea canadensis), species traditionally used by First Nations peoples for rope making. Cannabis  is actually native to China, India, Pakistan, Afghanistan, Tagikistan and Kyrgyzstan.

 

4. Canadians were legally required to grow Cannabis at one time.

In the 1600-1700’s, Nova Scotian and Canadian (Quebec) farmers were required to grow hemp as Briton and France needed it for ship building; up to 80 tons of hemp were needed for every ship. However, many farmers did not want to grow hemp as they preferred growing food so they wouldn’t starve. King James I made the cultivation of hemp and flax mandatory in the English colonies of North America in 1611. In Quebec, King Louis XIV’s representative Jean Talon seized all of the thread that was for sale and distributed it only to farmers in exchange for hemp, so desperate were they to get their hands on some for their shipbuilding industry.

 

Image: Wood nettle, sometimes called hemp nettle (Laportea canadensis was traditionally used for rope making in Canada.

A pressed ,preserved specimen of Hops, with identification and specimen data in the lower right corner.

5. It was legal to grow Cannabis  during World War II.

In 1938 growing any Cannabis sativa (even hemp) in Canada was outlawed. During World War II the ban on hemp was lifted because the fibre was needed for the war effort as Japan controlled much of the land where hemp was being grown. The commercial growth of industrial hemp in Canada finally became legal again in 1998, although a licence is required for any farmer who wishes to do so. In 2015 the sale of hemp for its fibre, oil and seeds are projected to make Canadian farmers $45-$85 million.

 

6. Beer contains a close relative of Cannabis.

Hops or Humulus lupulus is in the same plant family as Cannabis : the Cannabaceae. Hops, which any beer aficionado knows, are the crucial ingredient to a good beer. The flowers of hop plants are covered with fragrant resin just as Cannabis flowers are. These flowers impart a bitter flavour to beers, as well as helping to preserve the brew.

 

Image: Hops (Humulus lupulus), a key ingredient in beer, grows wild in Manitoba. TMM B-4621.

7. Cannabis  is on display at The Manitoba Museum.

Cannabis can be seen in the Nonsuch Gallery; all of the ropes on the Nonsuch are made of hemp. Further, the ‘oakum’ used for caulking the joints between the boards was made from hemp fibres and Stockholm tar, which is what gives the ship that smoky smell. The Museum also has 15 hempen artifacts in the history collection (mainly textiles).

Coils of rope on hooks around the mast of a ship.

All of the ropes on the Nonsuch are made of hemp.

A storage unit containing textile artifacts rolled on beams to maximize storage space. One rug is partally unrolled to show the green, red, and gold pattern.

The Museum’s collection of textiles includes some hempen rugs. These artifacts are stored behind the scenes in the Museum’s vault.

Dr. Diana Bizecki Robson

Dr. Diana Bizecki Robson

Curator of Botany

Dr. Bizecki Robson obtained a Master’s Degree in Plant Ecology at the University of Saskatchewan studying rare plants of the mixed grass prairies. After working as an environmental consultant and sessional lecturer…
Meet Dr. Bizecki Robson

Flipping the Skull

By Dr. Graham Young, Curator Emeritus of Geology and Paleontology

 

It is exciting and interesting to work with the fossils of large vertebrate creatures, but this is a field with many complexities. During the fossilization of most vertebrates, the bone was replaced by other minerals, which makes the skeletal components both heavier and more brittle than they were during the animal’s life. For those of us working in the “back rooms” of museums, it can be very tricky to move these large, weighty, and fragile fossils as we prepare them, study them, or mount them for exhibit.

A few weeks ago, we had to perform one of the trickiest tasks associated with big vertebrates: flipping a skull. The large pliosaurid plesiosaur that was donated to the Museum by Wayne Buckley had been fully prepared by Wayne, so that the bones are completely removed from bedrock; their weight is supported by mounts or cradles (structures similar to the plaster field jackets). This makes the fossil much easier to exhibit or study, but it means that we have to ensure that we are fully supporting the skull whenever we move it, so that it doesn’t collapse or break. Since this particular specimen is unique and scientifically important, and since it has survived the past 90 million years or so in remarkably good condition, it is imperative that we take extra care!

A plesiosaur skull fossil in a display mount. A large aquatic dinosaur with a long snout like mouth full of teeth.

The plesiosaur skull, as it appeared in our temporary exhibit last winter.

Two individuals standing at the far end of a table attaching cradles on either side of the skull fossil.

Janis Klapecki and Tamaki Sato, strapping the two cradles together.

In late September, we were visited by Dr. Tamaki Sato (Tokyo Gakugei University) and Dr. Xiao-Chun Wu (Canadian Museum of Nature), who spent several days here studying the skeleton for a scientific publication. Before they arrived, Debbie Thompson had been making the final exhibit mount for the plesiosaur; to allow her to do that work, the skull was resting in a temporary support cradle, with its “back” side (the side hidden during exhibit) facing up. We knew that Tamaki and Xiao-Chun would want to thoroughly examine both sides of the skull, and that at the midpoint of the week we would need to flip it so that they could study the “front” side.

Knowing this in advance, Debbie had prepared a second cradle that would fit onto the the side that was currently up, making this support out of wood, plaster, burlap, and other materials. Unfortunately for us, Debbie was on vacation when the visiting scientists were here, so it was left to the rest of us to ensure that the cradle was used as she had intended.

Five people standing around a table, with a cradled fossil on it. Long boards securaed either side of the fossil hang off each end of the table to facilitate a smooth flip.

Before we could begin the “flip”, we had to turn the cradles so that they ran across the table. L-R: Kevin Brownlee, Amelia Fay, Tamaki Sato, Janis Klapecki, and me (photo by Stephanie Whitehouse).

View from a raised angle, seven people standing around a table, with a cradled fossil on it. Long boards secured either side of the fossil hang off each end of the table to facilitate a smooth flip.

Making sure we are all in agreement before we begin! Clockwise from left: Kevin Brownlee, me, Amelia Fay, Xiao-Chun Wu, Tamaki Sato, Janis Klapecki, and Roland Sawatzky (photo by Stephanie Whitehouse).

On the Wednesday afternoon, Collections Specialist Janis Klapecki and I went to the room where the plesiosaur is laid out, and with Tamaki and Xiao-Chun we fitted Debbie’s second cradle over the skull. The fit was perfect, so we wrapped sturdy packing straps around the two cradles, then tightened them until there was no give and the wood supports were flexing a bit. This tightness would ensure that the bones would move as little as possible during the flip.

When we were ready, we were joined by several of our curatorial colleagues, who had kindly volunteered their assistance. The skull and cradles were not immensely heavy, but the operation had to be done very steadily and smoothly, so it was best to have two or three people on each end of it. Once we had everything in place, and once we had discussed how we would do it, it only took a couple of moments to actually flip the skull.

Six people, three at either end, in the process of flipping the cradled plesiosaur skull.

Click the image to watch a short video of the flip (2 MB; video by Stephanie Whitehouse).

Six people, three at either end, bent over to check the condition of the cradled plesiosaur skull post-flip.

Before we could remove the “lid”, we had to check that the skull was not sticking to it anywhere (photo by Stephanie Whitehouse).

The flipped plesiosaur skull on the table with the cradle and "lid" removed, as five people stand around the table looking at it.

When we removed the straps and exposed the skull, it was clear that the planning had paid off: the fragile fossil had survived it perfectly. Tamaki and Xiao-Chun could continue their scientific study, and the rest of us could return to our many other tasks. But we aren’t quite done with this sort of work yet: we will have to flip the skull at least a couple more times before it goes into a new permanent gallery exhibit next year.

 

Image: The upper jacket is removed (photo by Stephanie Whitehouse).

A group of eight people pose, smiling together, for a photo at the end of a table which has the flipped plesiosaur skull laid across it.

Success! L-R, front: Tamaki Sato, Stephanie Whitehouse; back: Xiao-Chun Wu, Janis Klapecki, me, Roland Sawatzky, Amelia Fay, Kevin Brownlee (photo by Xiao-Chun Wu).

 

A smiling researcher with a clipboard bends over the plesiosaur skull laid out on the table, illuminated by two spot lights. In the background a second research sits at a desk working on a laptop.

Tamaki and Xiao-Chun return to their scientific studies.

The Smell of History

It’s fairly obvious based on my current job and previous work experience that I love all things old. I love the smell of old books, antique furniture, and apparently historic sites.

One of the goals for my recent trip to York Factory National Historic Site was to capture the site for our visitors with a videography team, but in the planning it seems I forgot about the other senses.

A lot of people have asked me about my trip and whether or not York Factory lived up to my expectations. I am happy to report that it exceeded my expectations, and in ways that I hadn’t really considered. Yes, the site is visually impressive and completely captivating but what really struck me was the smell of York Factory.

An empty room, lit only by the sunlight coming through four windows. Along the walls are empty build-in shelves, and to the left is a wide board laid across two saw horses like a table.

What does York Factory smell like? It smells like history! Each floor of the Depot had a different smell, and none of them bad (somewhat surprising considering that this particular structure has been standing for 177 years!). The main floor had an earthy smell, not musty but the cooler air at ground level made it feel like you were still outside.

The second floor was my favourite, the wood walls seemed to glow in the sunlight and it smelled warm and cozy. The rooms on the second floor were used for storing trade goods and it’s almost as if you can smell the goods themselves. Little maps show visitors what the rooms used to contain, and my absolute favourite room apparently used to store salt, sugar, and liquor (three things I enjoy!).

Image: The saleshop (converted from storage in the 1930s).

Close up view of a number of artifacts laid out on a table in a long room with wooden walls and a peaked wooden roof. Sunlight streams in at the far end of the room.

Looking out over the tables of artifacts you can see the warm glow of the walls and all the bright light from the windows. I wish you could smell it!

A paper map showing the second floor layout. A square building separated into seven rooms around a centre courtyard.

Parks Canada placed these neat maps on each floor so visitors can see each room’s purpose.

Looking directly up at a centre peak of a wooden ceiling, the wood planks have slight variations in colour from dark greys to light browns and reds.

Lying on the second floor and looking up at this beautiful ceiling.

The third floor felt a bit like a cabin, but it lacked the same warm and cozy smell of the second floor. From the third floor you can head up through a small attic area and step into the cupola (a look-out on top of the depot), which might be the only part of the whole Depot that had a slightly musty scent.

So how does one describe the smell of history? It smells like years of human interaction and activity I guess. The Depot at York Factory had people moving goods in and out, and even though I am certain it was hard work and not all happy-fun times like my visit, the place just feels good. From all senses.

 

Image: The third floor still has that lovely glow, but it didn’t smell as wonderful as the second floor!

Dr. Amelia Fay

Dr. Amelia Fay

Curator of Anthropology & the HBC Museum Collection

Amelia Fay is Curator of Anthropology and the HBC Museum Collection at the Manitoba Museum. She received her BA in Anthropology from the University of Manitoba (2004), an MA in Archaeology…
Meet Dr. Amelia Fay