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Ancient pottery making described in new Anishinaabemowin translation

Jacob Owen of Pauingassi was always cheerfully willing to explain the complexities of Ojibwe history and philosophy with stories from his own life.  Margaret Simmons, who conducted this interview, was the Director of Education in Pauingassi at the time. She is a warm and open person with a positive genius for respectfully conversing with old people and her unique talent made my visits to Pauingassi and over 300 hours of Anishinaabe language recordings possible.  The equally brilliant and even more patient Anishinaabe linguist, Roger Roulette, has been gradually transcribing and translating the Pauingassi recordings.  He just finished this one today and it contains a remarkable discussion In Anishinaabemowin about the old Anishinaabe and their skill at making pots out of clay.

Jacob Owen, Pauingassi Manitoba. 1996.

Jacob Owen, Pauingassi Manitoba. 1996.

Jacob was over 90 at the time of the interview, the oldest man in the community. He spoke very little English and had lived his whole life in Pauingassi.  He most definitely had not read scholarly reports about archaeological discoveries of 500 year old clay pots made by his ancestors and yet, here he is, talking about how incredibly skillful his ancestors were at making these beautifully decorated pots.  The conversation veers off after this, in part because Margaret, a very good modern speaker, doesn’t know the word for “clay, waabigan” but this short quote from Jacob’s conversation is an indication of the extent to which one can rely on First Nations oral historical accounts for the truth about the distant past.  By the way, Roger says that the verb to fire a pot is  zakizo (va) to burn an animate thing.  The idea of a kiln is expressed in the verb boodawaash (ca) which means to superheat something animate.


JO: Daabishkoo, gigikendaan ina ‘iwe gaa-ijigaadeg, aadizookaanag gaa-ijigaadeg?


JO: It’s like…you know what they mean by that, what they mean by aadizookaanag (legendary heroes)?


MS: Eya’.


MS: Yes.


JO: Daabishkoo mii gaa-inendaagoziwaad igiweniwag Anishinaabeg nishtam gaa-gii-bimi-ayaawaad. Bigo gegoon gaye ogii-ozhitoonaawaa’. Wiinawaa bigo. JO: The first Anishinaabeg that existed, this is what they’re comparable to (the legendary heroes). Also, they were able to make anything. They, themselves.


Nashke aya’aa, akik. Waabigan gaa-onji-ayaawaad. I’iya’aawan nda gii-onizhishiwag. Eji-, eji debakamig gidaa-ikid e-gii-mookaakizowaad. Ndawaaj gii-onizhishiwag.


For instance, a pot (vessel) (noun animate). They made them from clay. My, they were beautiful. You would have said they were incredible. The visible images (on the pots), undoubtedly, they were beautiful.
MS: Aaniin dino akikwag? Asiniiwi-akikwag?


MS: What kind of vessel? Stone vessels?


JO: Bibagiziwag. Gii-bibagiziwag. Waabigan daabishkoo. I’iwe dash waakaa-aya’ii gii-mazine’aawaad gaye, ndawaaj gii-onizhishiwag. JO: They’re thin. They were thin. It was the nature of clay. However, they had images/patterns around (the pot). My, but they were beautiful.


Zhigwa ayi’ii naanaagadawendamaan, awegodogwen gaa-omookomaaniwaad nishtam?


Well, when I think about it, I wonder what they used for a knife (to incise the designs) at that time, at the outset?



Chief Piapot and the Qu’Appelle Treaty


This is an image of an original 1875 handwritten parchment document related to  the signing of Treaty No. 4., the “Qu’appelle Treaty”, temporarily on display at the museum as part the “We are All Treaty People Exhibit”.  Treaty No. 4 was originally concluded at Fort Qu’Appelle in 1874 but many Anishinaabe and Cree Chiefs were absent at the time.  This fragile document sets out instructions for Treaty Commissioner William Christie to return to Fort Qu’Appelle in the summer of 1875 and ” secure the adhesion” of the remaining Chiefs.

Among those Chiefs was Piapot, one of the most famous and powerful leaders of the Plains Cree.  He wanted a reserve for his people in the Cypress Hills region of what is now South-Western Saskatchewan.   Christie misled Piapot about the terms of the Treaty, and Piapot’s band were forced to settle more than two hundred and eighty miles to the east.  This document initiated a train of events which led to a decades long enmity between Canadian officials and the Plains Cree of Piapot’s band.

P1080256Also featured in the “We are All Treaty People” exhibit is a peace pipe formerly owned by Piapot.  The pipe was a gift of thanks to a minister who conducted the marriage of Piapot’s daughter.

The text of the document follows:

Copy of a Report of a Committee of The Honourable The Privy Council

Approved by His Excellency The Administrator of the Government in Council on the 9th of July 1875.

A Memorandum dated 2nd of July, 1875, from, The Honourable the Minister of the Interior,  respecting the Treaty concluded at Qu’Appelle in September last with the Cree, Saulteaux and other Indians mentioned therein, provides among other things, that reserves be selected for the Indians affected by the Treaty by Officers appointed for that purpose; that the said Treaty further provides , that annual payments should be made to the Chiefs, Headmen and Heads of Families of the various Tribes , and also that presents of clothing and other articles shall be annually distributed among the different Bands included in the Treaty.

That it appears to him desirable that steps should be taken for the selection during the present season, of the Reserves in question and that for provision to be made at once for the payment of the annuities and distribution of Presents  authorized to be distributed this year

The Minister also represents that in consequence  of the absence of the Chiefs of certain of the Indian Bands affected by the said Treaty, their adhesion thereto has not as yet been obtained and thus it is important that they be brought into the Treaty as soon as practicable.

He therefore recommends:

That William Joseph Christie, Esquire of Brockville, Ontario with the assistance of persons as may be named for the purpose by the Minister of the Interior be appointed to select the Reserves where they shall be determined most convenient and advantageous for the Indians , each reserve to be selected as provided by the Treaty after conference with the Band of Indians interested therein and subject to the conditions set forth in the Treaty.

That the said, Mr. William Joseph Christie and the other person named as aforesaid by the Minister of the Interior to be authorized to pay the annuities and to distribute Clothing and other Presents authorized by the Qu’Appelle Treaty  and secure the adhesion of the Bands of Indians living within the territory covered by the Treaty and who either from absence or any other cause, were not parties to the Treaty concluded last year.

The Committee submit the foregoing recommendation for your excellency’s approval.

To The Honourable

The Minister of the Interior Etc, etc, etc }

Department of the Interior, Ottawa , 15 July 1875

W. J. Christie, Esquire                                      [signed] Minister of the Interior


Parchment document HBC 1, Photo The Manitoba Museum

Pipe, H4-42-6A, Pipe Bag, H 4-4-21-76, and Treaty Medal, HBC 57-53, Photo The Manitoba Museum.


National Anthropology Day


Today is National Anthropology Day and as the Museum’s Anthropologist, I have been participating in a number of public events. Most recently I assisted with one of three winning designs in this year’s Warming Huts Competition, organized annually by the University of Manitoba, School of Architecture. This entry, Recycled Words, is the work of KANVA, a team of young architects in Montreal. These are the ski/chairs you see down on the Riverwalk, each painted a bright salmon pink with two words stenciled on each so that at rest the chairs can be used like fridge-magnet words to create little sentences. My contribution was the words on the chairs. Because we could use so few words and because the idea was to combine them to make little thoughts, I made up a list of words that do double duty as nouns and verbs, words like canoe, skate, ski, etc. We added place names, a few connecting words and some French words as well.


Because I work with Anishinaabe people to emphasize the importance of the Anishinaabe language, I made sure, in addition to words like Métis, Cree and Ojibwe, that we included Anishinaabe words. Anishinaabe was beyond the letter limit for the chairs as were a great many other appropriate Anishinaabe words but there are two: Gisinaa (It is very cold) and Goonika (There is a lot of snow). The Ojibwe words were very efficient for this purpose. Because of the structure of the language, one word contains the elements of an entire sentence in English, so one chair is a sentence all by itself. The chairs project thus takes advantage of the “talents” of both language families. In French and English you could say that the kind of sentences which can be constructed are endless– in Anishinaabemowin there is no end to the words that can be created – each word as the famous linguist Edward Sapier used to say, a “tiny imagist poem.”

This week I have had visitors here from Arviat and when I told them about my Anishinaabe contribution to the chairs, they laughed because one of the words sounds like Inuktitut for “someone is kissing someone” – appropriate I suppose since it was Valentine’s Day.

KANVA website

CTV News report on the chairs

American Anthropological Association contacts


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We Have a New Treasure and an Unsolved Mystery in the Ethnology Department.


Kolb beaded panel, Closeup

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 musem 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 introdution of ananline dyes. The teltale 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.


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


U of W student Kristina Misurska

Child wearing woven rabbit for parka.

Child wearing woven rabbit skin parka.

More from U of W student Kristina Misurska:

I’m sure I don’t have to tell anybody this, but this winter has been brutally cold—the coldest winter in 35 years! Every time it seems like we are finally going to get some warmer temperatures, we are plunged back into a deep freeze. Luckily, for most of us, we are able to put on layers of warm clothing to protect ourselves from the elements. Down-filled jackets and Gore-Tex might be considered, quite literally, lifesaving materials. However, even without these innovations, people have survived in North America for thousands of years. Have you ever stopped to think about the clothing people wore in the past to help them to survive such harsh winters?

As we see in the Aschkibokahn mini-diorama, mobility was essential to survival for many First Peoples. The mini-diorama shows the seasonal movements of an Anishnaabe family. Their clothing had to offer protection against the elements, but also had to be easy to move around in. For much of the year, the clothing didn’t have to be exceptionally warm. A great deal of Anishnaabe clothing used tanned deer and moose hides. Hides were useful for clothing because the material is strong but pliable and resilient. As winter approached, people needed warmer clothing to help survive the elements.

For this purpose they made garments and sleeping bags out of thickly woven rabbit fur.  It takes many rabbit hides, cut into thin strips to make these garments but they are very warm.  If you take a look at the winter scene in the diorama, you can see that Betsy (the diorama artist) has outfitted some of the family in rabbit fur coats. Betsy’s attention to detail serves to help the visitor accurately imagine what life was like for this family. Further, it goes to show that the people who lived in the area made good use of the materials available to them in order to survive winters in a way. It is remarkable to think that people could not only survive, but thrive in this climate without any of our modern luxuries.


Deer Lake Group,  [circa 1925]. Archives of Manitoba, Still Images Section. R. T. Chapin Collection. Negative 15148.

Deer Lake Group,
[circa 1925].
Archives of Manitoba, Still Images Section.
R. T. Chapin Collection.
Negative 15148.

Speaking of harsh winters, ours is still not over yet. While you’re waiting for it to warm outside, why not come inside to the museum to check out the mini-diorama for yourself?


Diorama Details

Closeup of winter travelling scene, Ashkibokhan Diorama

Closeup of winter travelling scene, Aschkibokahn Diorama

Hello, everyone! Kristina’s blog post for this week is going to be a bit different than some of her other posts:

Over Reading Week I went to a conference in Albuquerque, New Mexico, so I didn’t start any new research. Most of my work since my last blog post has been focused on continuing to figure out what is going to be involved with the QR code project, so I thought I would instead take this opportunity to blog a bit about the diorama itself.

The diorama is an astounding piece of work. Betsy Thorsteinson, an extremely talented artist, along with her skilled group of volunteers, put an incredible amount of detail into the diorama. The result of all their hard work is a diorama that, from afar, looks as if it could be a photograph of a real-life fishing camp. Taken as a whole, the diorama is beautiful.

To fully appreciate the amount of effort that went into the creation of the display, however, it helps to take a closer look. To that end, two separate monocles, or monoculars, are provided with the diorama so that visitors can get a close-up view of some of the details. The monocle lets viewers zoom in on different areas and see food being prepared in pottery vessels, birds flying amongst trees, and fish being smoked over fires.  The monocles help to focus on the thought and precision that went into the display. From the figurines of the family, to the branches of the trees, to the smoke rising from the campfires, every detail tells a story.

The monocles help visitors to zoom in on areas that make them curious. This parallels what I am hoping to accomplish with my project –  to give visitors the option of learning more about the present-day site, along with seeing the bigger picture of the site.

That’s all for this week! Please check back next week to see how my project progresses.


QR Code For Aschkibokahn Mini-Diorama


Kristina with Amelia Fay, Curator of the Hudson’s Bay Collection, checking web access at the Aschkibokahn mini-diorama.

Welcome back, everybody! This week Kristina’s post is a quick look at some of the behind-the-scenes planning that she’s been doing for her project:

As I mentioned in my last post, the goal of my project is to look at ways of linking the Aschkibokahn archaeological site and diorama with the present-day community of Duck Bay. The work I did this week involved looking at how to best integrate our research materials into the existing exhibit.

One of the ideas we have come up with is to set up a QR code that links to a webpage with supplementary information about Duck Bay. Some of the materials we are hoping to share on this page include a poem written by Melba Sanoffsky, who grew up in Duck Bay, as well as photographs of the community through the years.

Before we can go any further we have to do something practical: ensure that smart phones are able to get reception in the exhibit area.  To check this, I visited the gallery with one of the curators.  We have different service providers and we wanted to make sure we both had a signal and reception. We pulled out our phones, and success! Now we know it is possible to use QR codes in the exhibit area. The next steps will be to look at the materials we have at the museum, and to decide what else we would like to include in our web display.

At this point, the web page/QR code is just a concept. I will keep you informed as to what we actually come up with. Stop by the blog next week to see where I’m at with my project, and don’t forget to visit the new diorama!


Aschkibokahn mini-diorama

New Parklands Gallery Diorama

New Parklands Gallery Diorama

I would like to introduce Kristina, a Master’s student at the University of Winnipeg, who is completing a program in Curatorial Practices. As part of her internship with The Manitoba Museum (TMM), she is working on a couple of projects to gain experience in different areas of museum studies. Last month, she wrote a blog post about a project with the HBC Collection, and this month she is working with Ethnology Department on exhibit design and programming.  This is her first Ethnology blog:

On January 16, TMM unveiled a new display in the Parklands/Mixed Woods Gallery, called the Aschkibokahn mini-diorama. This diorama, the result of nearly twenty years of research, planning, and hard work, explores the activities of an Anishnaabe family from about 800 years ago as they move across the land from winter to summer. The project is based on work undertaken at the Aschkibokahn archaeological site, located near the present-day communities of Duck Bay and Camperville.
One of TMM’s goals for this exhibit is to link the archaeological site to these present-day communities. My role in this project is two-fold. On the one hand, I will be gathering and sorting through existing research to figure out the best ways to integrate this information into a comprehensive exhibit. On the other hand, I will be exploring different means of re-establishing connections with community members in order to gain a fuller picture of the history of the region.
I will be posting blogs over the next couple of months to keep everyone up to speed with my project. I hope you all stay tuned to see how the project progresses and I encourage everyone to come down and check out the beautiful new diorama!


Peguis Pipe visits Peguis First Nation

On Saturday, December 1st, 2012, the Peguis First Nation hosted a Hunters’ and Gatherers’ Feast in honour of high school students who had successfully completed a course in bush skills.  They were also honouring Chief Glenn Hudson and celebrating the inauguration of a new beaded otter fur Chief’s hat made by women in the community.  There were about 250 people in the community hall for the event, which featured the Loud Eagle Drum Group and numerous dancers.  For the first time in many years, an old friend returned to the community; a black pipestone horse’s head pipe bowl which once belonged to the founder of the First Nation, Chief Peguis (1774-1864), and is now in the keeping of The Manitoba Museum.

Chief Peguis’ pipe bowl has been in the Hudson’s Bay Company (HBC) Collection for more than 80 years and has been at The Manitoba Museum since the HBC Gallery opened in 2000.  According to available records, the pipe was purchased from Charles Prince of St. Peter’s, a great-grandson of Chief Peguis, by William Flett, on behalf of the Hudson’s Bay Company.  It was last on public display in 1936 at the Leipzig Fair in Germany.

Last summer the Museum, with community partners, set up a special display in honour of the 200th anniversary of the Selkirk Settlement and, in the course of identifying appropriate artefacts, we came upon Peguis’ pipe.  It was not part of the display because pipes like this have an important Anishinaabe ceremonial role. ‘Pipes, opwaaganag’ are grammatically animate.  They are spoken to as if they were persons and are considered ‘wiikaanag, ritual brothers’ by those with whom they share ceremonies.  We eventually got in touch with Chief Glenn Hudson to ask what we could do to make the pipe known to the community.  This invitation to the Hunters’ and Gatherers’ Feast is the result and we are honoured to have been invited.

As Curator of Ethnology, it was my pleasure to take the pipe to the community for the day.  The video attached shows the ceremonial entrance of the pipe, a welcome song played by the Loud Eagle Drum Group in honour of the pipe and community members lined up to view the pipe.  The feast, which featured wild foods including elk, moose, deer, rabbit, goose, and wild rice, was fabulous.  Thank you all.


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MM Dec 4, 2012



Everything you should know about the Berens Family Collection

What is the Berens Family Collection?

Through the generosity of many community leaders, The Manitoba Museum has recently acquired historically significant artefacts that are currently on display in our Foyer area:

  • Chief’s Treaty Medal No. 5 and Chain, given to Chief Jacob Berens at the signing of Treaty No. 5, September 20, 1875 (H4-2-212 A, B).
  • Chief’s 1901 Commemorative Medal and Ribbon, given to Chief Jacob Berens in 1901, in commemoration of Treaty No. 5, by the Duke and Duchess of Cornwall and York, later King George VI and Queen Mary, as part of a cross-Canada rail journey (H4-2-213 A, B).
  • Chief’s coat, early 20th century, red wool with gold trim, epaulettes, and buttons which read “Dominion of Canada Indians,” belonged to Chief William Berens, the son of Jacob Berens; pants, navy wool with red wool stripe (H4-2-211 A, B).
  •  Navy Chief’s coat, mid 20th century, worn by Chief William Berens (H4-2-210).

Tap or click on the picture to see other images. Black and white images courtesy of the American Philosophical Society.

Who is Chief Jacob Berens?

Chief Jacob Berens’ Anishinaabe name, Naawigiizhigweyaash which means  ‘light moving in the centre of the sky,’ may indicate that he was born the year of the passing of Halley’s comet, 1835, but his birth date is uncertain (appx. 1932-35).  He was the son of Makwa ( Bear), and Aamoo (Bee or Victoria) of Berens River.  He married Mary McKay the daughter of the HBC clerk, William McKay in 1862 and they had at least 8 children.  On Sept 20th11875 at Berens River , Jacob signed Treat No. 5 on behalf of the people in the Manitoba communities of Berens River, Poplar River, Bloodvein, Little Grand Rapids, and Pauingassi and the Ontario communities of Poplar Hill and Pikanguikum.  He was the Chief of this vast area until his death July 7, 1916.

Who is Chief William Berens?

Chief William Berens was the son of Jacob Berens and Mary (McKay) Berens. William was born in 1866He grew up in the Berens River area and in 1917 he succeeded his father as Chief of the Berens River Band, still encompassing the vast territory of the upper Berens River. In later years he became the friend and colleague of the American Anthropologist, A Irving Hallowell, who took down Berens’ reminiscences of the first forty years of his life and recorded many legends and stories – now published by Drs. Jennifer S.H. Brown and Susan Elaine Gray (Memories, Myths and Dreams of an Ojibwe Leader. McGill Queens University Press 2009). William Berens married Nancy (Everett) Berens of Berens River. They had 7 children and were the adoptive parents of several more. William Berens was Chief of the Berens River Band until he died on August 23rd, 1947.

How did the Berens Family Collection come to the Manitoba Museum?

The Berens family Collection came to the museum via a great-great-grandson of Chief William Berens. This young man, another Bill Berens, first contacted the museum in October 2011. Before Christmas of 2011, he brought the two coats, the pants and the two medals to the museum for safekeeping as well as conservation and assessment. As the museum has no acquisitions budget, we turned to the community of Winnipeg and five generous individuals and foundations donated the necessary funds (most wish to remain anonymous). The collection is now on display in a New Acquisitions Case in the foyer of the museum and will be there until May 2013. For the duration of this display we have also borrowed portraits of William Berens and Jacob Berens by Marion Nelson Hooker and we are very grateful to the Winnipeg Art Gallery and the Public Archives of Manitoba for their cooperation in bringing the paintings, the coats and the medals together.

Are you sure the coats and medals are real?

The provenance, the history of ownership, for the collection is very convincing. The Treaty signing Sept 20th, 1875 is a matter of record and the Berens family has been carefully looking after the coats and the medals ever since. The medals are exactly as you would expect and have the appropriate Treaty number stamped on them. The Manitoba Museum owns a replica of the Treaty No. 1 medal but the Berens medal is the only original medal from any of the numbered Treaties signed in Manitoba in the collection. The medals and coats were cared for by Bill Berens grandmother, Mary Rose Berens, the wife of Bill Berens Jr. the last Berens’ Chief and the last person to wear the red coat for official functions. The red coat is typical of those given at the time; the buttons have a crown, V.R. indicating Queen Victoria and an array of arrows, a bow and a tomahawk and are stamped with the words “DOMINION OF CANADA INDIAN.” The paintings also help to confirm the authenticity of the collection. The portrait of Chief Jacob Berens wearing a blue Chief’s coat and the two medals was painted by Marion Nelson Hooker in Berens River in 1910. Chief William Berens sat for his painting wearing the red jacket, blue pants and both medals, at her studio in Selkirk in 1930.

An additional portrait, now owned by Matilda Gibb another great, great- grandchild of William Berens, was painted of William Berens wearing the red coat, blue pants and both medals in 1922 by another artist, Lars Haukaness, a teacher at the Winnipeg School of Art who went on the found the Art School at the University of Alberta.

The blue coat in this collection is from the early to mid 20th century. We have a photograph of Chief William Berens wearing it just before he passed away (1947). The contents of his pockets includes notes about appointments to see the Indian Agent in Selkirk and serve to remind us that William Berens was an activist on behalf of his people. He succeeded in getting aboriginal fishery quota and licenses so Treaty fishers could sell in their own right rather than working for a middleman. He was one of the most important political figures in the early history of Manitoba and the Chief during one of the most coercive periods of the Department of Indian Affair’s history.

We also have Chief William Berens’ memories of the signing of the Treaty in Berens River, Sept 20th, when he was a child. This vivid bit of history was recorded by the American anthropologist, A. Irving Hallowell who worked with Chief William Berens throughout the 1930s. Chief Berens remembered the excitement as people gathered for the negotiations but said that the Treaty negotiations dragged on and he was asleep when his father finally came home:

“The Treaty was signed about midnight. I don’t know what time my father got back home that night. When I got awake the next morning and got up, I saw some new clothes lung there by my father – a fancy red coat and dark blue pants, socks and boots. There was also a flag and a medal! I heard the people say that my father had been elected chief.” (Berens 2009:44) “Gaa-agwii’iding gii-jakibii’igaade ningoji igo gaa-aabitaa-dibikag. Namanj iidog apii gaa-bi-azhegiiwed nimbaabaa e-dibikag. Apii gaa-goshkoziyaan gigizhebaawagak, ningii-wanishkaa. Ningii-waabandaanan oshki-aya’iiman jiigaya’ii nimbaabaa – dagaki-misko-biizikawaagan zhigwa ozhaawashkozid midaas, azhiganag dago bakobiiwakizinan. Zhigwa miinawaa gikiwe’on, zagaka’on gaye. Ningii-noondam nimbaabaa gii-ogimaakaaniwind.”

Who took all these black and white photos of Chief William Berens?

The photographs of William Berens were taken in the 1930s by the American anthropologist A. Irving Hallowell who was known by Chief William Berens as “Pete”. Hallowell and William Berens worked together for a decade and Hallowell’s photographs of Berens are among the 900 photographs Hallowell took in the course of his fieldwork on the Berens River. They are now housed at the American Philosophical Society where they are a growing part of an online archive meant to make the APS collection more readily available to aboriginal communities. Hallowell valued his friendship with William Berens and said of him that he was “my interpreter, guide, and virtual collaborator,” “whose genial companionship in camp and canoe, in fair weather and foul, never failed to enliven my task.” (Berens 2009:9)

Who made the embroidered coat?

The only other artifact with a Berens connection in the museum is a coat made by William Berens wife Nancy (Everett) Berens for the missionary Percy Jones in 1912. (William and Nancy’s son Percy is his namesake). The embroidery style is finer but similar to other coats in the Museum from Norway House and may reflect the aesthetic influence of her grandmother, Mrs. Norman Boucher, a Cree woman from that community.

The Berens Family Collection display will be open until May 12, 2013. It is located in the Museum Foyer with free access and at no cost.

Dr. Maureen Matthews

Curator of Cultural Anthropology

See Full Biography

Dr. Maureen Matthews, Curator of Ethnology joined The Manitoba Museum staff in November 2011. She is a CBC Radio documentary maker and has received four awards for Investigative Journalism from the Canadian Association of Journalists for her work for IDEAS on Cree and Ojibwe ideas about the world. Her documentaries include Fair Wind’s Drum (1993), Thunderbirds (1995), Memegwesiwag (2007) and Wihtigo: Cree Ideas about Cannibals (2010) and she also received a Manitoba Human Rights award for Isinamowin: The White Man’s Indian (1990), a documentary about the harmful consequences of stereotypes about Aboriginal people. She recently completed a D. Phil. in Social and Cultural Anthropology (2010) at the University of Oxford with a thesis on the attribution of animacy and agency to museum artefacts from a joint Ojibwe and Anthropological theoretical perspective.