Colourful, floral beaded panel
August 3, 2021

We have a new treasure and an unsolved mystery in the Anthropology Department

We have a new treasure and an unsolved mystery in the Anthropology Department

By Maureen Matthews 

Past Curator of Cultural Anthropology 

We would love to know who made this beautiful beadwork. 

A few years ago, Mrs. Arlene Kolb purchased this beaded panel in the Value Village shop on Regent Street because she loves handmade things. “I feel that the people making these items were content and focused on what they were doing. They put the effort into making something special,” she told me. After a year of enjoying it, she brought it to the Museum and it happened that there were a couple of Manitoba’s finest beading experts in the museum, Dr. Sherry Farrel Racette of the University of Manitoba Native Studies Department and Jennine Krauchi, one of our foremost beadwork artists. They took one look at the colours, the size of the beads and the pattern and confidently dated it to the 1830s or earlier and were pretty sure it was a Metis woman who made it. The colours of beads and fabric changed after the 1850′s with the introduction of analine dyes. The telltale beads on this piece are are a muted pink, a colour they call greasy yellow and facetted metal beads all of which predate analine dyes. 

Close-up of colourful, floral beaded panel

Please share this blog post with anyone who might know about the history of this marvelous beadwork because we would like to re-establish its broken family ties. 

Treaty Number One Medals at the Manitoba Museum tell a First Nations Story 

By Maureen Matthews 

Past Curator of Cultural Anthropology 

For the commemoration of the 150th Anniversary of Treaty Number One, three Treaty medals from the Manitoba Museum will be on display at Lower Fort Garry. Although these medals were used by Canada to acknowledge promises made by the Crown to First Nations people in Treaty negotiations, they also reveal a history of First Nations protocols, diplomacy, and political advocacy at a difficult time.[1] 

The gift of medals to honour mutual obligations in Manitoba began with the fur trade.  The first HBC Chief’s medal was created in 1776 by Thomas Hutchins, Hudson’s Bay Company (HBC) Chief Factor at Albany who found that among the Ininiwak who lived on the edge of Hudson’s Bay, there was an expectation that medals would be offered. Hutchins told the Governor of the company that “ … medals also are much esteemed amongst them if large, and if presented with ceremony when the Calimut [Calument or Pipe] is smoaked[sic], will be not only deemed a mark of distinction but perhaps be a means of binding the Leaders more securely in your Interest.” (quoted in Carter 2004). During and after the war of 1812, many First Nations leaders in Canada and the US were presented with medals featuring King George III in thanks for fighting with the British against the United States. By the time negotiations for the Numbered Treaties were initiated, medals were part of a 200 year long First Nations history of Treaty making and had been used to secure a range of mutual understandings, alliances, and friendships.  

Photograph of a Treaty Number 1 handshake medal. A circular silver medal portraying a representitive of England shaking hands with a First Nations leader. They stand on grassy ground in front of tipis and the rising sun. Text around the edge of the medal reads, “Indian Treaty No. 1 / 1873”.

When we talk about Treaty Number One, the image which comes to mind is the famous handshake medal shown here, but in fact this is not the medal that was offered in August 1871 when Treaty Number One was finalized. If you look carefully, you will see that this medal is dated 1873.  

The Treaty Commissioners who arrived from Ottawa in 1871 to negotiate Treaty Number One seem to have underestimated the importance of the gift of medals as a gesture of good faith and reassurance to First Nations leaders because the first medal they presented to the chiefs in 1871 was a smallish silver medal with an oak leaf wreath on one side and a standard image of the young Queen Victoria on the other. The medal was chosen from the existing stock of generic medals made by J.S. & A.B. Wyon of London, England. It was small, thin, and made no overt reference to the momentous nature of the Treaties it was meant to signify. The Chiefs who participated in the negotiations that year thought it looked a little too much like a prize at an agricultural fair, and after seven days of negotiations and months of preparation on the part of First Nations leaders, this non-descript Treaty medal seemed to the Chiefs to be an inadequate gesture. As an expression of intent, this generic medal must have worried the Chiefs because it left a feeling that Canada was not taking to heart the enormous implications of the Treaties. 

Photograph of a circular silver medal an oak leaf wreath. Medal is hung on a piece of purplish fabric or ribbon.
Photograph of circular silver medal with a likeness of young Queen Victoria. Text either side of the likeness reads, “Victoria Regina”. Medal is hung on a piece of purpleish fabric or ribbon.

The Treaty Commissioners, having registered the rebuff, returned to negotiations in 1872 with a much more dramatic medal. It was very large, 95 millimeters (almost 4 inches) in diameter, and was based on the medal struck to celebrate Canadian Confederation. The center circle has an image of Imperial Britannia as a Roman matron with a lion resting his chin on her lap and the four founding provinces, as Roman maidens, each hold a shovel, axe, paddle or scythe illustrating their province’s economic possibilities. Surrounding this Confederation image, the medal maker, a Canadian silversmith Robert Hendry of Montreal, added an 11-millimeter band which declared, on one side, “INDIANS OF THE NORTH WEST TERRITORIES,” and on the other – the side with the image of a slightly older Queen Victoria – “DOMINION OF CANADA / CHIEFS MEDAL 1872.” This medal was initially welcomed by the chiefs until it became apparent that it had been struck in copper and merely electroplated with a thin coat of silver. The Anishinaabemowin word for silver is zhooniyaawaabik, literally ‘money metal,’ and it matters if it is pure. When the silver began to peel and rub off, the Chiefs judged this medal a very shallow gesture on behalf of the Crown. 

Photograph of three silver medals. L-R: 1. The smallest medal; circular and decorated with an engraving of an oak leaf wreath; hung on a purplish piece of ribbon or fabric. 2. The largest medal; highly decorative, portaying a scene with Imperial Britannia, a lion, and Roman maidens; text around the edge of the medal reads, “Indians of the North West Territories / Juventas et Patrius Vigor / Canada Instaurata 1867”. 3. Final medal; the Treaty No. 1 handshake medal; a circular silver medal portraying a representitive of England shaking hands with a First Nations leader; they stand on grassy ground in front of tipis and the rising sun; text around the edge of the medal reads, “Indian Treaty No. 1 / 1873”.
Photograph of a highly decorative circular silver medal portaying a scene with Imperial Britannia, a lion, and Roman maidens clustered together. Text around the edge of the medal reads, “Indians of the North West Territories / Juventas et Patrius Vigor / Canada Instaurata 1867”. Text has been overlaid at the top of the image, reading, “1872 Treaty Medal”.
Photograph of a circular, silver medal with a likeness of Queen Victoria. Around the likeness text reads, “Victoria D : G: Britt : Reg : F : D”. Text around the edge of the medal reads, “Dominion of Canada / Chief’s Medal / 1872”

By the summer of 1873, the chiefs were restive, most particularly because oral promises made at the time of the first signing were not being written down on the Treaty documents, but also in protest that the 1872 medal had been yet another inadequate signifier of the sincerity of Canada’s promises. So it was in the summer of 1873 that the now famous 99 per cent pure silver medal with the handshake was commissioned. Like the first medal, this one was made in London, England, by J.S. & A.B. Wyon. The front features a bust of Queen Victoria and the inscription “VICTORIA REGINA.” The inscription on the reverse side reads: “INDIAN TREATY N°. –  and the date 187- .” The spaces were deliberately left blank and were incised with the Treaty number and date at the moment of concluding each successive Treaty. The handshake medal was used until Queen Victoria’s death, by which time relationships had taken such a negative turn that a hollow bronze medal with Edward VII on the back was accepted with little comment. 

Photograph of eight Treaty Medals on a black background. Top row is the front of each medal, bottom row is the back of each medal.

The handshake medal has come to resonate powerfully with First Nations peoples for the promise it holds, for the idea that a respectful relationship with the Crown will be restored. But the handshake medal is still a product of the 1870s, designed in London by an engraver who had never been to Canada and had certainly never met a Treaty Chief.

Photo credit: George V. Camera Press/Globe Photos Official portrait of King George V in uniform and wearing military medals.
Photograph of a Treaty Number 1 handshake medal. A circular silver medal portraying a representitive of England shaking hands with a First Nations leader. They stand on grassy ground in front of tipis and the rising sun. Text around the edge of the medal reads, “Indian Treaty No. 1 / 1873”.
Sephia-toned studio photograph of Chief Gaagige Binesi, Forever Thunderbird, also known as William Mann Sr.

The fully clothed figure on the left side of the medal, a representative of the Queen, resembles no one more than the Prince of Wales, later King George V, although the uniform is controversial. But with Queen Victoria on the back and someone who looks like the Prince on the front, the medal is a graphic confirmation that the Treaty relationship is between the Crown of England and First Nations. The bare-chested, feather-skirted Chief, on the other hand, is problematic. Photographs of Treaty events in 1873 show crowds of men dressed in suits and it is actually quite hard to pick out the Treaty Commissioner and his party unless they are up on a dias or have a chair to sit on, because everyone present is dressed the same. The chief on the medal does not seem to bear any relation to the First Nations leaders who made Treaty Number One. The adjacent photo is of Chief Gaagige Binesi, Forever Thunderbird, also known as William Mann Sr. who negotiated Treaty Number One on behalf of Sagkeeng First Nation. The large photo, taken and printed in the 1870s, shows Chief Gaagige Binesi wearing the original Treaty Number One Chief’s coat he received in 1871. Five generations of the Mann family looked after this photo. In 2012, 140 years after it had been taken, Ted Mann brought the photo to the Manitoba Museum asking that it be used to tell the story of his famous ancestor and his role in the making of Treaty Number One. The image actively foregrounds a strong, confident Treaty Chief and provides a corrective to colonial imagery that patronizingly romanticizes Indigenous peoples and undermines their authority.   

And where did this strange Indigenous imagery come from? It is probable that the engraver at Wyon in London was using as a model, an American Peace medal from the American Revolutionary War when George Washington was President. There were many iterations of this American medal over the years, but the feather skirt and strange feathers persist. 

An American peace medal portraying George Washington offering a long pipe to a First Nations Leader. Text at the bottom reads, “Geroge Washington / President / 1792”.

The handshake Treaty Medal is a part of First Nations Treaty history and the gesture of the tentative handshake suggesting equity alludes to a British way of making a promise. First Nations people have a long history of holding the Crown to account for these promises. And if the inescapable implication of the Treaty Chiefs is that First Nations participants in Treaty-making were “noble” but naïve, and probably incapable of understanding Treaties or their implications, the photo of Chief Forever Thunderbird provides a strong counter narrative to the racist image of primitive naiveté; the portrait shows that the chiefs negotiating the treaty were wise and thoughtful political figures. The handshake medals, as signifiers of the Treaty relationship, like the Treaties themselves, hold both the promise of sincere reciprocity and the dangers of racist condescension. 

[1] Others argue that the fact of the changes were made as the negotiations proceeded through each of the early numbered treaties – as new provisions for hunting rights, rights of occupation, and a medicine chest clause were added – is evidence that there was some significant degree of First Nations agency in the negotiations taking place. In an article looking at the change in view on Treaty No, 1, Hall cites the following historians: John Leonard Taylor (1975, 1979), Richard Price (1979), John Foster (1979), Hugh Dempsey (1978), and Chief John Snow (1977). See Hall who talks about the treaty negotiation during Treaty One here.  

Remembering Private David Thomas of Peguis First Nation

Sepia photograph of a young man wearing an army uniform and hat.

In recognition and celebration of National Indigenous History Month, we’re featuring an artifact from Private David Thomas, a Peguis First Nation soldier who died in the First World War. An exhibit featuring his story and a handkerchief he had sent to his sister from Europe was on display in November 2020. Unfortunately we closed to the public that week because of a COVID-19 province wide lockdown, and no one was able to see the exhibit! We’re putting it up again in November, 2021, and then it will become part of the Parklands Gallery “Impact of War” permanent exhibit.

David Thomas was only 18 years old when he left his home at Peguis Reserve to fight in the Great War in Europe. He joined the 108th Battalion (Selkirk) in 1916, which was soon shipped out to England. A year later he was killed in the Battle of Passchendaele, in Belgium. Private Thomas died on October 26, 1917, the first day of the assault, possibly a victim of a poison gas attack. The 27th Battalion (City of Winnipeg), was finally able to capture the village of Passchendaele on November 6. Over 4,000 Canadians died and almost 12,000 were injured in two weeks of horrific fighting.

Private David Thomas, 1916. Courtesy Karen Schnerch.

Private Thomas likely purchased this beautiful handkerchief in France. He sent it to his sister Mary Ann, who was living at Peguis Reserve. It is embroidered with a maple leaf and crown, and the words “Honour to Canada.” After learning of David’s death, she framed the handkerchief and it was displayed in Thomas family homes for over one hundred years. It was donated by the family to the Museum in 2020.

A framed silk handkerchief with lace detailing.

Framed silk handkerchief, 1917. H9-39-91. Image copyright Manitoba Museum

Close up on the centre of the handkerchief. Embroidered in the middle is a maple leaf with a royal crown in the centre and the word CANADA below, followed by the words "Honour to Canada".

The central crest features a maple leaf inset with a crown and the word “CANADA.” Below, the term “Honour to Canada” is embroidered. H9-39-91. Image copyright Manitoba Museum.

A black and white studio portrait of a young couple and baby in attire from the early 1900s. The young man stands beside the young woman who is seated with a baby on her lap.

David Thomas’ sister Mary Ann, her husband Frank Smith, and their daughter in 1912. Mary Ann received the handkerchief as a gift from David. Image courtesy Terry Overton, grand-niece of David Thomas.

A black and white photograph of a lone soldier trudging towards the camera through the mud and puddles of a battlefield.

First Nations Soldiers

Over one-third of eligible First Nations men and women in Canada voluntarily enlisted during the First World War. More than 50 First Nations soldiers received recognition for bravery during combat. While there was a shared sense of camaraderie with non-Indigenous soldiers during the war, they returned, having been stripped of their Treaty rights, to a country that provided no compensation or support for First Nations veterans after the war.

 

The Battle of Passchendaele, where David Thomas was killed. Also known as the Third Battle of Ypres, the fighting raged on with British, New Zealand, Australian, and Canadian troops pitched against German forces for over three months. “Battle of Passchendaele – Mud and Boche wire through which Canadians had to advance.” CWM 19930013-512, Canadian War Museum

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

A Sunrise Solar Eclipse

On the morning of June 10, 2021, early risers across Manitoba will see a partial eclipse of the sun from most of Manitoba.

TO VIEW THE ECLIPSE YOU MUST USE ONE OF THE SAFE METHODS DESCRIBED BELOW.

The eclipse is already underway by the time the sun rises, and only lasts about an hour after sunrise, so this will be an early morning event on June 10.

A crescent of the sun mid-eclipse as the moon passes between it and Earth.

From Winnipeg, the rising sun on June 10, 2021 will appear similar to this view, shot during the 2017 eclipse. (Image: Scott D. Young)

What is Happening?

As the moon orbits the earth, it sometimes crosses the sun from our point of view in an event called a solar eclipse. When the moon only covers part of the sun we see a partial eclipse – this is what we will see from Manitoba. From other areas of the earth, the moon will appear to cross the center of the Sun, blocking out most of the sun’s rays in an annular or “ring” eclipse. This occurs because this eclipse happens when the Moon is near its farthest point from the Earth and so doesn’t appear quite big enough to cover the entire sun. When an eclipse happens when the moon is near its closest point to earth, the moon’s disk can cover the entire solar disk and a total solar eclipse results. A total solar eclipse is one of the true spectacles of nature, worth traveling to see. A total solar eclipse crossed the central United States in August 2017. Manitoba last witnessed a total solar eclipse on February 26, 1979.

For more details on the mechanics of eclipses, see NASA’s explanation here.

How Can I Observe the Eclipse Safely?

The sun is always too bright to observe directly without special eye protection. Sunglasses are not sufficient – a specially-made solar filter is required to prevent permanent eye damage. Eclipse glasses purchased for the 2017 total solar eclipse are sufficient as long as there are no scratches or holes in the silver Mylar material. A #14 welder’s glass (available at welding supply shops) will allow you to view the sun safely. No other materials should be used – while dark plastic or Mylar balloon material may dim the sun’s image in the visual range, the invisible ultraviolet and infrared light can still enter your eye and cause irreversible damage or even blindness.

Due to COVID restrictions over the past year, the Museum’s shop is not open, and we do not have any eclipses glasses for sale.

If no appropriate filter is available, you can use a pair of household binoculars to project an image of the sun using the method described here. Note: DO NOT LOOK AT THE SUN THROUGH BINOCULARS! Make sure you follow the instructions carefully, including the part about turning the binoculars away from the sun every few minutes to let them cool down. The Museum is not responsible for any injury or damage due to solar viewing; if you’re uncertain it’s best to watch the event online.

If you have a telescope, do not look at the sun with it or you will instantly and permanently blind yourself. Safe solar filters that fit over the front of the telescope are available for telescopes through mail order, but they will cost $100 or more and at this point are unlikely to arrive before the eclipse. You can use your telescope to project an image of the sun similarly to the binocular method shown above, but the increased heat may damage your telescope. This is not recommended unless you already know how to observe the sun properly.

When and Where Should I Look?

All of Manitoba can see the partial eclipse, although most of it occurs before sunrise; we catch just the end of it. The annular or ring phase is only visible from a path that starts in northwestern Ontario, goes up over the north pole, and down into eastern Russia. With provincial and international borders closed at the time of writing, Manitobans will have to be content with a partial eclipse and an online view of the annular portion.

For all of Manitoba, the eclipse is already underway as the sun rises – check your local newspaper or heavens-above.com for sunrise and sunset times for your location. In Winnipeg, the sun will be about half-eclipsed when it rises at 5:27 am CDT in the northeast, and the moon will uncover the sun as they both rise. By 5:55 am CDT (less than a half-hour after sunrise) the eclipse will be over from Winnipeg.

Points farther north in Manitoba will have better views. From Churchill, Manitoba, the sun rises at 4:08 am CDT with the eclipse beginning 4 minutes later. At 5:09 am CDT the sun reaches a maximum of 85% eclipsed before the moon moves on and uncovers the sun. From Churchill the eclipse ends at 6:08 am CDT. Flin Flon will see a maximum 75% eclipse just after sunrise; Thompson reaches 85% about 10 minutes after sunrise.

 

Links

https://www.timeanddate.com/eclipse/map/2021-june-10?n=265 – eclipse times and simulated views for any location

https://eclipsophile.com/2021ase/ – maps and weather prospects for the eclipse

https://science.nasa.gov/eclipses/ – eclipses and transits overview

Scott Young

Scott Young

Planetarium Astronomer

Scott is the Planetarium Astronomer at the Manitoba Museum, developing astronomy and science programs. He has been an informal science educator for thirty years, working in the planetarium and science centre field both at The Manitoba Museum and also at the Alice G. Wallace Planetarium in Fitchburg, Massachusetts. Scott is an active amateur astronomer and a past-President of the Royal Astronomical Society of Canada.

Travelling Plants of the Prairies 

Plants and fungi were challenging organisms to include in our new Prairies Gallery because most of our 50,000+ Museum specimens are preserved in a flattened, dehydrated condition. Not very attractive! Further, because these organisms don’t move the way animals do, people don’t seem to find them interesting. But are they really the passive, immobile creatures that we think they are? Our new exhibit case called Travelling Plants and Flying Fungi, attempts to dispel this notion. 

The fact of the matter is, plants and fungi need to be able to move, otherwise they would never have colonized land! However, it is not the adults that do the actual moving; it is their gametes (pollen) and offspring (seeds). Before a plant can make seeds, it has to have its eggs fertilized by pollen grains from another plant. Since a plant can’t just get up and walk to another plant to give it some pollen, they have to use wind or animals, called pollinators, as couriers. To depict this process, the new Museum case includes intricate 3-D models of a wind-pollinated grass and four animal-pollinated flowers, as well as their pollinators, instead of flattened plants. 

The plant models were created by the Museum’s talented Diorama & Collections Technician. Two of the models are real plants that were “mummified”, and then painted to look alive. The other three are entirely artificial. To make them, a plant was collected, and then molds made of the parts. These molds were used to create fake leaves, stems, flowers and fruits, which were then assembled together and painted. 

 

A dried and flattened plant specimen with root ball, stems, green leaves, and yellow flowers.

Most Museum specimens are dried and flattened, like this Stiff Goldenrod (Solidago rigida) plant. 

A test version of a Museum display featuring plants, seeds, and fungi of the prairies place in front of and alongside printed text pages to provide a mock-up of the final exhibit.

Before the final graphics were chosen, the layout of the case needed to be tested. 

A model plant showing a long stalk with green leaves and clusters of small, yellow flowera at the top growing out of a small patch of earth. Next to it is a version of the same plant at the end of the growing season – brown and dried.

The Golden Alexanders (Zizia aurea) model has two pollinators on it: a beetle and a butterfly. 

Once a plant is pollinated, seeds, protected inside fruits, develop. Seeds also need to disperse, and, once again, wind and animals are the couriers. To illustrate the different methods of dispersal, various seeds and fruits from the Museum’s collection were selected for display. 

Close-up view into one portion of the exhibit case, displaying six specimen dishes containing fruits and seeds alongside descriptive text.

Inset cases display various kinds of fruits and seeds. These species have hooked burs that catch onto animal fur. 

Some plants, fungi and lichens do not produce multi-celled seeds; they produce tiny, single-celled structures called spores. Since they are so small, they typically disperse very well in the wind. Specimens of several common prairie spore-producers, including fungi and club-moss, are displayed in between the plant models. 

Two open boxes, each containing a slightly yellowed puffball fungi. The mushroom in the bottom box is cracked open.

Puffball fungi (Calvatia spp.) were collected, and quickly dehydrated, for this new display case. 

Manitoba prairies have many fascinating plants, fungi and lichens in them. How they survive and reproduce is now one of the stories we tell in the Museum. My only regret is that we couldn’t include more species in the gallery. Hopefully, this new case will inspire our visitors to spend more time paying attention to, and appreciating, the plants in our wild prairies. 

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

What’s that stuff on my tree? A guide to Manitoba’s lichens

An oak tree trunk with bark covered in a yellow-green and white lichen.

If you’re an observant person, you may have noticed colourful things growing on Manitoba’s trees and rocks. Although some of these organisms are mosses (especially near the base), they are more likely to be lichens. Bright orange Firedot Lichens (Caloplaca spp.) are common on Manitoba’s elm and oak trees.

Lichens are symbiotic organisms; they consist of a fungus (called a mycobiont) and an alga (called a photobiont). In some lichens there is also a cyanobacteria or a second or third species of algae (there are still a lot of unknowns when it comes to lichens). The common dog lichens (Peltigera spp.) typically have cyanobacteria in them, often from the genus Nostoc, a free-living species that looks like bits of crumbled tar when dry. The algae and cyanobacteria, if present, photosynthesize, producing sugar, which they share with the fungus. The fungus absorbs water and dissolved minerals directly from the environment (so it doesn’t need any roots), and shares it with the other species. Cyanobacteria can also take nitrogen gas from the air, turn it into a chemical form, and share it with the other partners.

Lichens grow in the patterns they do to maximize the amount of light they intercept; some species look like tree branches (called fruticose = branch-like lichens) for this reason. Other lichens are leaf-like (i.e. foliose), or crusty (i.e. crustose). Some lichens living in really harsh environments (like the Antarctic) are cryptoendoliths, meaning that they live inside the rock, penetrating the tiny spaces in between rock crystals.

A circle of small, low-growing orange-brown lichen on a forest flower.

Dog lichens (Peltigera spp.) are common on moist, forest floors.

Low-growing white-green lichens growing extensively on a rock surface.

Crustose lichens grow on rock outcrops in places like Whiteshell Provincial Park.

In the prairies, lichens often grow in hot, sunny habitats, such as sandy soils, and on glacially-deposited rocks. They are also common on fenceposts and abandoned human artifacts, like collapsing homesteads and rusty ploughs. In forested areas, lichens are common, growing on trees, as well as mossy, forest floors. In the Canadian Shield, rock outcrops are often almost completely covered by lichens. In urban areas, lichens are sometimes found on old buildings, like the legislature. Different species grow on these different substrates (hardwood vs. softwood, sandy soil vs. clayey soil, granite vs. limestone) so make sure you record this information when trying to identify lichens.

Since they don’t need soil, lichens are some of the first organisms that begin growing after large disasters wipe out all vegetation in an area. They are often the first to arrive after hot fires or mining activity (such as sand, gravel and coal mining). Acids in the lichens break down rocks, contributing to soil formation. Lichens can completely desiccate when it is dry, growing again when it rains. Due to this periodic desiccation, lichens tend to grow very slowly, reaching extremely old ages. Some lichens can be aged the way trees are: by counting their growth rings. Some lichens (i.e. yellow-green map lichens) have been dated as being over 8,600 years old.

In the prairies, Reindeer Lichens (Cladina spp.) often grow along with Creeping Juniper (Juniperus horizontalis) on dry, sandy soils.

A coral-like green lichen growing from dry cracked soil.

Lichens are often the first organisms to start growing on disturbed soils.

Lichens reproduce themselves vegetatively, by breaking off into tiny pieces, and both sexually and asexually. Sexual fruiting bodies of various kinds (e.g. pycnidia, asci, apothecia etc.) are produced by the fungus. They release small, single-celled spores which germinate into new, partner-less fungi. These tiny fungi must find free-living alga to become lichens again. To allow both the fungus and the algae to disperse together, lichens also produce asexual propagules, usually at the branch tips, of various kinds (e.g. soredia, isidia, pycnidia etc.). These tiny clusters of cells, once dispersed, often by wind, will grow into a new lichen.

A few of the most common lichens in southern Manitoba are described below:

Pebbled Pixie-cup Lichen

(Cladonia pyxidata)

Pixie-cup lichens were so named because ancient Europeans thought that fairies or
pixies would use these structures as goblets to drink from. The “cups” are actually the reproductive structures of the lichen. This species found in all provinces, occurring on forest floors and sometimes tree bark.

A white-grey lichen specimen in a clump with small, fine branches.

Reindeer lichen

(Cladina mitis)

As the name implies, this species is eaten by “reindeer”, called caribou here in Canada. Reindeer lichen are common in the arctic and boreal forest, but are also found farther south. In Manitoba’s prairies, it is most common on sandy soils. This fruticose lichen grows sexual and asexual structures at the very tips of the branches. Vegetative reproduction via fragmentation is also a common method of spreading, as the branches are fragile when dry.

L-657.

Three small bunches of brown-tan coloured lichen growing from sandy and rocky soil.

Sand-loving Iceland Lichen

(Cetraria arenaria)

Like the reindeer lichen, this species is found on sandy or thin soils in the prairies. However, it is a prairie specialist, not found farther north. You can find it on the sand dunes near Portage la Prairie, Oak Lake and Carberry. It is a fruticose lichen with some flattish portions and upturned, spiny margins. This species reproduces mainly vegetatively via fragmentation or the production of asexual propagules. Sexual reproduction is infrequent, with the spore-producing structures (i.e. apothecia) located at the tips.

Three clumps of white0green coral-like lichen specimens on a black surface.

Rosette Lichen

(Physcia spp.)

Species in this genus grow on alkaline substrates, such as calcareous, siliceous and basaltic rocks, bones, bark and soil. They often grow on substrates that are high in calcium, nitrogen and phosphorus, such as places where birds like to stand and poop. For the aforementioned reason, they have been called ornithocoprophiles (i.e. bird-poop lovers). They are foliose lichens that grow in a rosette. They mainly produce asexual soredia on their upper surfaces.

L-664.

More lichen information can be found in this nifty little booklet available on-line (https://www.muskokawatershed.org/wp-content/uploads/LichenID.pdf) but if you are really serious about lichens I recommend investing in Irwin Brodo’s Lichens of North America.

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

Welcome to a New Gallery!

When the Museum opens to the public again, our visitors will be in for a pleasant surprise. The very first of our nine galleries, now called the Welcome Gallery, has been completely renovated. The much-loved Bison diorama is still there, but the exhibits surrounding it are all different. Originally built in the 1970’s, this gallery definitely had a dated vibe to it that needed to change. Further, it was no longer doing its job as an effective introduction to the province of Manitoba or to the Museum’s galleries.

The role that First Nations, Inuit and Métis peoples played in the settling and formation of the province of Manitoba is now described in several places in the renovated gallery, including a beautiful new exhibit on treaties. This exhibit was created in cooperation with the Treaty Relations Commission of Manitoba, and features the medals, pipes and pipe bags associated with these agreements. It demonstrates the fact that the Museum is committed to working with Indigenous peoples to accurately tell the history of Manitoba.

Two benches in front of a wall featuring a series of photographs of Manitoba people and nature. Above the photographs is written "Manitoba", and to the left is a text panel titled, "Welcome to Manitoba".

The welcome wall introduces visitors to both the province, and the Manitoba Museum.

A display case with medals, pipes, and pipe bags. To the left of the case, a text panel is titled, "You are on Treaty Land", and to the right a text panel is titled, "Homeland of the Metis Nation".

A beautiful, new treaty exhibit was set up to the left of the iconic Bison Diorama.

Another prominent component of the gallery is a new wall projection depicting 18,000 years of Manitoba history in two minutes! The Museum’s seven Curators all worked together on this video, which portrays, among other things, melting of ice age glaciers, changes in vegetational communities (i.e. biomes) over time, migration of Indigenous peoples into Manitoba, migration of settlers after confederation with Canada in 1870, and predicted future temperatures due to climate change.

A number of artifacts and specimens laid out on a table in a museum lab.

Curators pulled out many candidate specimens and artifacts when deciding what to put in the new gallery introduction case.

A close up view into a display case showcasing a bison skull, a large piece of beadwork, a mottled stone, and a yellow and black bird specimen perched on the top of a branch.

The most eye-catching new exhibit is the gallery introduction case. The theme of each of the Museum’s remaining eight galleries are revealed through the iconic objects–animals, plants, fossils, minerals and artifacts–on display. Some galleries feature human history stories such as the fur trade in the Hudson’s Bay Company Collection Gallery, but four galleries are about Manitoba’s biomes (e.g. Arctic & Subarctic, Boreal Forest, Parklands and Prairies), and feature both natural and human history exhibits. Curators looked deep into the Museum collections to find some of our most intriguing objects to display. Unique colours and icons on the banners associated with each gallery are repeated at their entrances in the Museum, to let people know where they are, and what they will be seeing.

 

A new case describes each gallery, including the Prairies Gallery, and displays iconic specimens like little bluestem grass, and artifacts from the Museum’s collection.

As a scientist, I was disheartened that the old Orientation Gallery did not highlight the fact that this Museum has scientific collections and does research. The new Welcome Gallery does a better job of explaining this, allowing us to display and depict some of Manitoba’s fascinating wildlife. In particular, the new Discovery Room exhibit, The Museum’s Collection Illuminated: Celebrating 50 Years, highlights specimens and artifacts collected by, or donated to, the Museum. A slide show gives visitors a peak into the lives of the Curators and Collections staff that brought this new gallery to life.

A large white, rounded mushroom carefully packed in a specimen box.

This giant puffball fungus, donated to the Museum many years ago, is now on display in the Discovery Room.

A large red introductory panel titled "Earth History", next to a display case showcasing a number of rocks, minerals, and fossil specimens.

As the lead Curator for the Welcome Gallery renewal, I am thrilled with the look of this space! I hope our visitors will enjoy seeing what we have been busy making during the pandemic.

 

New introductory panels are now located at the entrance to each gallery to help our visitors know where they are.

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

Exploring Black History in the Museum Collections

To celebrate Black History Month, I wanted to share an important collection that helps to illuminate Black history in mid-20th century Manitoba and Western Canada.

From the 1980s until 2010, the Manitoba Museum was the recipient of donations related to the Brotherhood of Sleeping Car Porters, a Black union of railway workers. (For more information, click here to read History blog Black Railway Workers and the Winnipeg General Strike)

A former curator described the museum materials as documenting “how the members of the various Black organizations…were instrumental in creating a strong social network that eventually changed the social climate in Winnipeg for Black citizens.” The solidarity of these organizations provided an important structure to counter the discrimination against the Black community in Winnipeg.

Sepia photograph of a smiling young Black man wearing a railway worker uniform. He is standing outdoors in front of a building entrance with his arms crossed in front of his chest.

This unidentified railway worker was photographed outside the Main St. entrance to the CN station in Winnipeg. Date unknown. Copyright Manitoba Museum, H9-37-208 N14036H.

The cover of a document, the agreement between The Canadian Pacific Railway Co. and Sleeping Car Porters, represented by The Brotherhood of Sleeping Car Porters, effective June 1st, 1945.

1945 Union Agreement between the CPR and the Brotherhood of Sleeping Car Porters. Copyright Manitoba Museum, H9-36-942b.

A photograph of a large group of primarily Black adults and children smiling outside of a brick building. Text above the photo reads, "Pilgrim Baptist Church". Text below reads, "We the Officers and Members of Pilgrim Baptist Church cordially invite you to worship with us."

The Pilgrim Baptist Church, 1952, from the Souvenir Program of a meeting of the Brotherhood of Sleeping Car Porters. Founded in 1924, the church was deeply intertwined with the other organizations and provided an important place for the safe expression of faith. Copyright Manitoba Museum, H9-37-195.

A poster for an Elks' Banquet & Dance, taking place on Friday, No. 29, 1963 at the Russian Hall.

Elks Poster, 1963. The Black Elks of Menelik Lodge #528 (IBPOE), was part of a North American organization promoting civil rights and community support. Copyright Manitoba Museum, H9-37-9.

Hand-written tickets to a Ladies Auxiliary fundraising and social event, 1956. The Auxiliary of the Brotherhood of Sleeping Car Porters, established in 1945, had a great impact on the community network, especially as it related to challenges to racial discrimination in the workplace. Copyright Manitoba Museum, H9-36-975f.

A blank membership application card for the Canadian League for the Advancement of Coloured People.

Membership application card, late 1940s. The Canadian League for the Advancement of Coloured People, Winnipeg Branch, was founded in 1945 at Pilgrim Baptist Church. Copyright Manitoba Museum.

Two smiling Black men sitting together. One holds a walking cane.

Former railway workers Junior Hobson and Jimmy Stevenson, circa 1990, Winnipeg. Photography by Robert Barrow, copyright Manitoba Museum.

Finally, the Porters’ Social and Charitable Association started in the late 1930s at 817 ½ Main Street, and acted as a social hub and meeting place for organizations.

The collection includes artifacts and 22 boxes of archival materials and photographs dating from the 1910s to the 1960s. Part of the collection was used to create the exhibition “Back Tracks to Railroad Ties: The First Journey, The Early History of Black People in Canada” in partnership with members of the Black community and the Archives of Manitoba, and shown at the Manitoba Museum in 1994. The Museum collection is available for researchers by appointment (COVID restrictions apply), and the Archives of Manitoba also includes a large associated collection.

Dr. Roland Sawatzky

Dr. Roland Sawatzky

Curator of History

Roland Sawatzky joined The Manitoba Museum in 2011. He received his B.A. in Anthropology from the University of Winnipeg, M.A. in Anthropology from the University of South Carolina, and Ph.D. in Archaeology…
Meet Dr. Roland Sawatzky

Football in Winnipeg

By Dr. Leah Morton, former Curatorial Assistant in History

A Winnipeg Rugby Football Club programme for the Grey Cup Year Summer 1952. It shows a player at the end of a punt.

Whether professional or amateur, Winnipeggers love their sports. Winnipeg’s relationship with sports is part of the Manitoba Museum’s Winnipeg Gallery, where over 100 ‘new to the public’ artifacts are on display. Among the artifacts are a Winnipeg Blue Bombers pin and a game programme from 1952. Further information about the team and the artifacts can be found in the digital kiosks in the gallery, but the pandemic means that we’ve had to close the kiosks to the public. That, however, doesn’t mean we can’t take a look at some aspects of the Blue Bombers’ history.

Football has been present in some form or another in Winnipeg since at least 1879. In that year, three teams – the Winnipeg Rugby Football Club, St. John’s College, and the Royal School of Infantry – formed a league. At the time, the sport was often referred to as “rugby football” due to rule similarities. By 1911, there were teams in other western provinces and the Western Canada Rugby Football Union was started. This league had a championship trophy called the Hugo Ross trophy, donated to the league by Winnipeg businessman Hugo Ross. Tragically, Ross was on the Titanic when it sunk. The trophy was awarded until 1935 to the winner of the Western Canada Rugby Football Union and until 1947 to the winner of the Western Interprovincial Football Union.

 

Grey Cup Souvenir Program, 1952. Copyright Manitoba Museum, H9-37-884.

Football has been present in some form or another in Winnipeg since at least 1879. In that year, three teams – the Winnipeg Rugby Football Club, St. John’s College, and the Royal School of Infantry – formed a league. At the time, the sport was often referred to as “rugby football” due to rule similarities. By 1911, there were teams in other western provinces and the Western Canada Rugby Football Union was started. This league had a championship trophy called the Hugo Ross trophy, donated to the league by Winnipeg businessman Hugo Ross. Tragically, Ross was on the Titanic when it sunk. The trophy was awarded until 1935 to the winner of the Western Canada Rugby Football Union and until 1947 to the winner of the Western Interprovincial Football Union.

A Winnipeg Blue Bombers pin with a miniature football attached to a blue and orange button by blue and gold ribbons.

Has the team always been called the Blue Bombers and have they always worn the Blue and Gold? Well… no. In 1930, the Winnipeg Football Club merged with the St. John’s team. The new team was given what might just be the best name in the history of sports names: the Winnipeg Winnipegs! ‘Pegs for short.

At first, the ‘Pegs’ uniforms were green and white… which may upset some current fans, as those are the colours of the Bombers’ chief rival, the Saskatchewan Roughriders (a team that is unable to count to 13)! Luckily, the ‘Pegs only wore those colours for two years before switching to the more familiar blue and gold. As for the name “Blue Bombers,” legend has it that long-time Winnipeg Tribune sportswriter Vince Leah came up with it prior to a game. Popular boxer Joe Louis had been nicknamed the Brown Bomber and Leah allegedly borrowed from that, calling the team the Blue Bombers. It seems to have stuck!

Blue Bombers pin, circa 1950. Copyright Manitoba Museum, H9-29-237.

The inside of a Winnipeg Rugby Football Club programme showing a history of Grey Cup games, and sketches of two Winnipeg players, John Brown - Centre, and Dick Huffman - Tackle.

Teams from the western provinces weren’t invited to play for the Grey Cup, the national football championship, until the 1920s. The ‘Pegs were the first team from the west to win the Grey Cup, which they did in 1935. Since then, the Bombers have won the championship several times. Their exciting victory in November 2019 ended the Bombers’ long championship drought – the team hadn’t won since 1990!

The team played at Wesley Park before moving to Osborne Stadium, near the Legislature, in 1935. They played there until 1953 when they moved to Winnipeg Stadium. Winnipeg Stadium was often referred to as ‘The House That Jack Built,” due to the electrifying play of Jack Jacobs, from the Cherokee Nation, who was the Bombers’ quarterback from 1949-1954. In 2013, they began playing at IG Field at the University of Manitoba campus. Unfortunately, the Covid-19 pandemic led to the cancellation of the 2020 Canadian Football League season. The league is scheduled to resume regular season games in June, 2021, but until then, the Blue Bombers are the reigning Grey Cup champions!

Two players from the 1952 Bombers Grey Cup team, John Brown and Dick Huffman. Copyright Manitoba Museum, H9-37-884.

Anchoring the Earth

One of the most impressive plant specimens at the Manitoba Museum is a huge, preserved grass that shows the entire root system. I think the reason everybody likes this specimen is that it provides a perspective that no one ever has: what a plant actually looks like under the ground. There was just one problem with that grass: it’s not actually a native species. It’s a Eurasian species called Crested Wheatgrass (Agropyron cristatum) that was brought to Canada and widely planted in the 1930’s. During our planning for the new Prairies Gallery, the Curators strongly felt that visitors needed to see native species of plants when first entering the gallery. The process to collect plants for this exhibit was previously described in “I once caught a plant that was this big”.

A partially excavated June Grass specimen, with a trough dug around the root system in sandy soil.

The June Grass specimen being excavated.

An individual with their back to the camera, wearing a high visibility vest, positions a grass and root system specimen in a display case.

Debbie Thompson, installing the White Prairie-clover specimen.

In addition to the tap-rooted White Prairie-clover (Dalea candida), the display case includes a specimen of Manitoba’s Provincial grass, Big Bluestem (Andropogon gerardi) and a June Grass (Koeleria macrantha). White Prairie-clover relies heavily on associated microbial organisms to obtain adequate nutrition; mycorrhizal fungi help it obtain water and minerals like phosphorus, while nitrogen-fixing bacteria help it obtain nitrogen. This means that the roots of prairie-clover do not have to be very extensive, as they mainly serve as attachment points for its associated organisms. Big Bluestem is a warm season grass that flowers in late summer when the soil is relatively dry; this is why its root system is so extensive and deep. In contrast, the June Grass is a cool-season species that flowers in June when the soil is still fairly moist; the shallow, densely hairy roots are able to obtain all the resources the plant needs. Thus, this exhibit nicely illustrates the main strategies that plants use to exploit different niches in the soil both in space and time.

Two individuals wearing face masks standing either side of an open display case containing three grass and root system specimens.

After collecting these plants, the preservation process was out of my hands. Our talented Diorama and Collections Technician, Debbie Thompson, soaked the plants in a preservative for months, then carefully untangled the roots, painted the stems and roots to the correct colour, created false petals and came up with a clever mounting technique along with Bert Valentin, one of our productions staff. For a proper backdrop to the plants, I obtained an image of the correct soil profile from the Manitoba Soil Science Society, a Stockton Loamy Sand.

 

Debbie Thompson (left) and a very proud Curator: me! (right).

A display case containing three grass specimens with intact root systems of varying lengths next to a green text panel titled "Anchoring the Earth".

Last month, the exhibit case and graphics were installed, and our plants were ready to move into their new home. It was an exciting day to see my vision come to life. I hope you all enjoy being greeted by some new plants as you enter the gallery.

If you are wondering what happened to that Crested Wheatgrass specimen, it has been relocated to the second half of the gallery, which tells the story of Manitoba’s post-European contact history. It is now located next to a history case on the impact of the Great Depression on Manitobans, correctly interpreted as a species planted in the 1930’s to help stabilize soils that were blowing away due to the drought.

 

The exhibit case and associated interpretive panel.

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