Wendy Proverbs working in MOA’s Ethnographic Research Lab, April 2013

Birch-bark basketry is a fascinating cultural practice! Prior to my research of MOA’s collection, I didn’t realize the high level of skill and ingenuity that birch-bark basketry demands. This practice developed from Indigenous peoples who saw the potential in birch-bark to create practical and aesthetically pleasing forms of material culture. To some, birch-bark basketry is not as well known or understood as cedar bark basketry. Cedar bark basketry is an outstanding form of Indigenous material culture here in BC, but so is birch-bark basketry.

This blog highlights BC Interior birch-bark basketry through the lens of a MOA intern. My journey as a researcher in this area began with a conversation between MOA curators Karen Duffek and Sue Rowley. This led to my exploration of the collection here, with the goal of expanding our knowledge base. My ancestry is Kaska-Dene and I have a strong interest in Indigenous material culture. My internship offers opportunities to contribute to ongoing research and also to give back to communities.

Dene birch-bark basket: maker unknown. Object number NA699. Photo courtesy UBC Museum of Anthropology.

How to achieve these goals?

First, it was important to view the collection. MOA’s Multiversity Galleries affords a close-up view of many items, and offers opportunities to study items in its research labs. The Reciprocal Research Network (RRN) is a useful research tool that allows for comparisons among multiple museum collections (you can sign up at http://rrnpilot.org), and MOA’s entire collection can be viewed online at http://collection-online.moa.ubc.ca/. Observing the collection allowed me to see unique patterns, styles, similarities and differences among BC Interior birch-bark baskets. Yet, my observations led to further questions respecting many baskets whose origins are unknown: Who were the makers of these baskets? Whose territory did these baskets come from? How and why did the various styles develop?

Dene birch-bark basket: maker unknown. Object number Na1012. Photo courtesy UBC Museum of Anthropology.

Secondly, it was beneficial to review the literature on BC Interior birch-bark basketry. The literature is limited; however, an informative early ethnographic source is James Teit, and Nancy J. Turner is an excellent contemporary source. A short 1994 film Birch bark baskets highlights Secwepemc birch-bark basketry in BC. Despite the value of these sources, input from communities remains invaluable.

Lastly, it is important to seek input from members of communities where birch-bark basketry originated. These communities are typically located in the BC Interior, as Paper Birch (Betula papyrifera) is widespread throughout that region. Birch is also found to a lesser degree around the coastal mainland, but is hard to find on Vancouver Island, and is not found on Haida Gwaii.  Makers of birch-bark basketry have declined over the years; however, this practice remains an integral part of many Indigenous communities where members continue to harvest and create products from this useful species.

Secwepemc artist and curator Tania Willard, with MOA curators Pam Brown and Karen Duffek,
in MOA’s Culturally Sensitive Research Room, March, 2013. Wendy Proverbs Photo.

Contemporary Practitioners:

Secwepemc artist and curator Tania Willard is a birch-bark practitioner whose work embodies a contemporary outlook. Tania’s work stems from her research of traditional forms of basketry, and is also influenced by her association with Secwepemc Elder and birch-bark basket maker Delores Purdaby. It was a pleasure meeting Tania on her recent visit to MOA, and I hope to meet her again, as well as Delores, in a future visit.

Nadleh Whut’en birch-bark practitioner Noeleen McQuary learned her skills from her granny and mother. Noeleen’s expertise has led to her teaching birch-bark courses for adults and youth in her community. Noeleen’s work can be found at MOA and in other collections. Chatting with Noeleen was very informative and I look forward to meeting her later in the year at MOA.

It would be exciting and beneficial to meet other birch-bark practitioners who may be willing to share their expertise and knowledge. Through community involvement it is possible for an exchange of ideas to flourish and aid ongoing research.

Birch-bark baskets, MOA Multiversity Galleries, Case 43. Wendy Proverbs Photo.

 Historical notes:

Birch-bark basketry has a long history.  Ancient birch-bark rolls, perforated birch-bark, and birch-bark containers have been found in BC archaeological sites. Some notable sites where birch-bark has been excavated include the Keatley Creek site located near Lillooet, BC, and the EeRb-144 and EeRb-140 sites located near Kamloops, BC. These archaeological sites provide evidence of early Indigenous life and the cultural importance of birch-bark within these communities.

Birch bark is known as an anti-skin-cancer agent, and was used and traded as food sources, medicines, torches, clothing and construction materials within BC Indigenous communities. Ancient birch-bark baskets may be thought of as a precursor to plastic containers. However, unlike plastic containers, birch-bark baskets can be used for cooking due to the cellular makeup of birch-bark and clever, watertight construction.

Wendy in MOA’s Multiversity Galleries, viewing Case 30.

Future Goals:

This summer I have plans to travel to the BC Interior—Okanagan and Cariboo Chilcotin regions—where I hope to meet community members involved in birch-bark basketry.

I also want to visit other research institutions to view their birch-bark collections and to gain insight as to how they house and share their information.

My internship has been an enlightening experience where I have met engaging people and witnessed time-honoured practices and beauty. A humble basket has the capability of informing us today in many ways.

Your comments, queries and knowledge are welcome!

                                    By: Tara Chloe Dusanj

The Museum of Anthropology (UBC) is very pleased to welcome Gwaii Haanas Legacy Pole carver: Jaalen Edenshaw. Jaalen will facilitate a rich, visual presentation regarding his work on the Gwaii Haanas Legacy Pole. The disucssion will take place in the Great Hall at MOA on Tuesday, March 5, 2013 at 7:00pm.

The Gwaii Haanas Legacy Pole is 42- foot monument being carved to honour the 20th anniversary of the Gwaii Haanas Agreement. This agreement is the hallmark of a groundbreaking, cooperative management relationship between the Government of Canada and the Haida Nation. Currently an equal number of Haida Nation and Government of Canada representatives manage this special area through the Archipelago Management Board. Gwaii Haanas is renowned throughout the world as a model for governing cultural and natural resources.

Gwaii Haanas Legacy Pole carver, Jaalen Edenshaw,  highlights the interconnections between Land, Sea and People in the Haida Gwaii archipelago. In the Haida Language, Gwaii Haanas means: “Islands of Beauty.” The Gwaii Haanas National Marine Conservation Area Reserve (established in 2010) is the only place in the world which is managed from mountain top to sea floor. Gwaii Haanas has been rated by the National Geographic Traveller as the number one park destination in North America. The protection of this beautiful space is kept by the Haida Gwaii Watchmen Program and Parks Canada Work.  The land and sea of this remarkable place are protected as: A Haida Heritage Site, a National Park Reserve and a National Marine Conservation Area Reserve. The cooperative management agreement was reached after the turmoil of a blockade. After five years of negotiations regarding the Gwaii Haanas, it is now a model for conservation and the governing of natural resources in the world.

  The Gwaii Haanas Legacy Pole tells a story regarding thousands of years, places, people, the past, the present and the deep interconnection between the land, the sea and the people who take pride in this unique environment. Jaalen Edenshaw incorporates images in his design, which display two Haida moieties. The strength of their relationship is represented by several people standing together to reflect those who waited in line at Lyell. There is an eagle at the tope, and a sculpin at the bottom in order to acknowledge the unprecedented agreement between Canada and the Haida Nation. This is an agreement which allows Gwaii Haanas to be managed from mountain top to sea floor. The incorporated image of a visitor corresponds to the idea that those who come from far away are given the chance to experience the spectrum from ancient, oral histories to modern day archaeological studies. This ideology is indicated through the representation of the grizzly bear and dog images, but also through the recent design modification (that took place after the October 2012 earthquake), which include an image of Scared-One-Standing-and-Moving who is draped in the skin of a Wasgo (sea wolf) which enhanced his powers in the epic battle to hold up the Haida Gwaii and is meant to remind us that we are all united. The pole will be visible from a distance at sea. It will complement the thriving feature of the long house, the accessible old growth, the culturally modified trees, the salmon run and the cultural history, which attributes to the speciality of Gwaii Haanas.

The red cedar pole will be raised in Gwaii Haanas on August 15, 2013, which will be followed by a feast in Skidegate on August 17th. 2013. This also marks the 25th anniversary of the South Moresby Agreement, a commitment, which was made by the federal and provincial governments to protect the natural and marine resources of Gwaii Haanas. Additionally, it will be the first pole raised in the Gwaii Haanas region in over 130 years and will serve to build a connection with the other historic poles that are currently standing in the villages of Sgang Gwayy (also known as the UNESCO World Heritage Site).

A six-person committee selected Jaalen Edenshaw as the Gwaii Haanas Legacy Pole carver, whom asked Tyler York to be his assistant on the project. Jaalen was a member of the Ts’aahi- Eagle Clan. He was the head carver of the 36-foot ‘Cormorant’ pole created for the village of Old Masset in 2009. The following year, Jaalen and his brother, Gwaai, work together on the 43-foot ‘Two Brothers” pole, which was raised in Jasper National Park, Alberta. His work is highly inspired by the traditions of the Haida culture: their stories, the natural world of Haida Gwaii, and most importantly the Haida Language. Jaalen is very invested in preserving Haida language. He has contributed to this cause through his co-production of the play “Sinxii Ganguu”, which is an old story adapted and performed in the Haida language. Jaalen is also aware of the need to engage the younger generation with their heritage. He is apart of a language medusa team, which engages youth with language revitalizations. 

Join us for this historical, culturally rich and visual presentation on March 5, at 7PM in the Great Hall. Help honour the past by celebrating the future of Gwaii Haanas.

The event is free with general admission. Admission into the Museum is free for all current UBC students, staff and faculty.

Tuesday, January 15 –Sunday, March 24, 2013

Starting Tuesday, January 15 (until Sunday, March 24), the Museum of Anthropology invites you to experience Alan Michelson’s immersive, four-channel video installation, TwoRow II (2005). This innovative installation takes viewers in opposite directions along two banks of the Grand River, which divides the Six Nations Reserve from settler townships in Ontario. The tensions are underscored by competing and colliding soundtracks that highlight the friction between narratives about the river as told by Six Nations residents and a non-Native tour-boat captain. Michelson merges two cultural traditions—Euro-American tourist panoramas and Aboriginal Wampum belts—in his evocation of the river as a metaphor for co-existence and contact between different peoples.

On November 14-15 the Museum of Anthropology (MOA) hosted a Canadian Conservation Institute (CCI) Workshop on Wet Basketry. Participants in the workshop included representatives from the Sto:lo Nation, Musqueam Indian Band, Neskanlith Indian Band, as well as representatives from MOA, the UBC Laboratory of Archaeology, the Royal BC Museum, the Sooke Region Museum, and local archaeologists and conservators.

The first morning of the two-day workshop began with introductions and presentations in the morning including a discussion of the types of environments that wet basketry is most often found in, and the physical, chemical and biological processes of deterioration that can cause a rapid breakdown of basket fibers.

Tara Grant, Archaeological Conservator at the Canadian Conservation Institute (CCI) in Ottawa, discussing the basic structure of wood and bark. Photo credit: Nikita Johnston

The types of materials used in the production of West Coast basketry were detailed along with an examination of the various constituents and structures of the different plant materials. Materials discussed included the withes, branches and bark of Western red cedar, spruce root and birch bark. Of the three species, birch bark is the most difficult to treat due to the presence of suberin, a waxy substance whose main function is to prevent water from penetrating the woody tissue and represents 39% of the bark’s composition.

In-situ recovery techniques for constructing temporary supports to aid in the removal of deteriorated basketry were also discussed. Several techniques were detailed including supports for underwater sites (the simplest was a plastic bucket with drilled holes), and block lifting and shelling techniques using Plaster of Paris, gauze bandage, polyurethane foam and dry ice to freeze the soil. Facing using a Rhoplex B-60-A emulsion with gauze and Paraffin with gauze were described. Encapsulation methods discussed included both Plaster of Paris and polyurethane foam.

The final presentation of the day reviewed various cleaning and stain removal techniques for wet basketry, performed prior to treatment and drying, such as mechanical cleaning using soft tools and brushes with running water or while the basket is immersed. Two cleaning instruments were also examined. The first was a Cavitron, a dental tool that uses high frequency pulses to vibrate dirt off the surface of the basket, the same way it removes plaque from teeth. The second instrument was an aspirator, an underwater vacuum gentle enough to use on fragile surfaces that cannot be brushed.

After lunch the afternoon was spent practicing different cleaning and lifting techniques discussed in the morning. The Cavitron was the most popular, mainly due to the almost instantaneous removal of dirt and the Cavitron’s ability to remove dirt from in-between basketry elements. Everyone at the workshop had the opportunity to try the different methods, although some opted out of working with the Plaster of Paris due to the difficulty in keeping oneself un-plastered.

A close look at the effectiveness of the Cavitron at cleaning waterlogged basketry. Photo credit: Heidi Swierenga

Day two of the workshop began with presentations. The first discussed on-site and before treatment storage and transportation with an examination into safe packing materials that can be used in the field. Cliff Cook made sure to reiterate the importance of clear and consistent labeling when preparing objects for transportation and storage.

Cliff Cook, Archaeological Conservator at CCI, demonstrates the dry ice block lifting technique to a captivated audience. This technique, perhaps the most enthralling due to the unearthly appearance of the fog produced by the dry ice as it creeps across the table, is one of a number of block lifting techniques used for the removal of deteriorated or fragile pieces of wet basketry from the ground. Photo credit: Nikita Johnston

Polyethylene Glycol (PEG) and silicone treatment options for waterlogged basketry were discussed. Examples of both high and low molecular weight PEGs were circulated among the group, along with examples of different treatments using a combination of the two weights. The use of PEG, a reversible method of treatment, was discussed together with vacuum and non-vacuum freeze-drying methods.

Silicone oil treatment developed in the 1990s involves the dehydration of the artifact in a solvent prior to being impregnated with silicone. Although this latter treatment looks promising it is still experimental and is irreversible.

Former MOA Conservation intern Beth Boyce presented her Master’s project for the Queen’s University Conservation program in which she treated waterlogged cedar bark using white granulated sucrose, a reversible treatment and a cheaper alternative to PEG. Testing parameters included length of time in the solution, gradual and accelerated speeds of impregnation, with samples prepared at room temperature (23oC) and at an elevated temperature (50oC). Sucrose samples were compared against samples treated with PEG 400, as well as untreated control samples. Ms. Boyce used SEM imaging to examine the effects of the different treatments on the cellular structure of her samples. Ms. Boyce concludes that sucrose appears to be an effective treatment option for waterlogged basketry worthy of further research.

Beth Boyce, former MOA Conservation intern and graduate of the Queen’s University Conservation program, unwraps one of a number of baskets examined during Day Two of the workshop. Photo credit: Nikita Johnston

The final presentation of the workshop examined post-drying treatments including the removal of excess PEG, and mending and repair using Jade 403 PVA emulsion. The morning concluded with a discussion of different types of mounts and supports, and recommendations for maintaining the correct environmental conditions for basketry.

A crowd gathers around as Tara Grant examines some surface decoration on one of the baskets using a Wild M650 microscope in MOA’s Conservation Lab. Photo credit: Heidi Swierenga

The two-day workshop proved to be a success with active participation and open and enthusiastic discussion. Hopefully MOA will be able to host many more similar workshops in the future.

It has been almost three months since I started my internship at MOA and so far it has been a great experience.

Cleaning dust from the base of the support holding two kayaks in the Multiversity Galleries

From my very first week at MOA I was thrown right into the fray and began treatment on four Peruvian festival masks made of tin, that are now hanging at one of the entrances to the exhibit Luminescence: The Silver of Peru, which runs until December 16, 2012. The masks when I arrived were in poor condition, with many of the decorations requiring repair and reattachment. Treatment mainly involved using appropriate adhesives, determined through solubility testing, to reattach the various types of decorations.

Before treatment: Note the loose beading on the wing of the mask (MOA ID 2946/8)

After treatment: The beading was reattached using a water-based adhesive as the paints proved to be soluble in other solvent-based adhesives (MOA ID 2946/8)

One of the masks had a tooth that needed to be reattached. To do this I devised a support using conservation grade inert foam (shaped by carving), and some rare earth magnets that I inserted into the foam and secured in place with an adhesive. This proved to be a successful solution providing good grip and stability to the tooth, while remaining a completely reversible treatment, as the magnets are what hold the tooth in place, rather than an adhesive.

Reversibility is a main concept behind most conservation treatments, and along with documentation is one of the basics tenets of conservation. As conservators our job is to preserve the physical nature of objects with the least possible intervention. We do not want to change an object unnecessarily. This is also why we document everything we do to an object; to ensure that individuals in the future studying the objects we treat are aware of any alterations (such as reattaching loose decorations) we have made to restore the culturally significant qualities of an object.

Another object that I worked on that is currently on display in Luminescence (it’s an amazing opportunity having pieces I’ve worked on be on display to the public!) is a very colourful woven textile. In order for the textile to be displayed, a cotton and Velcro strip had to be sewn on to the back of the piece, to allow for secure vertical mounting to the wall. Velcro is selected because it provides support evenly across the width of the textile and reduces distortion as the textile hangs. The Velcro strip is sewn onto a cotton sleeve, and it is this sleeve which is attached to the textile, not the Velcro directly. A running or hem stitch is then used to attach the sleeve to the back of the textile. Sewing is done in a manner that disturbs the natural weave of the textile as little as possible.

When sewing a support, it is important not to pierce the threads as this can cause damage and breakage down the road. It is best to sew between the warp and weft threads. (MOA ID 2946/30)

One amazing thing about doing my internship at MOA is having the opportunity to work on many different types of objects and materials. My most recent treatment involved working on a calendar from India. The calendar dates to 1992 and features a large image of the deity Ganesh. Unfortunately at some point the calendar suffered damage resulting in extensive tears, as well as some loss of the image. In order to repair the calendar I prepared a wheat starch paste, a traditional adhesive recommended for use with paper artifacts. I then used the wheat starch paste along with Japanese paper, which I tinted to better match the calendar, to repair the tears. Japanese papers known traditionally as Washi are papers made from the long inner fibres of three plants: Kozo, Mitsumata and Gampi. Japanese papers are strong, flexible and have a low-acidity making them ideal for repairs to paper artifacts.

Before treatment: Note the large tear running from the right down to the left and up the centre (MOA ID 1645/220)

After treatment: Following repairs made with the wheat starch paste and Japanese paper, in-painting of areas of the central image was done using acrylic paint (MOA ID 1645/220)

And for my next challenge… cleaning, reshaping and building a support for a cedar bark loose woven basket recently acquired at the museum.

Basket (MOA ID 2965/1)

Nikita Johnston is currently a student at Fleming College in the Collections Conservation and Management program in Peterborough. A 2011 graduate of Trent University, she holds an Honours BA in Anthropology.

Photos by Nikita Johnston

UQLLU is created from Alpaca. Alpaca is a luxurious, silky,

soft, durable, natural, eco-friendly, hypo-allergenic fibre that has unique thermal properties.

Meet The Visiting Artists:

Lucia Andrade de Laureano
Lucia Andrade de Laureano is a 58 year old talented artisan and mother of four, who has been living in Morococha since she was 17, so she’s definitely a “Morocochan lady”. Well-known amongst friends and peers as Lucha, she joined the workshop La Escuelita six years ago. When she was young, her fa- ther owned a loom (very common in small towns in the Andes) and taught all his children the art of weaving. It was a necessary tool that would pro- vide the family with the skills to make their own clothes and accessories.

Clelia Margarita Ricra Ricaldi

Clelia Margarita Ricra Ricaldi is a 44 year old artisan that works in “Aguaj Maqui,” the workshop located in Huaychao in Huayllay, Pasco. She describes this experience as “living the best times of her life” because of the opportunity that she has to make a living of this ancient craft and being able to support her family and dream of a better life. A mother of 5, she is proud of the profession she has chosen, that started as a hobby in the community and rapidly developed into a profession.

We Hope to see you in the MOA Shop On Monday November 19th and Tuesday November 20th to witness, in person, the craft of these two, extremely talented women.

General admission to MOA is free for all current UBC students, faculty and staff!

How does it work? Simply bring your phone with you when you are visiting MOA. We have free WiFi for public access. Once you are inside, you can use the MOA mobile web application as an exploration tool for the galleries inside the Museum of Anthropology at UBC. You can use the mobile application to look up information about objects you see in the gallery, and even those that are not on display.

This is a moblie web application, so using our free WiFi,  you will need to go to the internet browser on your mobile phone and enter in this link: http://m.moa.ubc.ca

Once you have successfully completed this step. The following screen will show up:

Every object in the Multiversity Galleries has a personal ID number. You can typically find an object’s ID on a white card beside the object. Enter in the ID number of the object you would like to know more about into the search field. Once this part is completed, you will be presented with a description of the object, the object’s history of use, the narrative behind the object and a greater cultural context. This will enhance your knowledge of the object and provide a greater cultural and symbolic context for the particular artifact.

Join us for the Opening Reception this Friday, November 2, from 7-9 pm at MOA.

 Pleased to Meet You: Introductions by Gwyn Hanssen Pigott. A first for MOA, is an exhibition that examines the new aesthetic perspectives that develop when artifacts are removed from their historical and cultural contexts, and re-assembled into groupings based solely on colour, form, shape, and pattern.

In her own celebrated work, Australian Ceramic Artist Gwyn Hanssen Pigott nudges pale-glazed tableware forms into still-life groupings of bowls, bottles and cups. Individually familiar, the juxtaposed forms speak to one another and to the observer with surprising emotion. In this exhibition, Ms. Pigott has selected objects from the MOA’s permanent, world-wide collection and re-assembled them with her own works, in surprising new relationships. The “introductions” have been made based on colour, form, and pattern, often featuring objects that are normally never displayed together. The pieces are not placed within any historical or cultural context; rather they are grouped to illustrate that, regardless of social or cultural background, makers share similar aesthetic choices when making decisions about the creation of their work.

Gwyn Hanssen Pigott is recognized as one of Australia’s most significant contemporary artists and has exhibited extensively in Australia, American, Europe and Asia. In 2002 she was awarded the Medal of the Order of Australia for service to the arts as a ceramic artist and teacher. Hanssen Pigott has developed an exhibit that celebrates the pure, lighthearted beauty that accompanies the interrelationships between form, shape, colour, and pattern.

The exhibition is curated by MOA curator Dr. Caroll E. Mayer and Susan Jefferies, past curator of Modern and Contemporary Ceramics at the Gardiner Museum, Toronto. It is free with general admission, and general admission is free for all current UBC students, Faculty, and staff.

MOA is closed the public on Mondays, but open late on Tuesdays from: 10 am – 9 pm, and Wednesday- Sunday: 10 am – 5 pm